MUSIQUE FRANCAISE POUR CHOEUR MIXTE réunit une sélection des plus belles oeuvres originales pour choeur de compositeurs français et de superbes arrangements de quelques-unes des plus sublimes mélodies françaises.Ce volume qui conviendra aux choeurs de toutes tailles et de tous niveaux comprend des compositions originales de Hector Berlioz, Gabriel Fauré, Reynaldo Hahn et Camille Saint-Saëns. On trouvera également d'élégants arrangements de mélodies, dont le Baïlèro de Joseph Canteloube, Beau soir et Nuit d' étoiles de Claude Debussy, À Chloris de Reynaldo Hahn, Deux Prières de Darius Milhaud, Nos souvenirs qui chantent de Francis Poulenc, Chanson française de Maurice Ravel et le Choral inappétissant d'Erik Satie. / Choeur SATB

Beginning with a march-like cadence and hushed choral opening, this anthem soon builds to a triumphant celebration of Christmas. The message to 'Be not afraid' because of the birth of Christ has resonated for centuries, and is presented in a fresh manner in this offering. / Choeur Mixte (SATB)

'LULLABY' Cette pie?ce modale a e?te? compose?e pour le 'Choeur Artie Shaw', ensemble vocal de jazz Franc?ais, Elle figure sur le premier album de cette formation 'Jasons Jazz' paru en 1994,(dure?e : environ 6', niveau de difficulte? : 4/8), / Jazz

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)

Tonalité : Es-Dur - Xxvc:8. Par HAYDN FRANZ JOSEF. Em Pianoehlungen: Kammerchor - Em Pianoehlungen von Frieder Bernius - Gattungen: Weltliche Chorsätze - Verwendung / Anlässe: L Hautbois und Dank - Langue : Allemand/ Répertoire / Choeur SATB et Piano

Tonalité : E-Dur - Xxxvc:9. Par HAYDN FRANZ JOSEF. Em Pianoehlungen: Kammerchor - Em Pianoehlungen von Frieder Bernius - Gattungen: Weltliche Chorsätze - Verwendung / Anlässe: Morgen, Mittag, Abend - Langue : Allemand/ Répertoire / Choeur SATB et Piano

Tonalité : A-Dur -. Par HAYDN FRANZ JOSEF. Em Pianoehlungen: Kammerchor - Em Pianoehlungen von Frieder Bernius - Gattungen: Weltliche Chorsätze - Langue : Allemand/ Répertoire / Choeur SATB et Piano

Tonalité : A-Dur -. Par HAYDN FRANZ JOSEF. Em Pianoehlungen: Kammerchor - Em Pianoehlungen von Frieder Bernius - Gattungen: Weltliche Chorsätze - Langue : Allemand/ Répertoire / Choeur SATB et Piano

Using Chopin's “Prelude in C minor Op. 28 No. 20” as an opening dirge this SATB anthem effectively paints the pained walk to the cross on Golgotha. Offering an optional short intro that still captures the somber andhaunting imagery the women's voices enter with an ethereal straight tone that the men layer upon dramatically. This humbling piece is ideal for Good Friday as the profound theme will linger in worshippers' minds as they leave theservice to contemplate the cross.

Here’s a fresh arrangement of the national anthem that is spot on for contemporary a cappella singers! A cool combination of the traditional and the creative this unique setting is sure to inspire and impress. Perform at concerts assemblies games and events. Scattered divisi in all voice parts sharpens the fresh sonorities.

Tonalité : E-Moll - S 51. Par LISZT FRANZ. Gattungen: Kirchenlieder, Sätze - Verwendung / Anlässe: Frieden und Gerechtigkeit - Langue : Allemand / Hymnes et chorals / Répertoire / Choeur SATB et Orgue

'Connaissez-vous Dynam-Victor FUMET ? Il fut un organiste comme il n'y en a guère dans tout un siècle. Disciple de Franck, il avait d'autre part reçu en héritage un don d'improvisation qui confinait au génie. Tout jeune, je l'ai entendu une seule fois à l'orgue de Sainte-Anne-de-la-Maison-Blanche dont il était le titulaire. Je reçus ce jour-là une des plus foudroyantes émotions de ma vie. Etre pris, vous savez ce que cela signifie ? Pris, aspiré comme par un maelström, vidé de toute substance personnelle, mais traversé en retour par un fleuve de feu qui me ravissait en me brûlant. Tous ceux qui ont entendu Fumet ont éprouvé des impressions analogues à la mienne. Son nom ne s'est jamais effacé de ma mémoire'. Ainsi s'exprimait le célèbre critique Bernard GAVOTY dans 'MUSICA? de 1969. / Choeur Mixte (SATB) Et Orgue

Par SCHUBERT FRANZ. Em Pianoehlungen: Kammerchor - Em Pianoehlungen von Frieder Bernius - Gattungen: Weltliche Chorsätze -/ Répertoire / Choeur Mixte

Par HUMPERDINCK ENGELBERT. Em Pianoehlungen: Kammerchor - Em Pianoehlungen von Frieder Bernius - Gattungen: Weltliche Chorsätze - Langue : Allemand/ Répertoire / Choeur SATB