Here's a gentle offering of exhortation and assurance to share the truth of God's grace to all! Written by a fresh name to the Jubilate Music Group catalogs and arranged by veteran Dave Williamson, it's easily learned and fun to sing. / SA(T)B

Nico Muhly's The Sweets Of Evening (2006) was written for Dianne Berkun and the Brooklyn Youth Chorus. This work is for children's voices and Piano. Having worked with this group of musicians many times before Muhly was honored to finally write them a piece. Having sung in a boy choir himself Muhly is fascinated and intimate with the changing nature of young voices and looked for a text that is itself transitory – in this instance depicting the movement between dusk and night. A great fan of Christopher Smart’s poetry and particularly of Benjamin Britten’s setting of fragments from Jubilate Agno; Muhly's settingnods to Britten in its episodic nature and generosity towards the singers. The Sweets of Evening lasts six and one half minutes. Nico Muhly - The Sweets Of Evening by musicroom

Par CURNOW JAMES. Accessible even to particularly advanced Jr. High bands or honor groups, James Curnow’s brilliant fanfare and treatment of Renaissance composer Tylman Susato’s RONDO is truly a jubilant musical expression. What a terrific way to energize a concert or conclude a graduation ceremony!FANFARE AND JUBILOSO is dedicated to Harry Begian, the world renowned and highly respected American music educator and conductor, and is a creative exploration of joyous energy. Investigating those intriguing Renaissance harmonic concepts, this celebratory offering will be a fresh and vigorous addition to your concert repertoire! / Niveau : 4 / Ouverture / Répertoire / Fanfare

Fanfare For The Maestro. Par CURNOW JAMES. Accessible even to particularly advanced Jr. High bands or honor groups, James Curnow’s brilliant fanfare and treatment of Renaissance composer Tylman Susato’s RONDO is truly a jubilant musical expression. FANFARE AND JUBILOSO is dedicated to Harry Begian, the world renowned and highly respected American music educator and conductor, and is a creative exploration of joyous energy. Investigating those intriguing Renaissance harmonic concepts, this celebratory offering will be a fresh and vigorous addition to your concert repertoire! / Niveau : 4 / Ouverture / Répertoire / Brass Band

Par BENJAMIN GEORGE. The Full Score of George Benjamin's Jubilation for Orchestra and mixed children's groups. 'Overall, Benjamin's score aspired towards an exalted kind of jubilation - almost evoking angels in the music of the spheres: and as such it sounded vivid and imaginative.' The Guardian (Meirion Bowen), 19 February 1991/ Répertoire / Conducteur

Piano Concerto No. 4 In C Minor (concerto pour Piano en ut mineur) Op. 44 by Camille Saint-Saëns is the composer's most structurally innovative Piano concerto. In one sense it is like a four-movement symphony but these are grouped in pairs. That is the piece is divided into two parts each of which combines two main movements (Part 1: I. Moderatetempo Theme and Variations in C Minor; II. Slower Theme and Variations in A-flat Major; Part 2: III. Scherzo in C Minor; IV. Finale in C Major). However in each part there is a bridge-like transitional section between the two main 'movements' for example a fugal Andante in part II functions as aninterlude between the two main sections. The concerto begins with a gently mischievous chromatic subject heard in dialogue between the strings and piano soloist and continues in a creative thematic development similar to Saint-Saëns' Third Symphony. The composer demonstrates brilliant skill in employing the piano and orchestra almost equally. In the Andante he moves to A-flat major with a chorale-like theme in the woodwinds (also strikingly similar to the tune of the Third Symphony's final section) and uses this as a platform on which to build a series of variations before bringing the movement to a quiet close. The Allegro vivace begins again in C minor as a high-spirited scherzo using material foreshadowed in the first movement. 2/4 and 6/8 are playfully juxtaposed throughout. At one point the Piano boldly leads the orchestra in an energetic 6/8 theme in Eflat major. Eventually the orchestra moves to a lush Andante recapitulating the Andante section from the first movement. Rather suddenly the piano climbs up to a flurry of double octave trills and a climactic trumpet fanfare leads to the jubilant finale based on a hymn-like theme in triple time. The concerto concludes with the piano in glittering cascades guiding the orchestra to a fortissimo close.The piano concerto was premièred in 1875 with the

Hymns songs and psalms for a new century-This outstanding collection suited especially to the Evangelical tradition of the Church of England is compiled by the Jubilate group. You will find 698 hymns psalms and worship songs here all with up to four verses setbetween the music. The ordering of material in Sing Glory is unique in design and is aimed to assist the planning of worship services. It is divided into 23 sections and separated into hymns psalms and songswithin each section those sections being: Gathering for worship Invocation Praise and thanksgiving Confessing our sins to God Assurance of God's love and mercy for us Adoration Reading fromScripture Prayers of intercession Offering our gifts and talents to God Sharing the peace and fellowship with one another Affirming our belief Celebrating Holy Communion Healing services Christian Initiation Responding to God: in faith and trust in hope and confidence in love and devotion in unity and growth in mission in serving others in conflict and endurance in commitmentand character Special occasions

Traditional Catalonian Carol-You'll raise a toast of jubilation for this holiday tour de force that combines the traditional Catalonian carol ?Fum Fum Fum? and the Welsh carol ?Deck the Hall? along with a few clever lyrical and musical additions. Ideal for madrigal groups pop/jazz groups and concert choirs your singers will welcome the challenge! With piano or opt. a cappella. Duration: ca. 1:45.

Par HUREL PHILIPPE. Cette oeuvre s'inscrit dans un groupe de pièces concertantes - les 4 variations pour percussion et ensemble (2000), Aura pour piano et orchestre ou ensemble (2002-2006), Phonus pour flûte et orchestre (2004). Dans ces différentes pièces, l'instrument soliste y est toujours traité comme faisant partie intégrante du groupe qui l'entoure, soit comme partie du 'concertino' avec les percussions de l'ensemble et le piano dans les 4 variations influencées par le concerto grosso, soit comme un corps sonore indissociable de son enveloppe orchestrale dans Aura, soit comme un instrument traité en temps réel grâce au deux flûtes de l'orchestre dans Phonus. Dans Phasis, c'est la métaphore acoustique du déphasage qui m'a guidé. La pièce étant composée avec un matériau reconnaissable - une enveloppe périodique variée sans cesse - les écritures décalées des différentes parties de l'ensemble par rapport au soliste, ou les unes par rapport aux autres sont comme des 'retards de phase' entre des ondes, entre des signaux sonores. A cela s'ajoute la perception des états successifs de mêmes 'situations musicales' sous un aspect différent, à l'instar des apparences des planètes qui se présentent à nos regards pendant la durée de leur révolution. Ici le titre de Phasis prend encore un autre sens, son sens étymologique qui fait référence à chacun des aspects successifs d'un même phénomène. Ainsi, les mêmes matériaux sont variés sans cesse et de façon récurrente : l'enveloppe mélodique dont j'ai déjà parlé - qui sert aussi à construire les parcours harmoniques du mouvement le plus lent - ainsi que les quelques multiphoniques de saxophone, analysés par ordinateur et resynthétisés par l'ensemble en différents endroits de la pièce, qui servent de bornes perceptives pour organiser la forme de l'oeuvre. Au-delà des métaphores acoustiques et phénoménologiques, ce que je cherchais ici avant tout, c'est la création d'une matière nerveuse, rythmique - mais sans pulsation directement perceptible -, ainsi qu'une ambiguïté entre la perception horizontale des lignes et celle, verticale, du timbre, ambiguïté qui fut longtemps au centre de mes principales préoccupations. La pièce est surtout marquée par le déploiement énergétique et, malgré les contraintes mises en oeuvre, elle est un espace de jubilation et de liberté réappropriée pas à pas. Phasis est dédiée à Johannes Ernst. Philippe Hurel / contemporain / Répertoire / Saxophone Ténor ou Soprano et Ensemble

Written especially for developing choirs this festive SA(T)B cantata is overflowing with joyful seasonal songs ideal for smaller ensembles. Original material mingles with traditional carols in a jubilant mix crafted to createlarge musical impact with minimal numbers and rehearsal time. The musical variety ranges from galloping gospels to contemporary ballads and joyful carols to tender manger lullabies. Larger groups can take advantage of the cuednotes for richer sonorities and still enjoy the sensitive care taken to minimize awkward passages for quick learning. A flexible narration allows thoughtful directors to customize their programs while optional orchestral supportbrings appropriate instruments to the programming of this innovative cantata for Christmas. The cantata can even be done progressively throughout Advent and completed during Christmas celebrations. Available separately: SA(T)B Listening CD Preview Pack (Book/CD combo) 10-Pack Listening CDs Orchestration (Score & parts for keyboard flute clarinet trumpet trombone and percussion) StudioTrax CD (Accompaniment only) SplitTrax CD RehearsalTrax CDs(part-predominant reproducible). Duration: ca. 27:00.