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

Aus: Die deutsche Liturgie. Par MENDELSSOHN-BARTHOLDY FELIX. For the Protestant church service according to the new Prussian Agenda of 1829 Mendelssohn set to music the Kyrie, Gloria, Sanctus, Honour to the Father and various Amens and Alleluias. The entire printing with all the orders of service in the complete edition of the German liturgy make it easy to integrate these pieces even today into a church service. / Mottet / Répertoire / Choeur SATB/SATB

Par BEDNALL DAVID. David Bednall 's Shall I Compare Thee To A Summer's Day? for SATB double choir unaccompanied. A setting of Shakespeare 's much-loved Sonnet 18, Bednall 's expressive work highlights this timeless text with sumptuous harmony, including pleasing tonal shifts and topical false relations. Various choral textures are explored, from the imitative lines of 'Sometime too hot', to the warm richness of the closing pages, where the choir divides into eight parts. This work is part of the New Horizons series and a Piano reduction is included for rehearsal purposes. / Niveau : Intermédiaire / Feuillet / Choeur Mixte (SATB) et Orgue

Par WOOLRICH JOHN. This lullaby for large unaccompanied SATB chorus was commissioned by the Crouch End Festival Chorus in 1993. John Woolrich interweaves various folk texts in his lilting musical setting, which juxtaposes the peacefulness of sleep with moments of anxiety and tension for the parent whose son is far from home. The Faber Choral Signature Series introduces a wealth of new or recently written choral music to choirs in search of fresh repertoire. The series draws in a rich diversity of contemporary composers and includes both lighter and more challenging contemporary works, offering a thrilling array of varied styles./ Recueil / Piano, Chant et Guitare

A thrilling setting of English, Basque and Latin texts that proclaim the joy of singing to God. Already much-loved around the world from various performances at the 2011 World Choral Symposium and the 2013 Tolosa International Choral Festival / Choeur SATB A Cappella

Par MACMILLAN JAMES. A setting of passages from the Book of Revelation, with particular reference to the angels who appear with seven trumpet blasts, heralding a series of apocalyptic scenes. Commissioned by Jeffrey Skidmore, director of Ex Cathedra, and first performed by them at Birmingham Town Hall in 2015. The composer states, ?There is a vividness and strangeness in these dramatic texts, which are endlessly fascinating and disturbing. The instruments used here are based on the various instrumental types mentioned throughout scripture ? trumpets, harp, bells, cymbals, tabor, rebec.? These are scored for mostly in their modern forms, but shofars (Jewish ritual temple trumpets) and early trumpets are also used. The choral writing shows a similar contrast between traditional and contemporary scoring, with polyphony and homophony alongside extended vocal techniques, including Sprechstimme. Leading choral director Paul Spicer comments, ?This is an extremely dramatic work which draws the listener into the apocalyptic story line ? The ending is cataclysmic.? / Niveau : Difficile / Date parution : 2022-11-08/ Répertoire / Choeur SATB et Piano

Par ARMAN HOWARD. Howard Arman, director of the Bavarian Radio Choir, has been actively engaged with international Christmas carols through various Christmas-related CD productions of his choir in the past years. This has resulted in a number of original arrangements for four- to eight-part mixed choir a cappella, shedding new light on well-known classics such as O du fröhliche [O, you joyful], Stille Nacht [Silent Night] and Lasst uns froh und munter sein [Let us be happy and cheerful]. The first volume includes five Christmas carols from the German-speaking regions. They range from simple but harmonically intriguing settings such as Lieb Nachtigall, wach auf [Dear nightingale, wake up] to eight-part sound paintings with bell-like chimes as in O du fröhliche and classical double choir settings such as Resonet in laudibus . The second volume includes five Christmas spirituals with English texts, forming a contrast to the solemn and festive character of the first. The choir can prove its swing and jazz qualities here; the stirring arrangements are a gain for classical Christmas concerts, too. Following the tradition of the spiritual, some settings also require soloists, which can, however, also be recruited from the choir if adequate singers are available. The first piece combines the spirituals It?s a Birthday and Wasn?t That a Mighty Day to form a medley, Ain?t That a Rockin? gives a moment of tranquility before the likewise rousing spirituals Mary Had a Baby and Little David conclude the volume. In both volumes, Howard Arman provides a short preface in German and English, explaining the background of each piece and giving advice on performance. / Date parution : 2022-07-20/ Recueil / Choeur Mixte a Cappella

Discover two motets by Carl Friedrich Zelter in the 'Schätze der Chormusik' [Treasures of Choral Music] series: 'Dignare Domine' (a hymn of praise and supplication) can be sung on various occasions. 'Tenebrae factae sunt' is suitable for the Good Friday liturgy. / Choeur Mixte Et Orgue

One of the finest singer-songwriters to have emerged from the 1960s, Neil Young is truly a living legend with an extensive and influential discography that encompasses some 50 years of popular and rock music history. Featuring exclusive interviews with fellow musicians and other fascinating figures, Harvey Kubernik's Heart Of Gold is an essential read for any fans of Neil Young or the many musical endeavours of which he has been a part.From his debut with local bands in his native Canada to his most recent tours and acclaimed 2014 album, 'A Letter Home', Neil Young has consistently been writing and singing his way into the annals of rock history. From his spell with the seminal band Buffalo Springfield to his tumultuous collaborations with Crosby, Stills and Nash to his solo career which began in the 1970s and has been continuing full-force ever since, this book covers the life and music of one of the biggest influences on popular music.As a musician, his explorations through various genres have proven ever-intriguing while at his best, he is near-untouchable. As an outspoken environmentalist, he has actively sought new goals to achieve, while his later career has been marked by his charitable works and documentaries. Unprecedented insights into the legend that is Neil Young come from the number of his fellow artists and musicians who are featured in Heart Of Gold. Names like Graham Nash, Jim Jarmusch, Nils Lofgren and many more illuminate the life of this monumental figure.Author Harvey Kubernik is a writer and music historian, with over 44 years' experience as a pop culture journalist. His work has appeared in a number of music publications, while he's also written 6 books.Neil Young: Heart Of Gold provides fascinating insights into the life and work of one of rock music's most enigmatic figures. At times controversial but never unwavering in his convictions about his art and politics, this book will allow fans to truly get to the heart and soul of this giant of popular music. / Livre

Welcome is a work composed by Edward Gregson, arranged for Upper Voices and Piano. It was originally composed for boys' voices, Organ, Brass and Percussion in 1996, but ten years later Gregson created a new version especially for the Kinder Children's Choir of the High Peak. This latter version appears here, and lasts around 4 minutes.The text of Welcome consists of the word 'Welcome', repeated numerous times in a variety of languages , from English to various European languages, to Hebrew and Arabic. Gregson's idea was to provide a fitting way to welcome a new and diverse audience into a new concert hall designed for a new Millennium.The voices are divided into as many as six parts in certain places, but it's left to the conductor to decide on how to distribute these parts, depending on the size and make-up of the choir. The work is suitable for performance by any mixture of upper voices, from children's choirs to female voices.In the January/February 2016 issue of Choir and Organ, Geoffrey Webber calls Welcome 'an ear-catching start for any concert programme.' / Choeur Et Piano

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

Geistliches Repertoire. Par . With his Hebrew Choral Songbook, Ohad Stolarz presents a new collection of classics of the musical repertoire in Hebrew, arranged by him for mixed choir a cappella. Many of these pieces are published in Germany for the first time; almost all of them are first published as choral arrangements. The first volume contains ten sacred and paraliturgical songs that may be sung at various occasions. Among these are the feast of Passover, the “Ten Days of Repentance” in the month of Tishré and the Sabbath. The second volume contains ten secular songs that have become widely known in Israel during the 20th century. These songs are part of Israel’s cultural history and belong to its core repertoire. All Hebrew lyrics appear in transliteration underneath the music, translations in German and English and comprehensive annotation texts are located in the appendix. This choral songbook therefore allows all interculturally interested choirs to take first steps into the world of Jewish and more generally Hebrew choral music. / Date parution : 2022-07-30/ Recueil / Choeur Mixte

Oratorio in three parts. Par HAENDEL GEORG FRIEDRICH. In quite characteristic fashion for the times, Handel's opera ; Alessandro looks at various episodes in the life and rule of Alexander the Great (356 323 BC). This legendary warrior and military commander conquered large parts of the world before meeting an untimely end at the age of 32. A central conflict in Handel's opera is Alessandro being in love with two women, Lisaura and Rossane, who compete for his favour. In addition, his claim to be of divine parentage is underlined, occasioning him to demand the subservience of his followers, which meets with vigorous disapproval. Handel composed ; Alessandro for the Royal Academyof Music to a libretto by Paolo Antonio Rolli in the 1725/26 season. The work was premiered at the King's Theatre in London on 5 May 1726. ; Alessandro was the first of five operas for the Royal Academy, operas which saw Handel compose for three of the most famous singers of his time: Francesco Bernardi (called Senesino) Francesca Cuzzoni and Faustina Bordoni. Ortensio Mauro's libretto ; La superbia d'Alessandro, which was performed for the first time in Hanover in 1690 in a musical setting by Agostino Steffani and staged again in the city the following year under the title ; Il zelo di Leonato but with numerous alterations, served as the source text for Handel's ; Alessandro. One of the main aspects Rolli had to consider when preparing the libretto for the London performances was to keep the roles of the famous singers of the Royal Academy well balanced, yet at the same time to engineer a musical contest between the prima donnas Cuzzoni and Bordoni (Lisaura and Rossane) as well. From a business point of view, it made good sense, for such rivalry would surely increase public interest in the opera. It is no longer possible to ascertain which changes Handel made during the following performance series of the 1727/28 season. For the performance series of 1732/33, Handel made substantial revisions to the opera: six numbers were deleted in their entirety, the finale in part as well, and the recitatives were made much shorter, with the parts of Cleone and Leonato omitted / Oratorio / Répertoire / Choeur Mixte