5 Continents. Cette collection par Gwyn Arch de dix chansons folkloriques peut-être petit, mais cinq continents sont représentés au sein de ces 76 pages, et chaque continent.Du Mexique (Amérique du Sud) vient de La Cucaracha (le cafard), une chanson populaire en langue espagnole avec une mélodie mémorable et Cielito Lindo qui est tré par les Mexicains comme une sorte d'hymne national alternative. Le continent africain est représenté par une chanson à partir de la Tanzanie, Malaika, et une autre Afrique de l'Ouest se réjouir dans le titre Jikela Emaweni hamba sia. Les deux chansons ont été associés à la célèbre chanteuse sud-africaine et militant des droits civiques Miriam Makeba, et de nouvelles paroles (en anglais) ont été fournis par Stuart Smith. En Russie (Europe) musique folklorique est étroitement liée à la vie du village et ses traditions. Kalinka est la rêverie d'un jeune homme sous un pin, tandis que le bouleau Little était un symbole de la beauté en Russie soviétique. Le quatrième continent est l'Asie. S'il ya une chanson juive connue par les Juifs et non-Juifs, il doit être Hava Nagilah. Tum Balalaika est également un traditionnel yiddish, mais il est d'origine juive russe. Le Folkmusic des Maoris de Nouvelle-Zélande (Océanie) est principalement associée à la guerre chants appelé Haka, mais Hine e Hine et Pokarekare Ana révèlent l'influence des colons milieu du 19e siècle britanniques. / Choeur Mixte (SATB) Et Piano

The Disturbing Duckling-D'Monstrantz Vöögeli (The Disturbing Duckling) by Per Nørgård. Work for bird voices (CD) and human voices (12 SATB soloists) with text (sung in German) by Adolf Wölfli (1864-1930). A CD of Bird Song is available separately - use product code KP00830. Text (sung in German): Adolf Wölfli (1864-1930).Programme note:'D´Monstrantz Vöögeli' is the main (and middle) movement of my three-movement choir suite 'The Alarming Duckling' the title of which is borrowed from a painting from 1959 by the Danish artist Asger Jorn apainting which - as this choral piece - is partly based on 'found objects': Asger Jorn painted on top of an idyllic old fashioned landscape painting with a house and trees - and he painted a very disturbing alarming duckling. It may be ugly the duckling but in any case it is most peculiar in its surroundings with spontaneous colorful wide painted feathers standing and looking dreamy beyond a birch in the golden light of the afternoon (a very big duckling indeed!) In 'D´Monstrantz Vöögeli' the dark nightly visions are unfolding with texts by the Swiss schizophrenic artist Adolf Wölfli (1864-1930). His transcending poems prose paintings and ideas inspired me for many compositions in the 1980s i.e. Symphony nr. 4 ('Indischer Roosen-Gaarten und Chinesischer Hexensee' - Hommage a Wölfli') The opera The Divine Circus and a series of choral works. The piece is written for 12 vocal soloists - singing whistling screaming and whispering. In 'D´Monstrantz Vöögeli' - for a choir of humans and birds - many 'found objects' are used: The tape/cd only contributes with unmanufactured birdsong - even though using full half and fourth speed so it is easier to understand and learn from the brilliant birds (especially the fantastic American Musician Wren

Owain Park's Above The Stars My Saviour Dwells for SATB  composed in 2017. Duration: 3 minutes. 'Owain Park was assistant conductor of the RSCM Millennium Youth Choir from 2012 to 2014 and went on to form the Gesualdo Six with singers from the MYC at that time. He is now also finding increasing success as a composer as evidenced by these recent commissions. A Prayer of Thomas Ken sets a lovely text that asks God to ‘make the door of this house wide enough to receive all who need human love and fellowship and a heavenly Father’s love’ but ‘narrow enough to shut out allenvy pride and hate … Make it a gateway to thine eternal kingdom.’ Commissioned by Wells Cathedral Voluntary Choir the music has a warm E major melody with a flexible metre that returns for the final Amen. In between the details of ‘envy pride and hate’ ‘stumbling block’ straying feet’ and ‘the tempter’s power’ are all nicely depicted. The other two pieces were both written for the choir of Trinity College Cambridge and are more difficult especially Above the stars my saviour dwells. But the music of both has a gentle melodiousness and well-shaped vocal lines that make them rewarding to sing. The simple melody that permeates Justorum animae passed from voice to voice has poise and memorability.' - Sunday by Sunday