Par MENDELSSOHN-BARTHOLDY FELIX. Gattungen: Motetten, Psalmen, deutsch - Reihen bei Carus: Stuttgarter Ausgaben (Urtext) - Verwendung / Kirchenjahr: Fastenzeit und Passion, Himmelfahrt, Jahreswende - / Mottet / Répertoire / Choeur Mixte

 Le but du compositeur en écrivant ce motet pour choeur a cappella était à la fois d'exprimer un sentiment religieux extrêmement fort face à ce que représente la Passion du Christ, et de traiter une stricte écriture à quatre voix qui puisse supporter la comparaison avec les maîtres anciens, Tout cela en faisant oeuvre originale au sens le plus vrai du terme, en particulier sur le plan harmonique, / Choeur Mixte

A syncopated opening bass lick lays the groundwork for this quintessential a cappella spiritual. When the other voices join, we begin a journey of texture, harmonic development, and form, indicative of the great spiritual tradition. Strong choral writing, with some divisi in the women's voices as the impassioned piece unfolds. / Choeur SATB A Cappella

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

Haydn's setting of the Passion of Christ in full vocal score. The work was originally written in 1786 as a program of instrumental music to accompany the Seven Words Of Jesus On The Cross, for a service at Cadiz. Haydn then embellished the work into a full Oratorio for Lent services at the Cathedral of Cadiz. This final version is presented here for SATB chorus and a Piano reduction of the orchestral material. / Choeur Mixte (SATB) Et Piano

Par BACH JOHANN SEBASTIAN. In its various reconstructed and completed version, Johann Sebastian Bach’s St. Mark Passion BWV 247 occupies a fixed place in the pre-Easter concert repertoire. As the third of what were originally five Passions, not only was it the latest to be written, it is also the most enigmatic of the known Good Friday works composed by the Kantor of the Thomasschule. The fundamental approach behind the present version of the St. Mark Passion is to attempt to get as close as possible stylistically to the performed versions of 1731 and 1744. It is hoped that in the service of church music practice, this complete reconstruction will thus help to transform the third of Bach’s Passion works into a stylistically unified whole. / Choral Music / Répertoire / Voix Mixtes

Toutes les chansons de ce spectacle passionnant. Présentation de couleur, avec des photographies de l'action du film. Comprend ' What I Did For Love ', 'Je peux faire que' et 'la musique et le miroir'. / Chant Et Piano

Par GOODALL HOWARD. Invictus: A Passion seeks to address one of the most powerful and dramatic of the world’s traditional religious stories through the lens of a diverse, modern world. A variety of texts written or inspired by women form a narrative that describes human suffering and persecution, but also emphasises the human capacity for love and humility in the face of tyranny. These universal messages are brought to life with the emotional clarity and sweeping force of any Howard Goodall score. Invictus: A Passion is scored for soprano solo, tenor solo, SATB choir and chamber orchestra. The vocal score includes a piano reduction. / Choral Music / Répertoire / Soprano, Ténor, Voix Mixtes et Piano

Scored for chorus, children's choir, organ and chamber orchestra, St Luke Passion adopts a pared-back focus on choral voices over its 75-minute span. Seeking a more spiritual, inward approach to match Luke's text, the composer eschews settings of interpolated texts as arias and the customary Evangelist and Christ soli: everything is sung by choral forces. A children's choir grants a measure of innocence to Christ as the sacrificial lamb, emphasising aspects of otherness, sanctity and mystery. / Choeur Mixte (SATB), Orchestre Et Piano

Choralkantate. Par MENDELSSOHN-BARTHOLDY FELIX. During Mendelssohns years of study with Zelter, the arrangement of chorales already played an important role, and he continued to be occupied with the protestant chorale throughout his symphonic and oratorical work. The break Bach’s works in connection with the reperformance of the St. Matthew Passion led to a series of cantatas based on well-known chorale melodies for choir, instruments, and sometimes also for soloists./ Répertoire / Choeur SATB, 2 Violons, Alto et Violoncelle ou Con

Choralkantate. Par MENDELSSOHN-BARTHOLDY FELIX. During Mendelssohns years of study with Zelter, the arrangement of chorales already played an important role, and he continued to be occupied with the protestant chorale throughout his symphonic and oratorical work. The break Bach’s works in connection with the reperformance of the St. Matthew Passion led to a series of cantatas based on well-known chorale melodies for choir, instruments, and sometimes also for soloists./ Répertoire / Choeur SATB, 2 Violons, Alto et Violoncelle ou Con

Choralkantate. Par MENDELSSOHN-BARTHOLDY FELIX. During Mendelssohns years of study with Zelter, the arrangement of chorales already played an important role, and he continued to be occupied with the protestant chorale throughout his symphonic and oratorical work. The break Bach’s works in connection with the reperformance of the St. Matthew Passion led to a series of cantatas based on well-known chorale melodies for choir, instruments, and sometimes also for soloists./ Répertoire / Choeur SATB, 2 Violons, Alto et Violoncelle ou Con

Choralkantate. Par MENDELSSOHN-BARTHOLDY FELIX. During Mendelssohns years of study with Zelter, the arrangement of chorales already played an important role, and he continued to be occupied with the protestant chorale throughout his symphonic and oratorical work. The break Bach’s works in connection with the reperformance of the St. Matthew Passion led to a series of cantatas based on well-known chorale melodies for choir, instruments, and sometimes also for soloists./ Répertoire / Choeur SATB, 2 Violons, Alto et Violoncelle ou Con