Soixante-dix-sept lullabies folkloriques traditionnelles de tous les coins du globe, y compris les îles britanniques, Europe, Canada, Etats-Unis, Asie, Afrique, Amérique latine et berceuses juives. / Chant Et Guitare / 128 pages / Partition

Eleanor Daley sets this Wesley text in an antiphonal style between the SATB choir and organ (or brass quartet parts available separately). The sound is majestic and declamatory just as one would expect from an Easter fanfare with a hint of modal harmony resulting in a strong and accessible Eastertide anthem.Eleanor Daley - composer choral clinician and freelance accompanist - is the director of music at Fairlawn Heights United Church in Toronto Ontario. A proficient pianist and organist she recieved her Bachelor of Music Degree in Organ Performances from Queen's University in Kingston Ontario and holds diplomas in Piano and Organ from the Royal Conservatory ofMusic Toronto and Trinity College England. A prolific composer with a remarkable gift for melody Eleanor has well over eighty published choral compositions and is commissioned extensively throughout North America Great Britain Europe South Africa and the Far East. As a freelance accompanist and choral clinician she works with the Toronto Children's Chorus the Elmer Iseler Singers The Amadeus Choir and the Bach Children's Chorus.

Breathe. Par PATELLA FRED THOMAS. Les sept Fanfares Vocal est une oeuvre de cappella écrite spécialement pour choeur de la cathédrale des filles de renommée Christ Church à Dublin, en Irlande, adaptées à leur timbre plus inhabituels et les talents. La musique est également conçue pour satisfaire les attributs acoustiques du célèbre crypte de la cathédrale, la crypte cathédrale plus importante en Europe./ Feuillet / 5 Parties Voix Aigües

Edizione critica a cura di Claudio Toscani-EDIZIONE NAZIONALE DELLE OPERE DI GIOVANNI BATTISTA PERGOLESI (Casa Ricordi in collaborazione con la Fondazione Pergolesi Spontini di Jesi) Based on the anonymous recasting of a libretto derived in turn from La fede tradita e vendicata by Francesco Silvani (1705) Il prigionier superbo by Giovanni Battista Pergolesi was first performed on 5 September 1733 at the Teatro di San Bartolomeo in Naples. With this opera ? his second dramma serio for San Bartolomeo in less than two years ? the young composer (who had already acquired considerable professional stature in the city?s theatres churches and aristocratic circles) reprised a perennially popular subject centered aroundthe dramatic conflict between filial piety and devotion to one?s betrothed. Inserted between the opera?s three acts were the intermezzi of La serva padrona which would soon go on to take all of Europe by storm. The primary source for this edition is a manuscript copy of the score currently housed in the Conservatorio di Musica ?San Pietro a Majella? in Naples and prepared by Giuseppe Sigismondo who was quite probably working from the now-lost autograph. Two other significant manuscript copies of the score also housed in Naples (respectively in the Biblioteca Oratoriana dei Girolamini and the aforementioned conservatory) were consulted along with a number of manuscript copies of individual arias. The edition is furnished with a historical introduction which traces the libretto?s complicated literary lineage and illustrates the circumstances of the opera?s commission genesis premiere and subsequent history: and a critical apparatus containing detailed source descriptions and critical notes for both the text and the music. An earlier version of the last movement of the Sinfonia and an aria for the third act whose text does not appear in the original printed libretto are provided as appendices.

From In The World Of Nature-Im Haine (In Nature Op.63) was a song-cycle written in 1882 for amateur performance. The five unaccompanied part-songs were settings of poems by the Czech poet Vitezslav Halek inspired by the countryside. No. 2 is loosely translated as ?Bells Ring At Dusk? and tells of the bells ringing to call people to Vespers at the end of the day. It is scored for SATB choir a cappella. Antonin Dvorak (1841-1904) was best known for his New World Symphony composed in the short time he spent in America the rest of his career was spent in his native Bohemia and the rest of Europe.

Description
Écrits des castrats sur le chant, volume 2
L?art des castrats repose sur peu de documents imprimés à caractère technique (méthodes, traités). La fameuse « feuille » de Porpora (bref recueil d?exercices censés mener à une haute maîtrise) reste inconnue, même si une édition anglaise tardive clame le contraire. Seuls subsistent de nombreux solfeggi manucrits, composés par les maîtres napolitains (Durante, Scarlatti, Leo, Aprile, etc.). Dans ce contexte, les écrits de Pierfrancesco Tosi (1654-1732) et Giovanni Battista Mancini (1714-1800) prennent une valeur inestimable. Ils ont fait l?objet d?une premier volume. Ce deuxième volume, complément indispensable au premier, rassemble les écrits et exercices de Tenducci (célèbre par ses aventures à Londres), Rauzzini (pour qui Mozart écrivit plusieurs ?uvres), Pacchierotti (admiré dans toute l?Europe) et Crescentini (que Napoléon fit venir en France). Chacun de ces remarquables chanteurs apporte un élément complémentaire : exercices et transpositions de Tenducci, solfeggi de Rauzzini, technique d?ornementation pour Pacchierotti et interprétation (articulation et nuances) pour Crescentini.
Writings of the Castrati on singing, volume two
The castrati?s art is documented by few printed books with exercices, or treatises. The famous « Porpora?s sheet » (few exercices reputed to lead to high virtuosity) remains lost, even if a late English edition announces the contrary. Only extant are numerous manuscript solfeggi, coposed by Neapolitan masters (Durante, Scarlatti, Leo, Aprile, etc.). In this context, the treatises by Pierfrancesco Tosi (1654-1732) and Giovanni Battista Mancini (1714-1800) are of great importance. We edited them in a first volume. This one is a complement and shows the writings, exercices and solfeggi by Tenducci (famous by his adventures in London), Rauzzini (for whom Mozart composed some works), Pacchierotti (admired in all countries of Europa) and Crescentini (invited in France by Napoléon). Each of these renowned artists proposes complementary elements : exercices and transposition by Tenducci, solfeggi by Rauzzini, ornamentation by Pacchierotti and interpretation (articulations and dynamics) by Crescentini. / Partitions classique / Vocale - chorale / Voix solo - piano / LES PRESSES DU COLLEGE MUSICAL

Ed. critica di C. Toscani - Riduzione per canto e pianoforte-Based on the anonymous recasting of a libretto derived in turn from La fede tradita e vendicata by Francesco Silvani (1705) Il prigionier superbo by Giovanni Battista Pergolesi was first performed on 5 September 1733 at the Teatro di San Bartolomeoin Naples. With this opera ? his second dramma serio for San Bartolomeo in less than two years ? the young composer (who had already acquired considerable professional stature in the city?s theatres churches and aristocratic circles) reprised aperennially popular subject centered around the dramatic conflict between filial piety and devotion to one?s betrothed. Inserted between the opera?s three acts were the intermezzi of La serva padrona which would soon go on to take all of Europe bystorm.The primary source for this edition is a manuscript copy of the score currently housed in the Conservatorio di Musica ?San Pietro a Majella? in Naples and prepared by Giuseppe Sigismondo who was quite probably working from the now-lost autograph.Two other significant manuscript copies of the score also housed in Naples (respectively in the Biblioteca Oratoriana dei Girolamini and the aforementioned conservatory) were consulted along with a number of manuscript copies of individual arias.

Masterpiece was written by British composer conductor pianist and teacher Paul Drayton and sung by the King's Singers in their 2005 DVD release 'From Byrd to the Beatles'. Arranged here for SATB Voices with Piano accompaniment.The King's Singers are a British a cappella vocal ensemble founded in 1968. They are named after King's College in Cambridge England where the group was formed by six choral scholars. In the United Kingdom their popularity peaked in the 1970s and early 1980s. Thereafter they began to reach a wider international audience. Today the ensemble travels worldwide for itsperformances appearing in around 125 concerts each year mostly in Europe the U.S. and the Far East.

“Rodrigo” was premiered in autumn 1707 in Florence and is therefore one of Handel’s early stage works. The composer only 22 years old wrote a densely-woven musical scenario for his first opera composed in Italy. It masterfully portrays the dramatic states of mind of the protagonists surrounding the Iberian tyrant Rodrigo and the plot full of deception betrayal adultery war as well as the transformation wrought by Rodrigo’s abdication. The work was not as was long thought a commission from the Prince of Medici. Despite this “Rodrigo” seems to have been so popular thatHandel extended his stay in Italy and was able to compose several operas during the following period. In “Rodrigo” the mastery which made Handel’s succeeding opera “ Agrippina” such a success is already clearly evident. “Agrippina” consequently made Handel’s name famous throughout Europe and soon led to his first journey to London. The new vocal score is based on Volume II/2 of the “Halle Handel Edition” (BA 4083). The appendix contains the surviving variants in the versions of the first performances from Handel’s lifetime. Performance material available for hire. Based on the Urtext of the “Halle Handel Edition”. Original Italian text underlaid with German singing translation. Basso continuo and editorial additions in small print. Foreword in two languages (Ger/Eng)

Whether for classroom sing-alongs adult community sings choral concerts or just riding in the car this Step One of the SING WITH US songbooks is an invaluable resource. Composer and song leader Nick Page who has led group sings and workshops at MENC ACDA AOSA and other conferences for many years has assembled this multicultural set of 28 easy and fun sing-along songs for all ages. The collection begins with Echo songs that are easy but with a simple challenge reinforcing Nick's belief that the first step in getting people of all ages to sing along is to make them better listeners. Along with this Nick encourages using lots of emotion particularly joy. TheCall and Response songs and the unison songs that follow offer well known gems as well as easy to learn new songs that can be sung in Unison or with harmony. Nick provides invaluable cultural information as well as essential tips for making the songs come alive. Reproducible lyric sheets are also included. Nick Page has received rave reviews for his SINGS and many workshops throughout North America and Europe. In addition to his song leading Nick is a choral composer with over fifty published works including Sing and Shine On and Music as a Way of Knowing that are very popular with music teachers and choral musicians. Singing is an act of compassion; we make the world a better place through our singing.

Oratorium. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn composed his first oratorio Paulus under the impression of his own revival of J. S. Bach’s St. Matthew Passion in 1829. He integrated chorale settings into St. Paul, for which he was accused by his contemporaries of making a stylistic break, using an element unsuitable to church music. In spite of these reservations, during Mendelssohn’s lifetime St. Paul was one of his most popular works, which received numerous performances throughout Europe. Robert Schuman praised the “inextinguishable color of the instrumentation” and the “brilliant play with all the forms of composition. ” He described it as a “jewel of the present. ” / Oratorio / Répertoire / Solistes SATB, Choeur SATB, 2 Flûtes Traversières,

This is a moving cantata for Chorus Piano Ensemble and Tape.Passionate heartbreaking and of our time the music includes recordings of songs and voices made in the field by the composer. Blackford's music itself calls on poetry and writings from thireen different languages- set in English- of the politically alienated and dissenting the prisoner of conscience from Africa Asia Europe and the Americas vivid emotional pictures emerge of loneliness loss exile and grief.

Haydn composed 'Mass in Time of War' recognizing Europe's collective concern over the ambitious youthful and at the time successful Napoleon. As he was was working on it the Austrians were fighting to keep the French from their homeland. Some writers have suggested that the baleful timpani part in the Agnus Dei reflects Haydn's reaction to the escalating military conflict; these timpani passages inspired the work's nickname 'Paukenmesse' (Timpani Mass). The work is for a Quartet of Solo Voices SATB chorus and Orchestra. This version is edited by Michael R. Miller and includes a piano accompaniment.

Gombert's In illo tempore: loquente Jesu is a six-part unaccompanied study in intricate part-writing with sinuous stepwise motion and persistent imitative entries. The optimism of the text taken from the Gospel of Luke is reflected in the music of this buoyant motet and the dashes of harmonic colour unexpected cadences and elaborate textures make this highly rewarding counterpoint to sing.Francis SteeleFrancis Steele was born in Liverpool the son of a docker. Christ's Hospital School nurtured his early musical interests and while at Magdalen College Oxford he studied with David Wulstan and Dr BernardRose two remarkable mentors who combined scholarship with performance. This influence pervaded a singing career spanning nearly three decades during which Francis sang with and furnished editions for the foremost British ensembles. Travelling and performing extensively he has developed an intimate practical knowledge of Renaissance repertoire and his main concern is an imaginative fidelity to musical and verbal text. Francis now lives at La Maison Verte in southern France where he runs courses advocating this approach; he also coaches groups throughout Europe and in the USA.

The opera 'Na s' was premiered on 22 April 1749 at the Académie royale in the Palais-Royal Paris in celebration of the signing of the so-called Treaty of Aachen. It was revived again in August 1764 shortly before Rameau's death and achieved great success as the 'opera of peace ' even though it did not appear in print during the composer's lifetime.In numerous arias Rameau provides his singers ample opportunity to shine while he reveals his orchestral mastery in particular in the chaconne and the various other ballets.The work appears here for the first time in a vocal score with a keyboard reduction. The reduction is by François Saint-Yves on the basis ofthe new critical edition by Pascal Denécheau which is part of Opera Omnia Rameau edited by Sylvie Bouissou.This edition is the result of a meticulous comparison of all known musical sources. In the main section it presents the version that Rameau approved for the performances of 1749. The appendix contains those passages that the composer cut during the rehearsals in 1749 and all changes that he undertook for the 1764 revival. Baroque opera in honour of the conciliation of Europe on the occasion of the Treaty of Aachen First practical performing edition with a keyboard reduction Based on the complete edition Opera Omnia Rameau (OOR)- Full score (BA8857) and vocal score (BA8857-90) available for sale- Performance material available for hire (BA8857-72)