(Novello New Choral Series)-There is no rose of such virtue is an anonymous mediaeval text already well known through beautiful settings by Britten (in his Ceremony of Carols) John Joubert and others. The poem is ‘macaronic’ (it presents a verse in English followed by a varying Latin refrain). This new version follows the illustrious examples above by remaining strophic and presenting broadly the same music in a succession of slightly different guises. The first verse is a straightforward four-part setting the second gives the melody to the tenors and surrounds them with hushed wordless writing for the other parts and the third explores a freely canonic relationshipbetween the tenor and soprano lines before carrying the previous verse-endings to a higher more exalted pitch and mood. The fourth verse then expands its texture in a free climactic passage evoking the songs of praise sung by the angels. This subsides towards the final verse where the texture of the music attenuates again to four parts and canonic writing (based on the first four notes of the original melody) permeates all of them. This slightly extended statement leads to a hushed final cadence.Francis Pott (b. 1957) began musical life as a chorister at New College Oxford. He held open music scholarships at Winchester College and at Magdalene College Cambridge where he studied composition with Robin Holloway and Hugh Wood while pursuing piano studies privately in London with the distinguished British artist Hamish Milne. Throughout the 1990s Francis was John Bennett Lecturer in Music at St Hilda’s College Oxford and a lay clerk in the Choir of Winchester Cathedral. In 2001 he became Head of London College of Music University of West London later leading research across the University’s Faculty of Arts and acceding in 2007 to its first Chair in Composition. Francis Pott has become recognised particularly for his sacred choral and organ music. This has been performed in concert and on radio in

Written for narrator unison voices and piano this enjoyable 18th-century pop cantata can be performed as a concert piece or staged production. Celebrating the good deeds of Captain Coram the work is based on information from a variety of sources most notably from The Story Of The Founding Hospital by Maureen Boyd. It makes an excellent production and can also provide the basis for historical and sociological studies in the classroom. Parts for small instrumental ensemble or string orchestra available on hire. Woodwind and String parts on hire. 19 mins.

Par FREEMAN ALEX. Alex Freeman's A Wilderness of Sea (SSSSAAAATTTTBBBB) draws from four of Shakespeare?s most famous works. It emphasizes a common thread among those works that addresses two of the most universal aspects of human existence: water and impermanence. The recording of the work by Helsinki Chamber Choir conducted by Nils Schweckendick is published by the label BIS - follow the link to listen to it. Duration: c. 15' Alex Freeman (b. 1972) grew up in Raleigh, North Carolina. Around the age of 13 he became interested in composing. In 1998 he moved to New York to begin his Doctoral studies at the Juilliard School, studying with Christopher Rouse. The focus of his doctoral document led him to Finland. The recipient of a Fulbright Full Fellowship, he moved to Helsinki in 2001 to research Sibelius's sketches and study composition with Eero Hämeenniemi at the Sibelius Academy. Dr. Freeman is currently composing full-time and lives with his wife and children in Finland. / Date parution : 2022-05-31/ Répertoire / Choeur Mixte

Lully, Lullay was written at the request of Philip Reed, music director of the Bury St Edmunds Bach Choir, which gave the first performance on 17 December 2011 at Holy Trinity Church, Long Melford, Suffolk. Inspired by the familiar medieval text of the Coventry Carol , it is sung a cappella and invokes the sense of a lullaby through its metre and lilting melody. The fragility and bittersweet tonality of the opening verse is reflected in the continuous interaction between the tonic and dominant keys and resolving dissonances. This develops into broader passages of increased range and dynamics during the second and third verses, where the melody is passed between the upper and lower voices, clearly invoking the poignancy of the text. The last verse returns to the original theme with subtle harmonic changes and a reflective final cadence. 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. Harriet Wybor was born in Leeds in 1986 and read music as an undergraduate at Durham University, followed by an M.A. in composition with Martyn Harry and António Pinho Vargas. Harriet's main compositional interests are sacred and secular contemporary choral and chamber music, and the relationship between music and time. Her work reflects a wide range of influences from renaissance choral music and medieval texts to 20th-century literature and art. Harriet has had works performed by the Northern Sinfonia (conducted by H K Gruber), Psappha, the Allegri String Quartet, St John's College Choir, Durham, the Bury St Edmunds Bach Choir and the Fishburn Band - broadcast on BBC Radio 2's Listen to the Band . After graduating from Durham University, Harriet continued her studies at the University of Edinburgh, where she read for an LL.M. in innovation, technology and the law. She has subsequently pursued a career in music publishing where she works in copyright and composes in her spare time. / Choeur SATB

44 Warm-Up and Performance Studies for Jazz Pop and Gospel Choirs - Mit CD-Aufnahmen der Swingle SingersDie Loop Songs von Bertrand Gröger (Jazzchor Freiburg) sind moderne Chor-Etüden für alls SATB-Besetzungen. Konzipiert als Warm-ups oder zur Auflockerung der Repertoire-Proben eignen sich viele Songs auch als Konzertstücke.In vier abgestuften Schwierigkeitsgraden beiten die 44 Kompositionen ein vielseitiges Trainging für stiltypische Rhythmik Harmonik und Melodik. Durch 'Learning by Singing' eignen sich die Sänger Fähigkeiten in Scat-Silben Timing und Intonation an. Zur Auswahl stehen zweieinhalb Stunden Musikunterschiedlichster Stile: Swing Latin Afro Gospel R&B Funk Pop Rock und World.Auf der Begleit-CD sind alle 'Loop Songs' in Aufnahmen der Swingle Singers zu hören.

Swedish A Cappella Music Since 1945-This is the first complete survey of Sweden's rich choral music during half a century. Equally suited to music libraries and music institutions and as individual studies for choirs with an interest in Scandinavian music it includes a guide to research a select discography a select bibliography and a list of selected a cappella works relating to the composers interviewed. Dr. Sparks is a Professor of Music at Pacific Lutheran University and is Artistic Director of Choral Arts Northwest a 24-voice chamber choir founded in 1993.

Singing in French-French is a language beset with problems especially for non-native speakers. Where should there be a liaison between one word and the next? What mouth shape is needed to produce a tricky vowel sound? What about nasal vowels - or all those silent consonants? This book contains all the tricks of the trade: the singer need never fear singing in French again.The Boosey Voice Coach is an entirely new concept in vocal training. Not a self-teaching manual and not filled with off-putting diagrams this series is a wholly practical guide to singing - learning about technique and interpretation through the repertoire itself.Each volume is devoted to singing in one particularlanguage. In each volume of the series works from the vocal canon have been selected specifically by Mary King for their technical and musical challenges. Each piece is discussed at length starting with the words ('Text' - including a literal translation as appropriate) moving to general advice about how the song might be approached ('Notes') and then addressing the technical difficulties the music presents ('Skills'). Expressed in clear language Mary King's approach is direct practical and not limited to one particular teaching method. Any student will find that these books enrich and complement their vocal studies.

To this day Eugène Bozza (1905-1991) remains a prolific composer for wind instruments despite being a violinist himself. However his compositions for other instrumentations have not gone amiss  L'Étoile Du Soir being no exception. During his studies at the Paris Conservatoire Bozza won prizes for Violin conducting and composition as well as the Grand Prix de Rome. He then conducted the orchestra of the Opéra-Comique and became Head of the Conservatoire in Valenciennes whilst remaining a prominent composer. Composed in 1946 Bozza's L'Étoile DuSoir is based on a poem of the same name by Alfred de Musset a prominent poet during the early 1800s. This choral work is arranged for female voices; Soprano Mezzo Soprano and Contralto. Containing much musical variation Bozza's L'Étoile Du Soir is an exciting addition to the choral repertoire.

An impressive tutor aiding the singer to develop a dexterous technique with accurate intonation over the course of scales and embellishments through a course of progressive exercises and studies.

Par SCHREKER FRANZ. Franz Schreker was an important representative of the “Wiener Moderne” and one of the most successful opera composers at the beginning of the 20th century. To conclude his studies at the Vienna Conservatory he set Psalm 116 for women’s choir and orchestra [1900] and dedicated to his “beloved teacher Robert Fuchs, in reverence. ” Fuchs, the highly respected composition teacher, was a close friend of Johannes Brahms and a champion of Brahms’s romantic classicism. Thus, Schreker’s psalm setting closely follows the tonal language of Brahms. In 1901 Psalm 116 was first performed in a concert of the Gesellschaft der Musikfreunde in Vienna, and was first published in the same yearby the Viennese publisher Adolf Robitschek. The scoring of the psalm is identical with that of Brahms’s Deutsches Requiem, which would suggest and facilitate a performance of both these on the same concert program. / Psaumes / Répertoire / Choeur SSA, 2 Flûtes Traversières, 2 Hautbois, 2 C

Concerto for four-part select (solo) choir two four-part ripieno choirs (ad lib) a three-part solo Violin ensemble a three-part solo Trombone ensemble and Basso continuo (cello or organ)My soul doth magnify the Lord and my spirit hath rejoiced in God my Saviour. Schutz's impressive and musically colourful setting of the Magnifcat from 1665 shows the influence of Monteverdi following Schutz's studies in Italy.This full score contains a comprehensive preface (German English) outlining the sources and particular consideration for the use of instruments and chorus. The preface also includes a German and English translation of the Latin text.- Full score andperformance material available for sale (BA4334)

One hundred and seven Two-part exercises by Zoltan Kodaly based on the concept that singing is the most effective way of entering fully into the spirit of music and of understanding it. The theoretical studies for correct intonation in Let us Sing Correctly attempt to instill a natural intervallic approach to singing.

There is no rose of such virtue is an anonymous mediaeval text, already well known through beautiful settings by Britten (in his Ceremony of Carols), John Joubert and others. The poem is 'macaronic' (it presents a verse in English, followed by a varying Latin refrain). This new version follows the illustrious examples above by remaining strophic and presenting broadly the same music in a succession of slightly different guises. The first verse is a straightforward four-part setting, the second gives the melody to the tenors and surrounds them with hushed, wordless writing for the other parts, and the third explores a freely canonic relationship between the tenor and soprano lines before carrying the previous verse-endings to a higher, more exalted pitch and mood. The fourth verse then expands its texture in a free climactic passage evoking the songs of praise sung by the angels. This subsides towards the final verse, where the texture of the music attenuates again to four parts, and canonic writing (based on the first four notes of the original melody) permeates all of them. This slightly extended statement leads to a hushed final cadence. Francis Pott (b. 1957) began musical life as a chorister at New College, Oxford. He held open music scholarships at Winchester College and at Magdalene College, Cambridge, where he studied composition with Robin Holloway and Hugh Wood while pursuing piano studies privately in London with the distinguished British artist, Hamish Milne. Throughout the 1990s Francis was John Bennett Lecturer in Music at St Hilda's College, Oxford, and a lay clerk in the Choir of Winchester Cathedral. In 2001 he became Head of London College of Music, University of West London, later leading research across the University's Faculty of Arts and acceding in 2007 to its first Chair in Composition. Francis Pott has become recognised particularly for his sacred choral and organ music. This has been performed in concert and on radio in over three dozen countries worldwide, published by four major UK houses and released extensively on CD. Winner of four national composition awards, in 1997 he received first prize in the piano solo section of the S. S. Prokofiev Composing Competition, Moscow. In 2006 and 2011 he was a nominated finalist in the BASCA/BBC Annual Composer Awards. In summer 2012 he was winner of the international composing competition of the Cheltenham Festival, which sought new piano variations on the arioso song Bist du bei mir, well known in the arrangement by J. S. Bach. Francis lives with his wife and two children on the outskirts of Winchester. 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. / Choeur Mixte (SATB)

The American jazz legend Dave Brubeck (1920-2012) was equally distinguished as composer and pianist. Studies at the College of the Pacific and with Darius Milhaud at Mills College led to the founding with fellow students of the experimental Jazz Workshop Ensemble which recorded in 1949 as the Dave Brubeck Octet. Later in 1958 the combination of Brubeck with drummer Joe Morello double bassist Eugene Wright and alto saxophonist Paul Desmond quickly achieved an overwhelming popular success as the Dave Brubeck Quartet. The Quartet's experimentation with time signatures unusual to jazz produced works like Blue Rondo a la Turk and TakeFive introducing millions of enthusiastic young listeners to unexplored regions of jazz.This folio contains several of his most popular works arranged for Piano Voice and Guitar.