My Violin Concerto is scored for a Classical-sized orchestra, with the addition of a harp and celeste, and lasts around 17 minutes. Although the work sets out to explore the lyrical characteristics of the solo instrument, it is only gradually that the violin finds its full, lyric voice, and thence, as the work progresses, a more dominant role. This, in one sense, is the 'journey' of the piece.The work's straightforward formal scheme consists of three movements (roughly fast-slow-fast) framed by a reflective introduction and epilogue. However, these formal divisions exist within a single, unbroken arc. Such an overall symmetrical shape places the slow Arioso (itself divided into three subsections) at the midpoint, sandwiched between the two Allegro movements. The dramaturgy of the piece centres on a twofold search. First there is the ongoing pursuit to 'recapture' the simple melodic material stated by the solo violin - accompanied by the harp's bass register - during the opening bars. Whilst aspects of this melody are invoked frequently throughout (especially in the violin cadenza which closes the Arioso movement), it is only with the final and most important climax of the work that the melody appears again in its complete form, now accompanied by violent, orchestral stabs. The second search is for a tonal resting place, the arrival of which is delayed until the close of the epilogue.The original version of the Violin Concerto, commissioned by the Netherlands Chamber Orchestra, was premiered in Amsterdam in February 2012 with Gordan Nikolic as soloist. The present, revised version was created for Barnabás Kelemen and the Hallé. The piece is dedicated, with admiration, to my friend Oliver Knussen. (Ryan Wigglesworth) / Violon Et Orchestre

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. Ubi caritas et amor is a simple, reflective anthem for mixed-voice choir and organ. Brian Easdale was educated at Westminster Abbey Choir School and attended the Royal College of Music, where he won the Foli Scholarship for composition. He wrote his first opera, Rapunzel , when only 17, and went on to composer many other dramatic and orchestral works, including the chamber opera The Sleeping Children. The Missa Coventriensis is one of his larger choral works, composed for the consecration of Coventry Cathedral in 1962. Easdale is perhaps most famous for his film music, including Black Narcissus and The Red Shoes, for which he won an Academy Award for best original music score in 1948. 'Ubi Caritas is the work of a craftsman steeped, naturally, in the musical culture of the inter-war years. It commends itself in its quiet yet muscular and expansive response to the text. With minimal divisi, it is within the capability of a good church choir.' - Howard Layfield, Mastersinger / Choeur SATB Et Orgue

Par SCHLEE THOMAS DANIEL. For composer Thomas Daniel Schlee, the 'intimate sound possibilities of the string quartet” have the potential 'to formulate an, albeit 'only' individual, solution to the somewhat forlorn condition of new art music within society that we are unfortunately experiencing today.” Schlee's Fourth String Quartet opens with a pure C major sound, out of which he develops a harmonically free band of voices: 'The pure as a source, not pleasing”! After a melodically dominating episode and a continuation of the 'swinging tone-motion from the beginning”, a thematically solidified section follows. It is met by a second, more extensive melodic episode, followed by a 'nightly scene”. Coming full circle, the opening music of the piece finds its continuation, leading into a lament – first articulated by the ensemble, then finally as 'the viola's long, forlorn search for the melody symbolizing a farewell.”/ Répertoire / Quatuor à Cordes

Etape sous les projecteurs avec les superbes choeurs pistes du CD spécialement enregistré. Sur le CD: entendre les versions de la parfaite exécution des chansons de chansons de pistes 1-10 sur disque 1. La partie instrumentale est ensuite omise de pistes 2-11 du disque 2 afin de permettre à vous de jouer ainsi que vaut l'accompagnement enregistrée. Dans le livre : accords de ligne de toutes les chansons plus guide de doigté instrumentale en haut. / Clarinette / 32 pages / Partition + Cd

Retrouvez 6 chansons de Christina Aguilera pour piano, guitare (symboles d'accords) et surtout chant (ligne mélodique et paroles complètes).Inclus un CD avec des pistes playbacks pour chaque chanson pour s'exercer à chanter comme votre artiste préféré. / Piano/Vocal/Guitare (PVG) / Partition

Composer Mark Sirett set the beautiful and evocative poem 'My Heart Soars? of Chief Dan George for a tribute concert to aboriginal cultures of the world. The concert was recognized by the Association of Canadian Choral Communities as Canada's Outstanding Choral Event of 2009-10.Written for three part women's voices and piano, the work captures the spiritual nature of the text beautifully within the tessitura of the female voice. / Choeur SSA Et Piano

S'vivon (se-vi-vohn) is the Hebrew word for dreidl, a four-sided top that is popular with children during the celebration of the Jewish holiday Hanukkah, the Festival of Lights. In this arrangement by Brendan McBrien, variations are created through the subtle use of motivic rhythms from within the melody, presenting the theme in different voices and keys in both arco and pizzicato, using the A section of the tune as an accompaniment for the B section, and, finally, changing the modality to major, which creates (for a short time) a very different feeling from the traditional minor setting. (2:50) / Orchestre A Cordes

Par CHILCOTT BOB. for SATB, upper voices, and organ This compelling work tells the story of creation through a tapestry of biblical passages, spiritual writings, poems, and hymns. The piece is structured around a recurring refrain, composed for upper voices, but also suitable for performance by any group from within the SATB choir. / Date parution : 2021-12-09/ Répertoire / SATB, Voix Hautes et Orgue