The World's Greatest Praise Songs est une collection unique et très utile de 50 des meilleures chansons des trois dernières décennies. Ces chansons ont été choisies encore et encore et ont été determinées comme étant les favorites de millions de personnes au travers des Etats-Unis et du Monde entier. Cette collection est une incroyable ressource pour tous les amoureux de musiques de tous les genres. Que vous jouiez pour votre plaisir personnel, ou pour un groupe de personne, The World's Greatest Praise Songs est une collection qui défie le temps et qui vous inspirera pendant des années. Cette collection comprend des chansons comme Come, Now Is The Time To Worship- Forever- Here I Am To Worship- Lord, I Lift Your Name On High- You Are My All In All- et bien plus encore! / Piano/Vocal/Guitare (PVG) / Partition

'Le Voyage Dans La Lune is a continuous orchestral score of approximately 14 minutes comprising two outer fast sections and a slower inner section of a dream-like character. The work is directly inspired by the film Le Voyage Dans La Lune (1902) written and directed by the pioneering French film-maker Georges Méliès. Méliès was influenced by 19th century interests in science and discoveries as well as the science fiction of Jules Verne. At the same time his work seems fantastic surreal and satirical. Some critics point out an underlying critique of colonial adventuring. The plot centres on a group of astronomers who decide tolaunch a rocket to the moon containing a handful of their number. They reach the moon (famously landing on the moon?s face) and then encounter a strange race of aliens whom they battle and destroy. The return to earth involves a dramatic descent a plunge into the ocean and then celebratory dancing. The film inhabits a surreal and dream-like space and uses an idiosyncratic visual language which transforms reality. This inspired an active musical response in my own score which is by turns abrupt smooth lyrical and violent and expresses something of the strange shifting surfaces and multiple and layered tempos evident in the film. The canons in the horns in the first scene reflect the intense arguments of the astronomers as they consider the project. The slower inner section is inspired by the scenes of the industrial City viewed from its rooftops by the astronomers. It also expresses the wonder of the astronomers as they see the earth rise from the perspective of the moon after their arrival there. The music of the final section is in places conflicted reflecting the violent encounters with the moon?s inhabitants. It moves into a more harmonious phase at the close to match the celebrations upon the astronomers? return from their adventuring. The music could be considered to be a surreal mini-opera

Dan Forrest's arrangement of the Welsh tune and the Fosdick text is masterful. Here set for mixed chorus with optional congregation and organ accompaniment by brass quintet and timpani is also a possibility. Great for Pentecost!

Det Guddommelige Tivoli / Die Göttliche Tivoli / The Divine Circus - an Opera with texts (in German) by Adolf Wölfli (lyricist and A Discarded Accident..). Texts for the proloques by Ted Hughes William Shakespeare og Friedrich Nietzsche. Libretto by Per Nørgård.Translated by Tim Davies. Performance version by Ivan Hansen.Composed 1982 for Den Jyske Opera ('The Jutland Opera Aarhus'). Dedicated to Marie Lalander.  The opera is scored for Soprano Contralto Tenor Two Baritones Bass-Baritone 6 Dancers 6 Percussionists Amplified Celloand Synthesiser.Danish version: KP01942

'Le Voyage Dans La Lune is a continuous orchestral score of approximately 14 minutes comprising two outer fast sections and a slower inner section of a dream-like character. The work is directly inspired by the film Le Voyage Dans La Lune (1902) written and directed by the pioneering French film-maker Georges Méliès. Méliès was influenced by 19th century interests in science and discoveries as well as the science fiction of Jules Verne. At the same time his work seems fantastic surreal and satirical. Some critics point out an underlying critique of colonial adventuring. The plot centres on a group of astronomers who decide tolaunch a rocket to the moon containing a handful of their number. They reach the moon (famously landing on the moon?s face) and then encounter a strange race of aliens whom they battle and destroy. The return to earth involves a dramatic descent a plunge into the ocean and then celebratory dancing. The film inhabits a surreal and dream-like space and uses an idiosyncratic visual language which transforms reality. This inspired an active musical response in my own score which is by turns abrupt smooth lyrical and violent and expresses something of the strange shifting surfaces and multiple and layered tempos evident in the film. The canons in the horns in the first scene reflect the intense arguments of the astronomers as they consider the project. The slower inner section is inspired by the scenes of the industrial City viewed from its rooftops by the astronomers. It also expresses the wonder of the astronomers as they see the earth rise from the perspective of the moon after their arrival there. The music of the final section is in places conflicted reflecting the violent encounters with the moon?s inhabitants. It moves into a more harmonious phase at the close to match the celebrations upon the astronomers? return from their adventuring. The music could be considered to be a surreal mini-opera

The subtle imagery of an awakening spring is perfectly displayed in this exquisite work for treble voices set to a Langston Hughes text. Not to be missed! Available: SSA. Performance Time: Approx. 2:40.

Music from the Motion Picture Soundtrack-In a contemporary adaptation of Langston Hughes' celebrated play the holiday musical drama Black Nativity follows Langston (Jacob Latimore) a street-wise teen from Baltimore raised by a single mother as he journeys to New York City to spend the Christmas holiday with his estranged relatives Reverend Cornell and Aretha Cobbs (Forest Whitaker and Angela Bassett). Unwilling to live by the imposing Reverend Cobbs' rules a frustrated Langston is determined to return home to his mother Naima (Jennifer Hudson). Langston embarks on a surprising and inspirational journey and along with new friends and a little divine intervention he discovers the true meaning of faith healing andfamily. The soundtrack features 12 songs including: As · Be Grateful · Can't Stop Praising His Name · Fix Me Jesus · Hush Child · Motherless Child · Test of Faith · and more.

Music played an enormous role in the works of William Shakespeare while his own sonnets poems and soliloquies have provided continuing inspiration for many composers through the years. The Novello Shakespeare Choral Collection inspired by the 400th anniversary of the Bard's death in 2016 is an exciting anthology of choral works that are settings of Shakespeare's words. For choirs of all types and abilities this collection has been edited by David Wordsworth so that all the pieces are fantastic both to sing and hear. The collection features some beautiful settings that have well and truly stood the test of time such as Thomas Arne'sBlow Blow Thou Winter Wind and Henry Leslie's How Sweet The Moonlight Sleeps. More recent settings from 20th century and contemporary composers include Ernest Moeran's Sigh No More Ladies Gary Carpenter's Lo Here The Gentle Lark and John Tavener's Fear No More and Look In Thy Glass. Not only this the Shakespeare Choral Collection boasts several works that were specially commissioned including John Joubert's Be Not Afeard Richard Sisson's Light Thickens and Pawel Lukaszewki's Weary With Toil I Haste Me To My Bed. Some pieces have never appeared before in print such as those by Kevin Olson Bernard Hughes and John Gardner. These songs truly are a joy to perform with some relatively simple arrangements that are purely fun to sing while some more complex settings that will be thoroughly rewarding for choirs and audiences alike. A total of 26 fantastic works comprise The Novello Shakespeare Choral Collection which would work as a wonderful concert programme on its own or could provide a wealth of options for choirs looking to expand their repertoire with a range of unique settings. Also included is a fascinating

from A Trilogy of Dreams-A persistent underlying rhythm gives this setting of the Langston Hughes poem a powerful and mysterious drive. The vocal parts are accessible and the acoustic bass and conga drums add to the overall impact. Dreams and I Dream AWorld are available separately. Performance Time: Approx. 2:50

The first three movements of Johannes Brahms' E minor Cello Sonata were composed in 1862, the last movement was written in 1865. During the first years of its performance the work was received with mixed enthusiasm. By the end of Brahms' life, however, it was widely performed and by the first decades of the 20th century it was firmly embedded in the repertoire of many distinguished cellists. It was notably Robert Hausmann's advocacy of the work which seems to have contributed greatly to its promotion.Of particular value to the editors were the three early performance editions of the Cello Sonata op. 38 by Cornelius van Vliet and Edwin Hughes, Hugo Becker and Carl Friedberg, as well as Julius Klengel. The cellists' van Vliet, Becker and Klengel's fingering and bowing allows for a better understanding of their performance practice. As such, the Bärenreiter edition comes with a cello part marked with fingering and bowing by the editors which are based on the practices of Brahms' contemporaries. We also provide an unmarked urtext part.An important part of this edition is the extensive preface. Firstly it informs about the works' origins, early performances, its publication as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors take the premise that already a few decades after Brahms' death a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. In a very concrete and practical way, the editors summarize some of the key issues in understanding Brahms' notation with regard to rhythm and timing, dynamics and accentuation, dots and strokes, slurring and non legato, piano pedalling and overholding, piano arpeggiation and dislocation, string instrument fingering, string instrument harmonics and vibrato. In this way, the edition offers an exciting and often surprising insight in Romantic musical interpretation.- A pioneering Urtext edition- With an unmarked Urtext part- With a second part including fingering and bowing based on the practices of contemporaries of Brahms- With an extensive Performance Practice Commentary- For further information on Romantic performance practice we recommend: ?Performance Practices in Johannes Brahms' Chamber Music', text booklet BA 9600 / Violoncelle Et Piano

Now available in an SATB voicing! The subtle imagery of an awakening spring is perfectly displayed in this exquisite work set to a Langston Hughes text. Not to be missed!

In time of silver rain. for unison voices and piano This secular work for upper voices sensitively sets Langston Hughes's poem of the same name. Featuring a lilting melodic line, eloquent part-writing, and an effective piano part. Also available inversions for SA and piano, SABar and piano, and solo voice (high/low).

For Soprano Mezzo Countertenor Tenor Baritone Ensemble and Electronics.Singers:Eurydice (Soprano)Princess (Mezzo)Loved One (Countertenor)Orpheus (Tenor)Poet(Baritone)Ensemble:Flute (doubling Piccolo/Alto Flute)Clarinet (doubling Bass Clarinet)HornTrumpetPercussion (1 player: Timpani Bass Drum 4 x Toms Glockenspiel Vibraphone)Typewriter (to be performed by a member of the ensemble)HarpPianoViolin 1Violin 2ViolaCelloDouble BassElectronics