Par WEIR JUDITH. Celebrate HM The Queen's 90th Birthday with your choir Sing Judith Weir's special new choral piece I Love All Beauteous Things Master of the Queen's Music, Judith Weir, has been commissioned by St Paul's Cathedral in London to write a piece for SATB choir and organ in celebration of HM The Queen's 90th birthday in 2016. The piece is now available from Chester Music, so that choirs all over the world can join in with the festivities. Churches and other local organisations are planning events on Sunday 12th June and many may want to include this approachable setting of Robert Bridges' poem. Directed by Andrew Carwood, the St Paul's Cathedral Choir will perform I love all beauteous things as part of the National Service of Thanksgiving which will take place on at 11am on 10 June in the presence of HM The Queen and HRH The Duke of Edinburgh. At the service the Archbishop of Canterbury will give the address and the Prime Minister will read a lesson. The event will be televised live on BBC1. Judith Weir comments: 'It is a particular honour to contribute new music for this great occasion, and a pleasure to write a choral version of Robert Bridges' beautiful verse.' Preview the score here Download the digital sheet music here COMPOSER'S NOTE At the suggestion of Michael Hampel, Precentor of St Paul's Cathedral, I have set words by Robert Bridges, who was Poet Laureate from 1913-1930. Bridges was an outstanding humanitarian and writer, whose poetry has inspired me before in The Voice of Desire, a song-cycle for mezzo-soprano and piano. This short, fast-tempo setting aims to emulate the swift, fleet-footed rhyme and metre of the two-verse poem, with its unobtrusive but telling reference to 'man in his hasty days'. J.W. Commissioned by the Chapter of St Paul's Cathedral to mark the 90th birthday of HM The Queen, generously supported by the Boltini Trust. Performed at the National Service of Thanksgiving for HM The Queen's birthday at St Paul's Cathedral, London, on Friday 10th June 2016 in the presence of HM The Queen and HRH The Duke of Edinburgh. Music by Judith Weir, Master of the Queen's Music, words by Robert Bridges, Poet Laureate in the year HM The Queen was born. Duration c. 3½ minutes I LOVE ALL BEAUTEOUS THINGS words by Robert Bridges OM (1844-1930) Poet Laureate 1913-30 I love all beauteous things, I seek and adore them - God hath no better praise, And man in his hasty days Is honoured for them. I too will something make And joy in the making - Altho' to-morrow it seem Like the empty words of a dream Remembered on waking. (I love all beauteous things, etc…)/ Feuillet / Choeur Mixte (SATB) et Orgue

Kirchenkantate, Bwv 192, 1730Ca. Par BACH JOHANN SEBASTIAN. The cantata 'Nun danket alle Gott” (Now thank we all our God) BWV 192 is based on the text of the well-known hymn. It is therefore one of a small number of chorale cantatas which contain no free poetic texts. Correspondingly, there are no recitatives either. It has only recently been assumed that this three-movement work was not intended for Leipzig, but was actually written in 1730 for Bach's prestigious position as Kapellmeister of Saxe-Weissenfels. The court of Duke Christian enjoyed the its sojourn in the newly-renovated castle of its secondary residence in Sangerhausen and, at Trinity, in the court church, celebrated the anniversary of its consecration with festive music. Bach evidently occasionally contributed to this. The work does not survive complete. Even in the 18th century a full score evidently no longer existed, just a set of parts, the tenor part of which is entirely missing. For the new edition the missing part has been reconstructed by Detlev Schulten (Leipzig)./ Répertoire / Chœur Mixte et Piano

Par PACHELBEL JOHANN. Nun danket alle Gott (Now thank we all our God) Motet Pachelbel's choral works excel in the magnificence and festive splendour of their tonal effect, but at no point do they depart from an easy singable style. Simplicity of harmonic texture and voice leading is a characteristic of Pachelbel's art generally, but it asserts itself especially in these vocal compositions. They are in the best sense of the word 'Gebrauchmusik', that is functional music for the church service on Sundays and feast days, for these choral works are always closely associated with the seasonal liturgical themes by means of themnatic employment of the appropriate chorale cantusfirmi. Score & Basso continuo (BA2873) available for sale/ Répertoire / 2 Choeurs Mixtes à 4 Voix et Basse Continue

Actus tragicus. Par BACH JOHANN SEBASTIAN. Gottes Zeit ist die allerbeste Zeit (Mighty God, His time is ever best) BWV 106 'Actus tragicus' Cantata for a funeral service. Since there are no original sources or documents concerning the first performance of the funeral cantata Gottes Zeit ist die allerbeste Zeit BWV 106, it is impossible to establish the year of origin of this work, called Actus tragicus by Bach. The striking resemblance to the cantatas BWV 131 Aus der Tiefen rufe ich, Herr, zu Dir (presumably 1707), and BWV 71 Gott ist mein König (1708) – both of which were composed in Mühlhausen – suggests that the funeral cantata was also written in Mühlhausen in1707. Urtext of the New Bach Edition Performance material (BA10106), vocal score (BA10106-90) & study score format 22. 5 x 16. 5cm (TP1106) available for sale./ Répertoire / Partition de Poche

Par HAENDEL GEORG FRIEDRICH. Messiah occupies a unique position in Handel ’s work. Even if it does not represent the absolute zenith – several other oratorios could challenge it in this respect – its strongly universal character and directness of expression, which appeal to men of all creeds, make it the most renowned work in the whole of the composer’s monumental output. That this oratorio is unquestionably a work of individual character is shown by all its features: its material, which presents liturgical traditions alongside popular elements; its structure, which combines an ever-changing variety of elements from opera, cantata, concerto and anthem; its musicalorganization, which at once unifies and dramatically juxtaposes the various styles. All are united in an extraordinary manner, with great artistry, most accomplished technique and superb invention. Urtext of the Halle Handel Edition Full score and performance material (BA4012), vocal score (BA4012-73 English; BA4012-90 English-German) and study score format 22. 5 x 16. 5cm (TP175) available for sale./ Répertoire / Partition de Poche

Psalm 23, John 1 :13 Isaiah 60:1, Revelation 21:1, Isaiah :7. Par TROTTA MICHAEL JOHN. Designed to be accessible for the choir looking to prepare a larger work within the constraints of limited rehearsal time, this work provides conservative ranges and straightforward rhythms that allow time to craft a more artistic performance. Cast in eight movements, this major work draws on texts that examine the many facets of death, the pain of transitions, and the hope and joy of a better place. The work is scored for choir, organ or piano, and optional string orchestra. Each of the movements is available separately; the work as a whole or as individual parts is recommended for concert or liturgical service use. Movements: 1. Do Not Stand at My Grave and Weep; 2. I Seek a Faith; 3. The Lord Is My Shepherd; 4. A Light Shines in the Darkness; 5. Death Shall Be No More; 6. I Saw a New Heaven; 7. Love Conquers All; 8. Gaelic Blessing (Deep Peace). / Date parution : 2021-11-03/ Répertoire / Ch?ur Mixte SATB et Orgue ou Piano

The ' Messe de Requiem? is probably the internationally best-known and most frequently performed work by Gabriel Fauré . The composer's first version was limited to just five movements and small-scale forces with low strings, harp and organ. The work was then expanded several times culminating in the version for large orchestra of 1900. This orchestral version forms the basis of this edition.Despite its comparatively long period of gestation, the Requiem forms a stylistic unity. Unlike other requiem settings, the composer foregoes any theatrical gestures in this work. A restrained dynamic range together with graceful melodic writing for both soloists and choir give the work a gentle and optimistic character.The choral score just as the vocal score are based on the volume of the Complete Works of Gabriel Fauré (BA 9461) published in 2010. It is important to note that this choral score is also compatible with the first small-scale version as well as the second chamber orchestra version.- High-quality Urtext edition based on the 'Complete Works of Gabriel Fauré?- First systematic evaluation of all sources- Based on the large orchestral version of 1900- Choral score suitable for all versions of the Requiem / Choeur Mixte (SATB)

Over the years, the need for a new edition of Mahler's Symphony #2 became apparent for several reasons. First, many new sources for this work have become accessible since 1970, when Erwin Ratz completed the first critical edition of this symphony, the most significant being Mahler's personal reference score in which he recorded changes to be made (his last entries were made in September 1910). The second reason was the significant strengthening of the editorial standards of the critical edition in recent years. The music is now computer-generated. Previously, changes to the score could be made only by retouching the film of old engravings. Computerizationalso ensures a concurrence between the score and performance materials. Editorially, the new edition benefits from expanded texts that describe and assess the source materials, document and explain the editors' decisions and provide detailed information on the work's origin, the history of the published scores, performance practices, etc. Over the past five years, Renare Stark-Voit and Gilbert Kaplan, editors of the new edition of Symphony #2, have identified, evaluated and analyzed every significant source, and as a result of their work a substantial number of errors have been corrected. (Reinhold Kubik, taken from the preliminary note) Oh believe, my heart, oh believe:Nothing is lost with thee!Thine is what thou hast desired,What thou hast loved, what thou hast fought for!(Gustav Mahler in the Finale of Symphony #2) / Choeur Mixte (SATB) Et Piano

Sing Pop A Cappella is a collection of a cappella arrangements of fantastic pop songs old and new, by renowned teacher, singer and director Gitika Partington. Her arrangements are used by choirs across the UK, and she emphasises that being able to read music is not necessary. Rewarding and enjoyable, Book Three continues her project to bring people together through the power of song.What's great about Gitika Partington's Sing Pop A Cappella series is how she understands that to make great music or to sing a great song, it's not necessary to be able to sight-read. It may be useful, but she has learned that there are other ways to communicate music, namely through ear training, repetition and gesture. Her arrangements, five of which appear in this book, have enabled youth and community choirs to spring up across the country, making singing truly and universally accessible. Included in this book are wonderfully rich a cappella arrangements of Ain't No Sunshine by Bill Withers, Black Is The Colour Of My True Love's Hair, Rick Astley's Never Gonna Give You Up, Adele's Rolling In The Deep and a huge favourite, Sway (Quien Sera). Vocal scores for these innovative and enjoyable arrangements are included in standard notation, although Partington recommends learning by ear as something equally beneficial. To aid with this, the accompanying download card includes five tracks of audio for each song. One features a full performance demonstration while the other four each focus on either soprano, alto, tenor or bass. The easy download of these tracks makes learning efficient and fun, as you are able to listen wherever you are.The great thing about a cappella singing is that it can be done anywhere, with limited resources, with members who don't necessarily have any musical training. Partington has created a book that can be used by a cappella choirs who love pop music that sounds great and will thrill audiences. Sing Pop A Cappella is not just a songbook, though, it also includes an extensive introduction by Partington, as well as performance tips for each song and information on voice care and learning the tunes. It's a personal book for Partington, who is passionate about the power of music to bring people together, and enthusiastic about getting people who wouldn't believe they had the confidence or ability, to sing pop!Sing Pop A Cappella is a brilliant book for choirs of any type or size who would enjoy singing five incredible pop tunes without accompaniment. The fantastic sound of a group of people singing a well-known song in a completely new and interesting way is something that Gitika Partington knows well, and something that she wants to impart to groups across the country. Songs like this were made to be sung, so pick up Book Three and Sing Pop A Cappella! / Choeur Mixte (SATB) Et Piano

A Christmas Jubilee. Par MARTIN JOSEPH M.. Set hearts soaring with this joyful Christmas cantata based on American folk songs, spirituals, bluegrass-styled carols and original gospel songs. Traditional choral elements dance easily with the rustic qualities of the mountain music and the results are pure joy. Designed to be performed either with piano alone or with the unique bluegrass consort, this work is a celebration of light. Even the narration has a gentle folk quality, adding to the dramatic potential of your presentation. Experience the work that, after its Carnegie Hall debut, left New York critics ebullient with praise! Songs include: Hear the Wondrous Story - The King Shall Come - Star of Promise, Light of Glory - AMorning Star Will Rise - Mary Went a-Riding - O Little Town - Here Comes the Light - A Christmas Answer - A Little Light Was Born. Score and Parts (fiddle, banjo, mandolin, acoustic guitar, upright bass, drums) available as a Printed Edition and as a digital download./ Recueil / SATB

Kantaten. Urtext Der Neuen Bach-Ausgabe. Par BACH JOHANN SEBASTIAN. The cantata ' Ich hatte viel Bekümmernis ” dates from around 1713 and was probably performed for the first time that year in the Liebfrauenkirche in Halle . Its assigning to the third Sunday after Trinity probably only occurred the following year. With its large-scale structure and strong emphasis on biblical texts, it was extremely popular in the 19th century and remains one of Bach's best-known cantatas today. The cantata is published here in a vocal score based on the New Bach Edition with an idiomatic, straightforward piano reduction by Martin Focke . - One of Bach's best-known cantatas - Urtext based on the ' New Bach Edition” - Clear straightforward piano reduction/ Répertoire / Solistes (SATB), Choeur Mixte (SATB) et Orchestre

Arrangeur: Andreas Köln. Par SCHUBERT FRANZ. Franz Schubert's 'Stabat Mater” D 175 is one of a number of church works that he wrote for his local congregation in Lichtental. This edition is based on the sole surviving source, the composer's autograph full score. Unlike its like-named companion piece D 383, Schubert uses the original Latin poem here. In his setting of April 1815 he focuses on the first two lines of the text depicting the Virgin's motherly sorrows. This edition is based on the Urtext from the 'New Schubert Edition”. The original figured bass numerals found in Schubert's score have been modernised in all performance material and meticulously adapted to meet the demands of today's performers./ Répertoire / SATB et Piano

Cantata for the 8th Sunday after Trinity. Par BACH JOHANN SEBASTIAN. Es Ist Dir Gesagt, Mensch, Was Gut Ist BWV 45 Cantata for the 8th Sunday after Trinity - Study score format 22. 5 x 16. 5cm - Performance material (BA10045), vocal score (BA10045-90) and study score (TP1045) available for sale. Bärenreite's editions of Bach Cantatas offer the authoritative text of the New Bach Edition meeting Bärenreiter Urtext standards. No group of works in Johann Sebastian Bach ’s output is as wide-ranging as the cantatas. This is hardly surprising considering that for over five years Bach was required to compose a work, or at least re-work an existing one, for every Sunday and festivalof the church year, as well as for numerous secular occasions such as council inaugurations, school and university celebrations and royal birthdays. Unfortunately, not all cantatas have survived. However, over 200 sacred and secular works exist and form a corpus of works suitable for all possible occasions. This rich musical heritage is still as relevant today as it was then./ Répertoire / Partition de Poche