Barbara Bell's La Berceuse (French Lullaby) arranged by John Rutter for SATB choir with Piano accompaniment. This charming carol composed in 1975 by Barbara Bell was discovered by John Rutter who enlisted the help of John Suchet and Classic FM to track down the composer. Haunting in character but with a delightful French waltz feel and a sweeping Piano part La Berceuse has been recorded by Voces8 on the Decca label.

A Choral Cycle. Par CHASE DAVID. Perfect for International Women's Month performances! Washington Women is a collection of musical settings of speeches opinions and interviews of sixteen remarkable women from all across the political spectrum and throughout U.S. history from Abigail Adams to Kamala Harris. The composers took their words and set them to music with the hopes that performers and their audiences will learn more about these women and discover why they spoke those words when they did. Women featured include: Abigail Adams Madeleine Albright Barbara Bush Laura Bush Shirley Chisholm Hillary Rodham Clinton Betty Ford Ruth Bader Ginsburg Kamala Harris Elena Kagan Sandra Day O'Connor Michelle Obama Nancy Pelosi Condoleeza Rice Eleanor Roosevelt and Margaret Chase Smith. / Date parution : 2023-01-24/ Recueil / Choeur Mixte SATB

Tarik O'Regan's I Listen To The Stillness Of You is taken from his larger work 'Mass Observation'. Mass Observation was commissioned for the University of Michigan Chamber Choir, Jerry Blackstone, conductor, thanks to support from the William K. and Delores S. Brehm Choral Commissioning Fund, and the Barbara Abramoff Levy Fund. / SATB

Full Score- Tarik O'Regan's Mass Observation was commissioned for the University of Michigan Chamber Choir Jerry Blackstone conductor thanks to support from the William K. and Delores S. Brehm Choral Commissioning Fund and the Barbara Abramoff Levy Fund.   Composer's note:   Mass Observation is a meditation on the histories of our varied ambivalent relationships with surveillance in its myriad guises. The use of technologies that sate our desires to be watchedand heard (safety tracking empowerment and pride) has in some sense always been able to be weighed against our anxieties around invasions of privacy (physical and psychological harm hacking subjugation and embarrassment). The work takes its title from the British social research organisation Mass-Observation which aimed to record everyday life in the United Kingdom. Founded in 1937 Mass-Observation controversially paid investigators to anonymously record people's conversation and behaviour at work on the street and at various public occasions including public meetings sporting and religious events. Scored for chorus and percussion sextet  Mass Observation ebbs and flows between various polarities (human voices and percussion instruments pitched and unpitched sounds clear and opaque tonalities) over the course of its thirteen movements. There is a ritualistic nature to the overall pacing of the work reminiscent of a liturgical mass setting. The two groups of musicians are rarely aligned: for much of the piece they watch and listen to one another in silence.    Duration approximately: 40 Minutes  

A call-to-action and evocation of human potential this song by Grammy winning artist John Legend reflects the themes of hope and change responsibility and leadership and commitment to a better tomorrow and was performed at the Denver convention that nominated Barack Obama for the presidency. Available separately: SATB SAB 2-Part ShowTrax CD. Duration: ca. 3:04.

Celtiques est un ensemble de dix arrangements de mélodies traditionnelles bretonnes ou irlandaises pour choeur mixte et piano,L'écriture varie les orchestrations (voix solistes, double choeur, choeur de femmes) et mêle les langages jazz et traditionnel dans un kaleïdoscope de couleurs musicales,Il existe une version pour choeur et orchestre de cette oeuvre rassemblant trio jazz (contrebasse, batterie, piano) et instruments traditionnels : uillean pipe, violon, whistle, flüte, guitare DADGAD 1, An hini a garan (5') : Complainte : celui que j'aime, je l'ai perdu à jamais,2, Ar Baradoz (3') : Cantique : le bonheur du Paradis,3, Believe me if all those endearing young charms (4'30'') Rien n'altère les sentiments du poète Thomas Moore envers sa femme atteinte d'une maladie de peau,4, Fiddlers green (5') : Le paradis des marins,5, Finnigan's wake (2'30'') : Réveil du défunt lors d'une veillée funèbre bien arrosée,6, Johnny I hardly knew ye (3') : La bien-aimée est fâchée de constater que son homme perd à la guerre son bras, son oeil, sa jambe,,,7, Me zo ur Serjant Major (2'30) : Kan a diskan (Chant à danser) pour le retour de l'armée du sergeant-Major,8, My singing bird (3') : Elle aimerait bien tenir un petit oiseau entre ses deux seins,9, The Kerry dances (4'30'') : Dans le bon temps jadis, c'était mieux,10, Tri martolod (3'50'') : Après la mer, nous nous marierons et vivrons d'amour / Jazz

Peter Maxwell Davies sets Barbara Newman's translation of a text by Hildegard von Bingen for SATB chorus and Organ. The work was commissioned by Epsom College to celebrate the one hudred and fiftieth anniversary of the College.The first performance took place in February 2005 in Guildford Cathedral by the choir of Epsom College.

Song made famous by Barbara Streisand evocative performance arranged here for SATB and Piano.

For two solo voices (tenor and baritone) and mixed chorus interspersed with hymns to be sung by the congregation. This work depicts the last few days of the Saviour's life. The rejoicing of the multitude with hosannas and palms the view of Jersusalem from the steep of Olivet and the lament over the city the dispersal of the money changers in the Temple and the sad nocturnal walk on the Mount of Olivet are all portrayed in the First Part. Part Two opens with the Last Supper at which Jesus washed His disciples' feet and commanded them to love one another. Then follows the agonizing prayer in the Garden of Gethsemane the sudden appearance of the hostile crowd theabandonment of Jesus by His deciples His utter loneliness among ruthless enemies the turmoil before Pilate when Barabbas is released the tragedy of the Cross and the triumph of Calvary.

Path of Miracles was commissioned by Tenebrae with grateful thanks to Barbara Pollock. The first performance given by Tenebrae and conducted by Nigel Short took place on 17th July 2005 at the church of St Bartholomew-the-Great London as part of the City of London Festival.5 Sopranos4 Altos4 Tenors4 BassesCrotales

Path of Miracles was commissioned by Tenebrae with grateful thanks to Barbara Pollock. The first performance given by Tenebrae and conducted by Nigel Short took place on 17th July 2005 at the church of St Bartholomew-the-Great London as part of the City of London Festival.5 Sopranos4 Altos4 Tenors4 BassesCrotales

Uses: General MemorialScripture: Galatians 5:13; Matthew 5:14-16; Ephesians 6:5-7; Acts 20:35This sensitive choral is a touching tribute to the protection and divine provision of God's mercy. Messageand music are beautifully wed creating a beautiful moment that wraps the sanctuary in arms of assurance and grace. Careful part-writing makes this a quick study and consequently an excellent choice for memorials when urgencydemands expediency. The optional flute parts add another layer of texture to this special piece.

The original version of this setting of the well-known traditional English folk song was completed in 1974 and was commissioned by Rachel McMillan College of Education (where Gregson was a lecturer at the time) for its Music Department Choir (female voices). It then had the somewhat unusual instrumentation of spinet flute and string quartet. In 2017 Gregson was asked to revise it for performance and publication in a new version for upper voices and piano. Arranged for SATB with Piano accompaniment.

Sensitive setting of the poignant English folk song captures the yearning for a love that cannot be. In 4/4 meter it is carefully designed to give all sections both melody and harmony parts while emphasizing study in phrasing andvowel production. Exquisite concert work! Available: SATB 3-Part Mixed. Performance Time: Approx. 2:35.