This show has guts! proclaimed Richard Zoglin of Time magazine about this 2012 revival, which won the Off-Broadway Alliance Award for Best Musical Revival. It features music by Michael Gore, lyrics by Dean Pitchford, and book by Lawrence D. Cohen (based on the novel by Stephen King). Our folio features 18 songs from that revival, including: Alma Mater · And Eve Was Weak · Carrie · Carrie (Reprise) · Do Me a Favor · Dreamer in Disguise · Epilogue · Evening Prayers · I Remember How Those Boys Could Dance · In · A Night We'll Never Forget · Once You See · Open Your Heart · Unsuspecting Hearts · When There's No One · Why Not Me? · The World According to Chris · You Shine. / Piano/Vocal/Guitare (PVG)

Arrangeur: Richard Walters. Par GILBERT / SULLIVAN. W. S. Gilbert and Arthur Sullivan produced several of the most popular operas and operettas of all time. Sullivan's music was always memorable and tuneful while Gilbert's libretti had both wit and pathos. This book contains several Gilbert and Sullivan selections for the Tenor singer, including 'Take pair Of Sparkling Eyes' and 'A Wand'ring Minstrel I', and comes with a CD of the Piano accompaniments from the book for those occasions when a pianist cannot be found for practice! W. S. Gilbert and Arthur Sullivan produced several of the most popular operas and operettas of all time. Sullivan's music was always memorable and tuneful while Gilbert's libretti had both wit and pathos. This book contains several Gilbert and Sullivan selections for the Tenor singer, including 'Take pair Of Sparkling Eyes' and 'A Wand'ring Minstrel I', and comes with a CD of the Piano accompaniments from the book for those occasions when a pianist cannot be found for practice! / Répertoire d'Examen / Répertoire / Chant et Piano

Par SMITH PAUL. A standalone work for SATB choir and SATB solo quartet, painting a picture of the different characters of a dream. This movement is both comforting and confusing, and is inspired by the Palestinian poet Mahmoud Darwish. A New World is a musical story across five movements with texts by authors from Cicero and Ovid to George William Russel; from nursery rhymes to war poets. The music and texts link to form a narrative that questions what sort of ‘New Worlds’ have come into existence, or could be created in our future, and considers how we balance human traits of fear, displacement, isolation and conflict with equally human traits of love, hope, forgiveness and unity. The internationally-renowned British vocal ensemble VOCES8 is proud to inspire people through music and share the joy of singing. The celebration of diverse musical expression is central to the ensemble’s ethos, and this is shown in their versatile concert programmes and innovative educational work. The ‘VOCES8 singles’ series includes songs for which the group is particularly well known and which have been composed or arranged specifically for VOCES8. / Choral Music / Répertoire / Voix Mixtes SATB et Piano

Par BEETHOVEN LUDWIG VAN / JEFFRIES-HARRIS KATIE / MOO. VOCES8 present a dreamlike choral fantasia based on the first movement of Beethoven's famous Moonlight piano sonata. Particularly suitable for mixed ability choirs, this piece has been used by VOCES8 in many of their school workshops. The internationally-renowned British vocal ensemble VOCES8 is proud to inspire people through music and share the joy of singing. The celebration of diverse musical expression is central to the ensemble's ethos, and this is shown in their versatile concert programmes and innovative educational work. The VOCES8 singles series includes songs for which the group is particularly well known, in choral arrangements produced specifically for VOCES8. / Choral Music / Répertoire / Voix Mixtes et Piano

Par BEETHOVEN LUDWIG VAN. What better way for choirs to celebrate Beethoven's 250th birthday than with this entertaining medley of some of his greatest hits (Für Elise, Moonlight Sonata, Pathétique Sonata, and Fifth and Ninth Symphonies), cleverly arranged by Jim Clements? The internationally-renowned British vocal ensemble VOCES8 is proud to inspire people through music and share the joy of singing. The celebration of diverse musical expression is central to the ensemble's ethos, and this is shown in their versatile concert programmes and innovative educational work. The VOCES8 singles series includes songs for which the group is particularly well known, in choral arrangements produced specifically for VOCES8. / Choral Music / Recueil / Voix Mixtes

Par CORP RONALD. Among the UK's most noted choral composers and conductors, Ronald Corp does not hesitate to bring his own musical vision to a much-loved poem by the sixteenth-century lutenist songwriter and 'Doctor of Physick' Thomas Campion, following the example not only of Campion himself but also of Charles Wood and Hubert Parry. Eschewing the manner of Parry's resonant polyphony for a simple harmonised setting in a flexible verbal rhythm reflecting the measure of the words, this is a heartfelt plea for spiritual release uttered in a quietly elegiac tone, in which the serenity of the entreaty rather than its pathos is to the fore./ Feuillet / SATB a Cappella

Par PART ARVO. Arvo Pärt has been fascinated by the life and work of St Silouan of Athos (1866-1938) for many years. As early as 1991, the writings of Silouan inspired Pärt to his composition Silouan's Song, 'My soul yearns after the Lord ...' for string orchestra. Pärt's new work Adam's Lament is once again based on a text by Silouan, in which the monk laments Adam's pain over the loss of paradise. Silouan's sketches and writings are of great poetic power, and represent some of the most significant works in Russian poetry. The content and structure of the texts, which are sung in Russian, dictate the course of the music down to the smallest detail. Punctuation, syllable counts and word emphases all play decisive roles in the composition./ Répertoire / Chœur Mixte [SATB] et Orchestre à Cordes

Kammeroper Nr. 2. Par RIHM WOLFGANG. Chamber opera does not mean “little opera.” On the same scale as chamber music is to the symphony, it is rather the other way of talking onstage. The movable apparatus permits sophisticated voice-leading. A large ensemble demands simple conception to achieve the complexity it perhaps intends; this can be formulated more sharply and nuanced in a chamber ensemble. Therefore it is the subject which this type of presentation must sustain – or, better, provoke. Büchner’s Lenz is a description of the conditions within a process of collapse, moments of destruction already occurred but not yet accepted, evident in the points of contact with the environment. And it was those points of contact which Michael Fröhling attempted to reconstruct onstage. Lenz’s distraught state is always the same; only the proximity of the environment to that distraught state grows and ebbs. The musical consequence An hour of extreme chamber music results from this description: always bound for the main character – actually, not a commentary, but the main character himself as a multilayered level of action. Although Lenz acts on many levels – or tries to or believes he is – he has no room to manoeuvre. That is why he is also tightly interwoven in his sonic surroundings; the voices which only he hears are just as much himself as the two men with whom he foregathers (the liberal pragmatist Oberlin and the alert merchant who always “does the right thing” in every situation) – they evoke responses which he deeply desires. Omnipresent Friederike is just as much his inner world as Nature is – Nature, which he can no longer perceive unless it is personified, enlivened or dead. Therefore, the music’s task is both to motivate the “situation” (atmospherically) and to be the psychological constant (via a network of entangled references per se) in an action as it is played out. The compositional process December 1977 to June 1978 – a period identical to the stepwise understanding of an existence as that of Jakob Lenz. Yet the more the historical figure became precisely attendant in my intellect in terms of data and atmosphere, the more it retreated in favour of a cipher of disturbance as I began to understand Lenz. Thence the explanation for the failure of the attempts to approach him – including my attempt to interpret him via musical representation – because, essentially, Lenz himself is the failure. Only the naked stages of that failure remain portrayable, i.e. including the failure of those who wish to “help” Lenz, for example, while Lenz himself is already trapped inextricably in a state of complete destruction. I tried to compose my way into that situation as far as possible; the insistence of several rhythmic and harmonic configurations is the palpable expression of the main character’s ever-recurring rigidity. One sound pervades the entire work. The musical stage For me, this is a place where very magical and very human things take place. In Jakob Lenz, the human aspects often switch to magical ones, since the realism of a self-suasive, unhinged soul takes on surreal traits – or we simply cannot understand that otherwise except as not being real. A character like Jakob Lenz on the stage is complex due to the fact alone that it harbours many stages within itself, and music must represent those constantly present stages. I have tried to do so in the most direct way – by not cleanly separating the musical layers, but keeping them constantly in evidence until they must break forth, each in accord with its own dramaturgy. In an overview, the large form takes on aspects of a rondo, performed in overlapping layers – a type of rondo relief, since perspectives of psychological proximity and distance are indeed formulated musically as atmospheric relations. Above all: the thread on which Jakob Lenz hangs is the current onto the listeners’ hearts. Wolfgang Rihm (January 1979)/ Répertoire / Chant et Piano

Arrangeur: Jonathan Wikeley. Pop Carol Singing is the indispensible collection for carol singers who wish to add to the lighter side of their repertoire. Equally suitable for school and community choirs, or for those who want to get together for a good sing, these 24 simple, SATB arrangements have been specially designed to be hugely effective in performance, but equally easy and quick to learn. The a cappella arrangements ensure that they can be sung anytime and anywhere. Including classics such as All I Want for Christmas is You , Wonderful Christmastime and Merry Christmas, Darling , alongside old favourites such as White Christmas , Winter Wonderlandand , Have yourself a merry little Christmas , this collection has everything the carol singer needs, and will leave audiences and singers alike bursting with good cheer. Pop Carol Singing is the indispensible collection for carol singers who wish to add to the lighter side of their repertoire. Equally suitable for school and community choirs, or for those who want to get together for a good sing, these 24 simple, SATB arrangements have been specially designed to be hugely effective in performance, but equally easy and quick to learn. The a cappella arrangements ensure that they can be sung anytime and anywhere. Including classics such as All I Want for Christmas is You , Wonderful Christmastime and Merry Christmas, Darling , alongside old favourites such as White Christmas , Winter Wonderlandand , Haveyourself a merry little Christmas , this collection has everything the carol singer needs, and will leave audiences and singers alike bursting with good cheer. / Pop and rock / Recueil / SATB

Par MARSH LIN. Singbook is an inspirational resource for all singing leaders working with children and young people, and contains 12 songs by some of today's most exciting songwriters. Suitable for established singing leaders seeking new repertoire, and those leading singing groups for the first time. Inspires young people with an exciting and vibrant mix of styles. Celebrates our cultural diversity, combining songs from Gujarati, Chinese and Albanian music with the best of the UK. Each song includes warm-ups, learning strategies and interviews with the songwriters. All vocal parts and lyric sheets are photocopiable. The songs are graded and colour-coded into three levels - Starting, Developing and Challenging. This edition features full Piano scores for those wishing to accompany their singers themselves, or for Piano-based rehearsal. To be used alongside Singbook (Catalogue No. 0571523986) Produced in association with Youth Music and NASUWT / Date parution : 2005-06-23/ Recueil / Voix

Pop Choral Series. Par LOPEZ ROBERT / ANDERSON-LOPEZ KRISTEN. The Disney Pixar animated film Coco celebrates Mexican culture and specifically the tradition of Dia de los Muertos (Day of the Dead). This is not a somber occasion. Rather it is a day to celebrate, to remember, to honor those who are no longer with us in the physical world. Academy Award winning composers Robert Lopez and his wife Kristen Anderson Lopez (Frozen) have written a beautiful ballad that offers peace and assurance to those left behind./ Recueil / 3 Chant Mixtes

Arr.Collatti Diego. Par GARDEL CARLOS. The name of Carlos Gardel is synonymous with the Tango - his compositions in the genre have long been considered classics. Diego Collatti has collaborated with Universal Edition for several years now, producing arrangements for instrumental solo and duet of many of Gardel's best loved works. In this publication, he returns to the original versions and presents six of them almost as Gardel intended, as songs for tenor voice and piano. Two of the pieces, 'El día que me quieras” and 'Mi Buenos Aires querido” featured in films of those names in 1934 and 1935. The words to these tangos are by Alfredo Le Pera who worked with Gardel on those films and sadly died in the same plane crash that killed Carlos Gardel in 1935. Le Pera is credited with elevating the literary quality of tango lyrics while respecting the musical form. The texts are presented in the original Spanish./ Recueil / Tenor et Piano

The Ultimate Vocal Warm-up Book. Par HOLLINS LUCY. This resource is not just another warm-up book - it is the ultimate warm-up book! It contains everything a choir leader needs to improve the sound quality and vocal health of their choir. For those starting out, it gives first-rate tips and ideas about vocal technique. The 'Why we do this'' sections increase depth of understanding and knowledge for everyone, regardless of experience. The book starts with an introduction to the importance of vocal warmups - not only for improving the sound of your choir and for vocal health but also for physical and mental well-being. Warm-ups also provide an opportunity to gather focus, create a positive environment, and boost camaraderie. / Date parution : 2022-10-12/ Etude / Choeur

Motette. Par MOZART WOLFGANG AMADEUS. Motet of an unknown arranger [ca. 1820], based on th Adagio of the Serenade KV 361 [Gran Partita]. The motet Quis te comprehendat, K-Anhang 110, is based on the Adagio in Mozart’s Wind Serenade K. 361, the “Gran Partita. ” The arrangement of this instrumental movement with the addition of a four-part choir deserves to be regarded as a successful example of the practice of parody, on a higher level than many less accomplished arrangements of the period. As in most of those cases the identity of the arranger is unknown, but his sensitive treatment of the original points to a gifted musician. Characteristic accompanying figures are given to the strings, while the solo violin andthe organ appear melodically. The homophonic choral setting, whose Latin words are a religious song of praise with no specific liturgical connection, is based on the works harmonic substance. The vocal parts follow the framework and compactly fill out the accompanying instrumental writing. / Mottet / Répertoire / Choeur SATB, 2 Cors, Violon Solo, 2 Violons, Alto,