10 exemplaires minimum. Par JANSSON MARTEN. Mårten Jansson says: 'The ensemble wanted a work about the beauty and fragility of nature. I instantly turned to lyric poet Charles Anthony Silvestri and he, being as excited about the commission as I was, completed the inspirational poem “An Elemental Elegy” just three hours later/ Répertoire / Choeur Mixte SATB

Messa d'morti. Par DURANTE FRANCESCO. The Requiem in C minor by Francesco Durante (1684–1755) is one of the most important works of this genre written in the first half of the 18th century. In his Messa de’ morti, Durante shows great creativity in combining traditional elements of church music with new ideas originating from instrumental writing and opera. The quality and originality of his Requiem make it an exciting rediscovery with the potential to establish itself as a core repertoire work of sacred choral music. Mainly known today as the teacher of Pergolesi and Paisiello, Durante spent much of his life working as music director at various conservatories in Naples and enjoyed great renown as achurch composer well into the 19th century. Despite its widespread popularity, indicated by the number of manuscript copies to be found across Europe, his Requiem never appeared in print. For this first publication, editor and leading British choral director Stephen Darlington has consulted many of the approximately 50 surviving sources of the work, presenting a critical edition which for the first time makes Durante’s Requiem available to a wider musical audience. - First publication - Urtext edition - Particularly suitable for smaller choirs and ensembles: soprano and alto solo, double choir (SSATB ATB) and strings (plus 2 horns in the Tuba mirum) - Full score and orchestral material also available (EP73044) The Requiem in C minor by Francesco Durante (1684–1755) is one of the most important works of this genre written in the first half of the 18th century. In his Messa de’ morti, Durante shows great creativity in combining traditional elements of church music with new ideas originating from instrumental writing and opera. The quality and originality of his Requiem make it an exciting rediscovery with the potential to establish itself as a core repertoire work of sacred choral music. Mainly known today as the teacher of Pergolesi and Paisiello, Durante spent much of his life working as music director at various conservatories in Naples and enjoyed great renown as achurch composer well into the 19th century. Despite its widespread popularity, indicated by the number of manuscript copies to be found across Europe, his Requiem never appeared in print. For this first publication, editor and leading British choral director Stephen Darlington has consulted many of the approximately 50 surviving sources of the work, presenting a critical edition which for the first time makes Durante’s Requiem available to a wider musical audience. - First publication - Urtext edition - Particularly suitable for smaller choirs and ensembles: soprano and alto solo, double choir (SSATB ATB) and strings (plus 2 horns in the Tuba mirum) - Full score and orchestral material also available (EP73044)./ Répertoire / Solistes, Choeurs et Piano

Par RODGERS SARAH. Choral settings of ‘Lift up your heads, O ye gates’ from Psalm 24 are numerous, from that of the sixteenth-century Geneva Psalter of Claude Goudimel to the present day. Unsurprisingly so, as the text has many appropriate liturgical applications. In this jubilant setting, The King of Glory, Sarah Rodgers has provided church choirs of all abilities with a truly celebratory anthem that in its writing for SATB displays many elements of choral craft, from unison and two-part textures to a satisfyingly contrapuntal full harmony. The driving, rhythmic figure in the organ accompaniment underpins and uplifts the voices, and occasional harmonic juxtapositions add delightfully unexpected moments of colour. Importantly, with a proficient organist, the anthem can be prepared with just one or two rehearsals. It is certain to be of great appeal both to choirs and to congregations. / Date parution : 1905-07-10/ Feuillet / SATB et Orgue

Par VAUGHAN WILLIAMS RALPH. The complete vocal score with Piano accompaniment for Ralph Vaughan Williams' A Sea Symphony. Completed in 1909, it is a vast work inspired by, and based on, four poems by Walt Whitman that Williams fashioned into a vast score containing some of his finest choral writing and a highlight of its era. It is non-ecclesiastical work and has a humanist, agnostic viewpoint with a broad, general theme of the Human Soul being a vessel cruising the oceans and seas of life. This suite for Soprano and Baritone Soli, SATB chorus and, originally, Orchestra, is a varied work that includes elements of Sea shanties and noble pomp in creating a majestic and evocativerepresentation of the sea./ Répertoire / SATB, S et Ba Solo et Orchestre

Par MUHLRAD JACOB. Ay Li Lu explores the concept of lullabies as a universal human phenomenon by incorporating elements of Yiddish folk music and the chanting of the transfinite number of Pi. The piece aims to create a transition from an awakened state to an unconscious state through its musical transformations. The composer draws inspiration from Judaistic notions of sleep and the idea of the body and soul splitting into two parts during sleep, with the soul refueling itself with spiritual energy. The piece is an interesting exploration of the power of music in creating a mood and a sense of transition. Commissioned by the Vancouver Chamber Choir, SYC Ensemble Singers, Vox Chamber Choir and Kampin Laulu. / Date parution : 2023-10-31/ Répertoire / SATB (div) A Cappella

Motette Nr. 3 aus Israelsbrünnlein. Par SCHEIN JOHANN HERMANN. Johann Hermann Schein (1586 – 1630), a German composer and poet, was an important predecessor of Bach taking up the post of Thomaskantor in Leipzig in 1616 where he remained until his death. A gifted composer he was one of the first to import the Italian style onto the traditional elements of Lutheran church music. The 'Israelsbrünnlein' from 1623 is a collection composed in the Italian madrigal style mostly using texts from the Old Testament. / Mottet / Répertoire / Choeur Mixte (SSATB) et Basse Continue

Director Score. Par MCDONALD MARY. For Holy Week or Good Friday, It Is Finished is a unique, powerful, and compelling Tenebrae service from the always uncommonly creative Mary McDonald. At 30 minutes in length, it is easily prepared and will serve perfectly as a centerpiece for any Holy Week service. Or, perform the anthems separately during Lent and Holy Week. The optional chamber orchestration is elegant, yet practical. Optional PowerPoint files with inspiring images for projection during the service will add a moving visual element. For Holy Week or Good Friday, It Is Finished is a unique, powerful, and compelling Tenebrae service from the always uncommonly creative Mary McDonald. At 30 minutes in length, it is easily prepared and will serve perfectly as a centerpiece for any Holy Week service. Or, perform the anthems separately during Lent and Holy Week. The optional chamber orchestration is elegant, yet practical. Optional PowerPoint files with inspiring images for projection during the service will add a moving visual element./ Répertoire / SATB

These well-known words seem endlessly fruitful for the composer and conjure up such lovely images which strike each of us in our own way. For me it was the beauty of the language with its flower imagery which made me want to set the words with richly warm harmony and to temper that with gently imitative refrains. The important element in approaching the performance of this carol is the blend and balance of voices. With divisi writing and characteristically colourful harmonies, it is important that each note in the texture is given equal weight. It is also desirable that the tempo should be flexible and that phrase ends should be given a little time, especially at those moments marked either with a comma or tenuto. The final section starting with the upper voices should be ethereal and when the tenors and basses join they should do so gently to balance the upper parts. The bulk of the carol should be conducted in a minim beat, as indicated by the 2/2 time signature. Subdivisions should only be necessary at rallentandos. The piece should flow freely. 3/4 bars can be conducted in one to continue to encourage the carol's flow. Recommended recording: Come out, Lazar - The shorter choral works of Paul Spicer (Regent REGCD280) by The Chapel Choir of Selwyn College, Cambridge, directed by Sarah MacDonald. / Choeur Mixte (SATB) A Cappella

There is unbridled joy in this anthem from Susan Dengler and Lloyd Larson. Rhythmic and driving, it has a fun gospel touch that will have the congregation's toes tapping. The contrasting dynamics add an element of fun leading to an ending flourish. / Choeur Mixte (SATB)