Par JOUBERT JULIEN. Pour tout type de choeur, du choeur d'école élémentaire jusqu'à la chorale d'adultes (lecteurs ou non). La voix principale peut être chantée à partir de 8 ans. En fonction du niveau des choristes, on peut ajouter ou non les contre-chants et voix intermédiaires. Durée : 1 heure environ/ Répertoire / Voix principale / Piano

Par PART ARVO. 'In principio' takes its words from the Gospel of John 1:1-14 and puts them into a five-movement form. This work, as in all of Pärt's music, is governed by a strict formal design, with the clarity of the musical structure corresponding to that of the Latin text. The first movement (vv. 1-5) and the fifth (v. 14) are limited to two opposing formal elements: a static, syllabically articulated A-minor chord, and its timbral and tonal opposite, a fanfare-like figure that expands with each new section, growing in loudness and returning to its beginning after traversing all twelve keys. The second movement (vv. 6-8), devoted to John the Baptist, is conceived as a powerfully moving single-voice monody. The central third movement (vv. 9-11) is not only the longest but the one whose message Pärt specially emphasised by repeating the words three times - something he had never done before in his vocal music. He evidently did so to send a signal directly to each and every one of us. The fourth movement (vv. 12-13) seems to begin ex nihilo, growing slowly but with an ineluctable pulse in a mighty procession. The fifth movement (v. 14) constitutes, in combination with the first, the formal and expressive frame of the composition, albeit in mirror reflection. If the chorus in the first movement statically pulsates while the orchestra proceeds dynamically through the circle of keys, these roles are reversed in the fifth movement. Thus, the expanding thrust given to the orchestra in the opening movement is now focused entirely on the text of the chorus. (Wolfgang Sander, translation by J. Bradford Robinson)/ Répertoire / Chœur Mixte [SATB] et Orchestre

This advanced piece by Erika Lloyd and Vince Peterson is included in the Chanticleer Choral Series edited by Matthew D. Oltman. It is sure to become a favorite of both the choir and audience once learned and is loads of fun!

(Du Film Peau D'âne)-Michel Legrand's Les Rêves Secrets D?Un Prince Et D?Une Princesse (from the film 'Peau D?Ane') for Voice and Piano.

A set of three show pieces for advanced treble chorus: Evening by Emily Dickenson Afternoon On A Hill by Edna St. Vincent Millay and Stars Over Snow by Sara Teasdale

Canadian composer Eleanor Daly is widely known in America and represented by a number of publishing houses. As is always the case her works are well-crafted elegant and true to the text. This is no exception. There are numerous settings of this text available distinctive to this arrangement is the variety of textures the colorful harmonic language and simple counterpoint. Try it for your lessons and carols.

Spiritual-Composer Mark Butler has a truly distinctive musical style in setting spirituals. This traditional work is scored for advanced chorus (a cappella) with alto solo. The rhythmic energy is quite captivating and overall this piece is a sure winner for college and university choirs.

Dans une contrée lointaine de sable et de soleil, ils racontent une histoire d'une lampe magique, un génie, un sorcier maléfique, une princesse et un garçon de la rue pauvres dont les destins se croisent 'Neath les étoiles d'une nuit d'Arabie. Partagez la magie de ce conte intemporel dans un medley spectaculaire Aladdin de Walt Disney. Chansons comprennent Mille et Une Nuits, une longueur d'avance, Friend Like Me, le prince Ali, A Whole New World. Disponible: SATB, SAB, 2-Partie, ShowTrax CD. Temps de Performance: Env. 08:15. / Rép International / Feuillet / Chant et Piano

Une formidable collection de 95 hits vintage de 1955 par l'intermédiaire de 1968 arrangé pour voix et piano avec boîtes de corde de guitare. Inclut à the Hop, Barbara Ann, fille de Bobby, attraper une vague, dentelle de Chantilly, Dream Lover, duc de Earl, Earth Angel, Great Balls of Fire, Louie Louie, Peggy Sue, Rock Around the Clock, Ruby Baby, Runaway, (sept petites filles) assis sur la banquette arrière, crier, rester, U.S.A. Surfine, Venus, Wild Thing, Bully laineux et plus encore./ Recueil / Piano, Chant et Guitare

Cyrus Nusbaum one of the most outstanding evangelists of his time wrote these words at a time when economic need forced him to surrender to the will of God. First published in 1899 this hymn has inspired the gospel crowd ever since. This arrangement by Mark Hayes features moments of improvisation for the keyboard as one would expect from this composer who has taught this art for so many years.

27-year-old Mary Dana to express her grief at the recent deaths of her husband brother wrote the words and music sister and infant son. Since then it has been used in funeral processions and even crossed over into blues and folk music. Contemporary composer John Carter was the ideal musical talent to arrange this hymn for a medium-easy choral group.

It is not always easy to find a piece specifically about Joseph since the many Marian texts tend to over shadow 'the earthly father'. Nonetheless Robert Lau smartly arranged this lovely melody and text for SAB voices and piano. The piece might be just the thing for your lessons and carols.

This is thirty minutes of grand and glorious music befitting the birth of the Son of God. Optional brass or orchestra parts available.Included In Cantata:1. Glory Be To God On High.2. The Incarnation.3. Love Came Down At Christmas.4. In The Beginning Was The Word.5. That Virgins Child.6. Exult O Morning Stars A Flame.7. See See The Word Is Incarnate.Instrumentations available: full orchestra (HMB220a) brass organ &timpani (HMB220b) organ version (a usable reduction for organ isprovided in the vocal score. This reduction is suitable only for organsolo and should not be used with the other versions that providetheir own parts. When performed as an organ solo the opening fanfaremay be adapted or omitted.Recording available: Christmastide (HS268cd)

Les chansons de ce recueil proviennent pour la quasi-totalité de collectes réalisées par les acteurs du monde associatif inscrit dans le réseau de la Fédération des Associations de Musiques et Danses Traditionnelles (FAMDT). À l?invitation de Justin Bonnet, coordinateur de cette édition, les documentalistes des associations implantées dans les différentes régions de France ont fourni une sélection de chansons issues de leur territoire. Les critères étaient assez lâches : représentativité ou rareté du thème, chanson remarquable par son interprétation? Toutes ces chansons ont été ensuite proposées aux compositeurs retenus pour cette édition qui ont fait leur marché dans cette sélection ! Il en ressort au final 23 chansons présentées ici dans des arrangements variés (principalement pour 3 voix mixtes), retenues plutôt sur des critères esthétiques que de représentativité des différentes régions de France. La musique a primé ! Ont ainsi contribué au projet Chansons traditionnelles pour aujourd?hui, des associations ou entités inscrites dans le réseau de la FAMDT (www.famdt.com). Un certain nombre d?entre elles disposent d?un catalogue en ligne sur lequel il est possible de consulter les archives sonores en provenance de leur région (cf. références dans la préface du livre)./ Recueil / Choeur