Edition de Frank Dobbins352 pages 220x142mmThe 84 chansons in this collection are mainly for SATB, and were selected first and foremost for their musical value. Care has been taken to represent the great masters as well as lesser-known composers who made significant contributions to the genre.SATB unaccompaniedArcadelt: D'un Extreme RegretArcadelt: Je Ne Suis Pas Si TotBeaulaigue: Comme Serait a MoiBenedictus/Appenzeller: Je Ne Me Puis Tenir D'AimerBertrand: Hola, CaronBertrand: Je Suis un Demi'DieuBoni: Ha, Bel AccueilBoni: J'espere et CrainsBonnet: Francion Vint L'Autre JourBuus: Douce MemoireCaietain: Une PuceCanis: Mariez Moi Mon PereCastro: Ah! Je MeursCastro: Je Suis QuasiCerton: J'espere et CrainsCerton: Je Suis DesheriteeCerton: La, La, La, Je Ne L'ose DireCerton: Que N'est Elle Aupres de MoiClemens: Jaquin JaquetClereau: Comme Un Qui PrendCornet: Avecque VousCoste: Celle FilletteCosteley: Arrete Un Peu Mon CoeurCosteley: Mignonne, Allons Voir si la RoseCrecquillon/Manchicourt: Un Gai BergerCrecquillon/Manchicourt: Un Doux RegardDe Bussy: Qu'heureuse est ma FortuneDu Caurroy: Las! AmourEntraigues: Complainte de la TourterelleFevin: petite CamusetteGardane: Douce MemoireGervaise: Si L'on Doit PrendreGombert: Changeons ProposVous Etes Trop JeuneGoudimel: Qui Renforcera Ma VoixJacotin: A Paris a Trois FillettesJanequin: Au Joli Jeu du Pousse AvantJanequin: La Plus Belle de la VilleJanequin: Le Chant de OiseauxJanequin: Or Vien Ca, Vien M'amieJanequin: Pourquoi Tournez Vous Vos YeuxJosquin: En L'ombre d'un BuissonetJosquin: Faute d'ArgentJosquin: Mille RegretsJosquin: Petite CamusetteJosquin: La MoeulleJosquin: Si Je Maintiens Ma VieLassus: Bonjour Mon CoeurLassus: La Nuit Froide et SombreLassus: Quand Mon MariLassus: Une PuceLe Blanc: Dames en qui Reluit Toute BeauteLe Jeune: Ce n'est que FielLe Jeune: J'aime la Pierre PrecieuseLe Jeune: Revoici Venir du PrintempsLe Jeune: Susanne un JourLupi Second: Une Dame Pour Mieux VenirLupus/Cadeac: Je Suis DesheriteeMaille: A Qui Me Dois Je Retirer'Mauduit: Voice le Vert et Beau MaiMeigret: Un doux RegardMillot: O Ma Belle MaitresseMittantier: Moins je la veuxMonte: Bonjour mon coeurMornable: Je Ne Me Confesserai PointMouton: En Venant de LyonNinot le Petit: Et la la laPassereau: Il est bel et bonPevernage: D'Etre AmoureuxPhinot: Pleurez Mes YeuxPlanson: Puis Que Le Ciel Veut AinsiRegnard: Las, Je Me PlainsRichafort: Trut Avant Il Faut BoireRoussel: Mon Coeur a Vous, Belle, se RecommandeSandrin: Douce MemoireSandrin: Puisque Vivre en ServitudeSermisy: Jouissance Vous DonneraiSermisy: Martin Menait Son PourceauSermisy: Tant Que VivraiSusato: Douce MemoireTessier: Non, Vous N'etes pas YeuxVilliers: Si Vous VoulezWaelrant: D'Amourss Me VaWillaert: Qui la DiraWillaert: Sur le Joli Jonc

Par BLACKWELL-CARTE. Une anthologie de 17 arrangements sophistiqués de chansons populaires classiques. La collection comprend des numéros accompagnés et non accompagnés, dans une variété de styles: blues enfumé, up-tempo SCAT, le swing sentimental, exubérante Dixieland, sophistiqué gros harmonie, plus une opulente show-bouchon ou deux. Andrew Carter est né en 1939 dans une famille de Leicestershire tour et sonneries clochette. Après un diplôme en musique à l'Université de Leeds, il rejoint York Minster Choir, et a ensuite été directeur de la musique au lycée Bar Convent, où il a obtenu ses premiers succès en tant que formateur choeur. Sa richesse d'expérience de diriger des choeurs à la fois à voix mixtes et supérieure-voix lui a donné une compréhension profonde de la voix, exprimées par un lyrisme et son sens du drame sous-tendue par distinctifs, souvent doux-amer des harmonies. Sa vaste collection d'hymnes et de chants de Noël, avec un nombre important de grandes oeuvres chorales, lui ont valu une réputation comme l'un des plus respectés de Grande-Bretagne contemporaine de compositeurs chorale. David Blackwell a étudié la musique à l'Université d'Edimbourg, depuis quand il a poursuivi une carrière dans l'édition musicale, d'abord à ABRSM, où il devient directeur de la rédaction, puis à Oxford University Press, où il est maintenant chef de l'édition de musique. Il est co-éditeur de OUP In the Mood: 17 Jazz Classics pour les Chorales et chants de chorales d'5, et a publié un certain nombre de dispositions simples chorale. Il est co-auteur avec son épouse primés de la série OUP cordes, violon / alto / violoncelle Temps, qui ont remporté deux fois le prix MIA pour la meilleure publication pour l'éducation Kathy./ Recueil / Chant

There is no rose of such virtue is an anonymous mediaeval text, already well known through beautiful settings by Britten (in his Ceremony of Carols), John Joubert and others. The poem is 'macaronic' (it presents a verse in English, followed by a varying Latin refrain). This new version follows the illustrious examples above by remaining strophic and presenting broadly the same music in a succession of slightly different guises. The first verse is a straightforward four-part setting, the second gives the melody to the tenors and surrounds them with hushed, wordless writing for the other parts, and the third explores a freely canonic relationship between the tenor and soprano lines before carrying the previous verse-endings to a higher, more exalted pitch and mood. The fourth verse then expands its texture in a free climactic passage evoking the songs of praise sung by the angels. This subsides towards the final verse, where the texture of the music attenuates again to four parts, and canonic writing (based on the first four notes of the original melody) permeates all of them. This slightly extended statement leads to a hushed final cadence. Francis Pott (b. 1957) began musical life as a chorister at New College, Oxford. He held open music scholarships at Winchester College and at Magdalene College, Cambridge, where he studied composition with Robin Holloway and Hugh Wood while pursuing piano studies privately in London with the distinguished British artist, Hamish Milne. Throughout the 1990s Francis was John Bennett Lecturer in Music at St Hilda's College, Oxford, and a lay clerk in the Choir of Winchester Cathedral. In 2001 he became Head of London College of Music, University of West London, later leading research across the University's Faculty of Arts and acceding in 2007 to its first Chair in Composition. Francis Pott has become recognised particularly for his sacred choral and organ music. This has been performed in concert and on radio in over three dozen countries worldwide, published by four major UK houses and released extensively on CD. Winner of four national composition awards, in 1997 he received first prize in the piano solo section of the S. S. Prokofiev Composing Competition, Moscow. In 2006 and 2011 he was a nominated finalist in the BASCA/BBC Annual Composer Awards. In summer 2012 he was winner of the international composing competition of the Cheltenham Festival, which sought new piano variations on the arioso song Bist du bei mir, well known in the arrangement by J. S. Bach. Francis lives with his wife and two children on the outskirts of Winchester. An inspiring selection of new works from a range of contemporary composers, the Novello New Choral Series offers pieces for all types of choirs, including sacred and secular works from simple, four-part settings to more expansive, yet accessible, repertoire in an exciting variety of styles. / Choeur Mixte (SATB)

Un medley de grandes chansons des années 50 à début des années 70. Comprend: Forrest Gump - Main Title (Thème Feather), California Dreamin ', Raindrops Gardez Fallin' on My Head, Sweet Home Alabama, San Francisco (Be Sure-à-Porter des fleurs dans vos cheveux), Turn! Tournez! Tournez! (To Everything There Is a Season), Hound Dog, le monde a besoin maintenant c'est l'Amour. Disponible: SATB, SAB, 2-Partie. Temps de Performance: Env. 06:50. / Chant Et Piano

Christmas carols from all over the worldIncludes pronunciation tips for foreign languagesIn simple arrangements for mixed choirThis collection of carols, arranged by Bjorn Griesheimer, explores the wide diversity of Christmas carols from around the world. Including carols from all five continents, from countries as diverse as Tanzania, China, Ecuador and Australia. / Choeur Mixte A Cappella

One of the greatest songs ever written, this Harold Arlen/Johnny Mercer standard really cooks in this uptempo swing setting. / Voix Mixtes

Composer Anthem Collections. Par CARTER ANDREW. Dix des meilleurs hymnes d'Andrew Carter Accessible pour une gamme de chorales Grande variété d'utilisations liturgiques Une collection de 10 pièces du plus beau et le plus populaire Andrew Carter. Andrew Carter est né en 1939 dans une famille de Leicestershire tour et sonneries clochette. Après un diplôme en musique à l'Université de Leeds, il rejoint York Minster Choir, et a ensuite été directeur de la musique au lycée Bar Convent, où il a obtenu ses premiers succès en tant que formateur choeur. Sa richesse d'expérience de diriger des choeurs à la fois à voix mixtes et supérieure-voix lui a donné une compréhension profonde de la voix, exprimées par un lyrisme et son sens du drame sous-tendue par distinctifs, souvent doux-amer des harmonies. Sa vaste collection d'hymnes et de chants de Noël, avec un nombre important de grandes oeuvres chorales, lui ont valu une réputation comme l'un des plus respectés de Grande-Bretagne contemporaine de compositeurs chorale. / Niveau : Facile à Moyennement Difficile / Recueil / Chant

In addition to his vast output of German poetry, Rainer Maria Rilke (1875-1926) composed nearly 400 poems in French. His poems on roses struck me as especially charming, filled with gorgeous lyricism, deftly crafted and elegant in their imagery. These exquisite poems are primarily light, joyous and playful, and the musical settings are designed to enhance these characteristics and capture the delicate beauty and sensuousness of the poetry. Distinct melodic and harmonic materials recur throughout the cycle, especially between Rilke's poignant 'Contre qui, rose? (set as a wistful nocturne) and his moving 'La rose complète.? The final piece, 'Dirait-on,? is composed as a tuneful chanson populaire, or folksong, that weaves together two melodic ideas first heard in fragmentary form in preceding movements. / Choeur Mixte (SATB) Et Piano

Une minute 30, 7 mouvement travail explore la vie et du saint patron du pays de Galles, St David. Il y a trois réflexions en gallois sur les thèmes du dernier sermon de St David, trois psaumes en Latin et un poème sur le saint dans la traduction en anglais (bonne nuit, maison de Dewi). Le style se caractérise par laiton syncopée et beaucoup d'impulsions de chaînes, avec percussions polyrythmiques style africain, qui sous-tend le refrain. / Choeur Mixte (SATB) Et Orchestre

Over the Rainbow is a standard that has become forever associated with its most famous interpreter, Judy Garland. Her troubled adult years only added poignancy to her guileless interpretation of the song, preserved on celluloid in The Wizard of Oz when she was seventeen. The song would also do something similar for Eva Cassidy whose 1992 version brought her posthumous fame almost a decade later. Arranged beautifully by Christopher Hussey for SATB choir with Piano accompaniment, this anthem of hope has not lost its bitter-sweet yearning. / Choeur Mixte (SATB) Et Piano

Craig McLeish writes of The Negro Speaks of Rivers - Langston Hughes (1902-1967) was the first black American to earn his living from writing. He was an innovator of jazz poetry, becoming part of the Harlem Renaissance in the 1920s and 1930s. He wrote plays, short stories, novels, and his poetry was widely read. He was also a journalist, columnist and lecturer. The Negro Speaks of Rivers was perhaps his earliest published work, written when only 17 and while travelling by train to Mexico to visit his father. As the train crossed the Mississippi he suddenly began thinking about how rivers had impacted on Negro history, particularly in the fight against slavery. The four rivers mentioned in the poem lent themselves to using musical influences from those particular regions. However, I have tried to keep these links fairly tenuous to avoid overt pastiche. A few years ago I was fortunate enough to work with Congolese musicians. These sessions led to the intricate rhythms in The Congo . The Mississippi mentions New Orleans, so a jazz fugue seemed the most appropriate compositional device to weave into the texture. The spirit of The Nile was gauged from many hours listening avidly to Egyptian music. Craig McLeish began his musical life as a chorister at St Paul's Cathedral. As a bass guitarist, conductor, musical arranger and composer, he has worked with a wide variety of groups in several genres, and scored a hit with the cult pop band 'Fat and Frantic'. He is musical director of Young Voices UK, and conducts several youth and community choirs in and around Milton Keynes. / Choeur 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

The music for this setting of Teasdale's poem highlights the tension in the text between the beauty of nature and the violence human beings inflict on themselves. In the closing measures of the piece, the composer restates the opening line of the text to reinforce the cyclical patterns in nature: despite humanity's penchant toward violence, the rain will come and spring will begin again. / Choeur Mixte (SATB) Et Piano

Voici un cadre animé d'un texte anonyme de Noël que, bien que contemporaine, a une qualité de danse médiévale, comme à elle. Un programme idéal thème ouvre-boîte ou de concert, il faut un excellent pianiste. / SATB Et Piano