Ce songbook Musicroom exclusif distille parfaitement les hits meilleurs graphiques de l'année! Présenté dans des arrangements d'experts pour piano et voix avec grilles d'accord de guitare, les plus entraînants airs à la grâce dans les voies aériennes sont maintenant à vous de jouer, quel que soit votre instrument.Emballé avec 14 des meilleures chansons de l'année, ce recueil de chansons contient des succès tels que Born to Die de Lana Del Rey, ivre par Ed Sheeran et One Thing par One Direction.Disponible dès maintenant au prix incroyable, il n'y a pas de meilleure façon de revivre les meilleurs moments de musique pop de 2012! / Piano/Vocal/Guitare (PVG)

Commissioned by Christina Jennings and Bright Music of OK. Performed at over 50 different venues and ensembles. Notable performances include The Left Bank at the Kennedy Center for the Arts and Contemporary Music Forum at the Corcoran Gallery of Art Wash. D.C Florida State University New Music Festival The Empyrean Ensemble and Left Coast Ensemble in SanFrancisco The American Modern Ensemble at the Times Center The New Millennium Ensemble at the Princeton Center for Advanced Study Eighth Blackbird at Contempo Series in Chicago Orion Ensemble (arranged for clarinet violin cello and piano) Chicago Ganz Hall Chicago Delfians Project Cal State Fresno New MusicFestival Juventus New Music Aspen Ensemble at University of Baltimore Talis Festival in Switzerland. And many more. On Centaur CD: High Wire Acts CRC 3098

This exclusive collection brings together 12 of Nico Muhly?s sacred works for mixed-voice choir. These vivacious fresh and dramatic pieces will make an impact whether in the church or in the concert hall and range from the intimate Lord keep us modest when we claim to the effervescent Bright Star Carol alongside service music such as Muhly?s Third Service. All are accessible to learn and offer choirs a new slant on contemporary choral music at its very best.  'Choral music has always been at the emotional core of my musical output. Even when I?m writing large-scale orchestral works (or indeed chamber music) I alwaysfind myself returning to techniques and textures I?ve greedily stolen from centuries of music from Tye to Howells early and recent. I try to design my own choral music primarily for use in worship where the measure of the success of the piece is if it helps guide the listeners? ears upwards and elsewhere as sacred architecture and the various rituals of the church themselves are meant to do. The specificity of music heard only in certain seasons is for me an important and thrilling element of the choral tradition: a Beethoven Symphony is welcome at any point in the year but an anthem for Candlemas works only then at a certain time of day and on a certain day of the year. With this functional spirit at the heart of the compositional process I hope that the music collected here makes equal sense in a concert setting. These works range from ordinaries of the mass to hymns to motets and represent a decade and a half of output.' - Nico Muhly

The best of pop music, arranged for piano/vocal with chord symbols. Fifteen numbers including 'Bright Eyes' and 'Song For Guy'. / Piano/Vocal/Guitare (PVG) (Avec Grille D'Accords)

A Bright Kind Of High (1996) for Chamber Ensemble and Orchestra. A Bright Kind Of High is written for a virtuos ensemble (9 soloists) and ’back-up orchestra’. The piece could also be performed by the ensemble alone. Programme note 'A Bright Kind of High' was commissioned for a particular occasion namely for the concert where the Storstrøms Ensemble was awarded the Prize of the Music Critic Circle. The prize is normally given to a musician who receives it at a concert with the Tivoli Symphony Orchestra and who then plays or sings with the orchestra. The ensemble wanted tokeep up this tradition and asked me to compose a short work for nine musicians and orchestra. I choose to write a piece for virtuos ensemble and ’back-up orchestra’ which could also be performed by the ensemble alone. The work then exists in two versions one with and one without symphony orchestra. The music is built up around five soloistic passages. There is a duo for flute and basson with accompaniment a piano solo a duo for trumpet and harp a clarinet solo and a trio for the strings. The soli are woven into a quickly and constantly ascending music which has a certain relationship with a small piano piece by Robert Schumann ’Ritter vom Steckenpferd’. This is to be heard very clearly during the work if one knows Schumann’s piece. The title of my piece has no proper meaning outside context. It can be read as a kind of rewriting of ’feeling high brightly’ and both this and the music gets me to think of champagne. Niels Marthinsen

Written for cello harp and celeste.Clear Music (after John Taverner) was written at the request of the cellist Wendy Law during the summer of 2002. Clear Music is an extended exploration of a single measure in John Taverner’s (1490 1545) motet Mater Christi Sanctissima. What I attempted to do in Clear Music was to suspend this measure for as long as I could imagine in a single texture: the bright clarity of the celeste and harp. As in the Taverner I have structured Clear Music into a series of peaks featuring the highest registers of the treble voice—here the cello. I remember very vividly performing this piece and being struck by how distant the treble was fromthe other voices - sometimes there are spaces of over an octave between the treble and the alto - and I attempted to recreate the somewhat terrifying and exposed contours of these lines. The end result is I hope a prolonged and transparent recollection of the Taverner which exposes not only my appreciation for the music itself but also my response to performing it.Nico Muhly.

Bright Star Carol is a Christmas work scored for Treble Voices SATB Choir and Organ and composed for Mark Williams and the Choirs of Jesus College Cambridge in 2010.The work sets the text of Robert Herrick.

Le style de Naoya Wada se caractérise par une tonalité positive et optimiste. Et cette composition dont le titre Towards the Bright Future parle de lui-même ne déroge pas à la règle. La fanfare d'?ouverture est jouée sur des cuivres et forme directement l'élément thématique de cette composition dont les passages chantés alternent avec de puissants cuivres et quelques changements de mesure étourdissants. Cette ?oeuvre a été composée à la demande du Kokura Nishi High School Band à l'?occasion de son 110e anniversaire. Le compositeur l?a dédiée à Hirofumi Matsumoto le directeur de cette école.