Andre Thomas is one of our most venerated choral conductors and composers. Here he sets this text by American poet Langston Hughes for mixed voices with piano. Consider the work for Commencement or when celebrating American music month.

Pour fêter dignement les 45 ans de carrière (depuis la sortie en 1963 de Sans toi ma mie) et les 100 millions de disques vendus de part le monde (ce qui le classe parmis les 100 meilleurs vendeurs de disque au monde) voici la première compilation de ses grands succès. Profitant d'un album de Duos avec la crème de la scène française (Bénabar, Laurent Voulzy, Julien Doré, Renan Luce, Adrienne Pauly, Cali, Thomas Dutronc ou encore Juliette). Retrouvez les incontournables : `les filles du bord de mer`, `vous permettez monsieur`, `mes mains sur tes hanches` ou encore `la nui` ainsi que l'intégralité de l'album soit 18 titres. Toutes les partitions vérifiées ainsi que les accords guitare. / Variété / Partition /

This free swinging spiritual-like setting by Andr? Thomas is quite effective and has a very strong yet quite playable piano accompaniment.

Zelenka: Miserere in C minor ZWV 57 Breitkopf Urtext ed. by M. Hutzel und Thomas Kohlhase The Miserere in C minor ZWV 57 is one of the late works of the Bohemian composer Jan Dismas Zelenka. According to an entry in the autograph score, it was completed on 12 March 1738 and thus chronologically takes its place between the Missa Sanctissimae Trinitatis (1736) and the Missa votiva (1739). It was the only late work by Zelenka to be reprised in Dresden?s Hofkirche after his death. Zelenka's artistic personality, his biography and his compositional style are utterly distinctive. His style is highly experimental. Was Zelenka really one of the greatest composers of the 18th century, or only one of the most interesting? I think that he still has several surprises for us. (Schweizerische Musikzeitung) Zelenka's Masses - fine specimens of Baroque choral literature, some parts of which are set even more colorfully than in the corresponding compositions by Bach. (Die Welt)

The best in contemporary jazz from Europe. 430 pages of new, intriguing sounds from virtually every country in Europe. Available in C, Bb and Eb versions. Accurate, composer-approved charts plus sample bass lines, sample chord voicings, horn harmony lines, drum appendix, lyrics, and more! Over 100 of Europe's best jazz writers, including Claus Ogerman, Enrico Pieranunzi, Didier Lockwood, Amina Figarova, Victor Feldman, Nguyen Le, George Robert, Rene Thomas, Michel Petrucciani, Tim Garland, John Taylor, Philip Catherine, Richard Galliano, David Linx, Jesse van Ruller, Lars Jansson, Kenny Wheeler, Hendrik Meurkens, Enrico Rava, NHOP, Rosario Giuliani, Florian Ross, Antonio Farao, Ulf Wakenius, Joe Zawinul, Django Reinhardt, Barbara Dennerlein, Allan Holdsworth, Christian Jacob, Valery Ponomarev, Stefan Karlsson, Jacob Karlzon, Toots Thielmans, Bill Bruford, Niels Lan Doky, George Shearing, Bobo Stenson, Michiel Borstlap, Larry Vuckovich. / Ensemble Music, Instrumental Music / Recueil / Instruments en Mib

INSTRUMENTATION : FOR ORGAN ARRANGER : HASELBÖCK, MARTIN / SCHLEE, THOMAS DANIEL

As a work of historic interest of the period The March of the Women is an essential work.British composer Ethel Smyth was a prolific important composer of the late 19th and early 20th centuries. In 1910 she joined the Women’sSocial and Political Union for whom she wrote this anthem. It was taken up and sung everywhere including Holloway Prison where Smyth and other suffragettes had been imprisoned for breaking windows and other acts of politicaldisorder. When Sir Thomas Beecham visited her there he found the women marching around the inner yard and singing while Smyth directed the impromptu Chorus with her toothbrush.

COMPLETE EDITION WITH FULL COMMENTARY BY MARIJKE OOSTENKAMP AND BERNARD THOMAS 4 LIVRETS JACOB VAN EYCK'S DER FLUYTEN LUST-HOF IS THE EARLIEST SURVIVING COLLECTION OF MUSIC FOR RECORDER. IT IS ESSENTIAL REPERTOIRE FOR ALL RECORDER PLAYERS, AND PROVIDES IN EFFECT AN EXCELLENT HANDBOOK ON THE ART OF IMPROVISING VARIATIONS. TO UNDERSTAND THIS MUSIC, IT IS NECESSARY TO KNOW THE MELODIES USED BY VAN EYCK AND THE HARMONIES THAT WERE ASSOCIATED WITH THEM IN HIS DAY. TO THIS END, THE NEW DOLCE EDITION OF THE COLLECTION INCLUDES A COMMENTARY VOLUME THAT GIVES ORIGINAL VERSIONS FROM CONTEMPORARY SOURCES, WITH HARMONY (OR AT LEAST A BASS PART) THE LIST OF OTHER SURVIVING SETTINGS OF THE TUNES IS ALSO INVALUABLE IN DEVISING PROGRAMMES OR LECTURES.

Corpus Christi is an anonymous Middle English Carol first written down c.1500. It was re-worked as a carol for Soprano and Tenor Soloists with SATB chorus by Peter Walock (1894-1930) in 1919. It wasdedicated to Thomas Strong later Bishop of Oxford who had been Dean of Christ Church College during Warlock's brief time studying there and who is better known for encouraging William Walton's musicalcareer. While he is best remembered for his scandalous lifestyle and his large-scale Capriol Suite the Corpus Christi carol ranks alongside Bethlehem Down as one ofWarlock's most sensitive and beautiful creations.

Edition no.: BA10039-90ISMN: 9790006541447Editor: Dürr, Alfred / Freeman, Robert / Webster, JamesArranger: Eichhorn, JoachimLanguage(s) of work: German, EnglishLanguage(s) of text: German, EnglishProduct format: Piano reduction, Urtext editionBinding: StapledPages / Format: IV, 50 Seiten - 27,0 x 19,0 cm This cantata for the First Sunday after Trinity, first performed in 1726, is one of the most musically attractive compositions composed by Bach during his time as cantor at St. Thomas Church, Leipzig.In its alternating scoring for oboes, recorders and strings, the opulently-structured opening chorus describes the gesture of the breaking of bread. The arias and recitatives for the two soloists, alto and tenor show Bach at the peak of his compositional powers. The two-part cantata concludes with a simple chorus.- Urtext edition based on the New Bach Edition- Richly coloured scoring using recorders and oboes- Vocal score (Ger/Eng), foreword (Ger/Eng)1. Vorwort 2. Preface 3. 1. (Chorus) Break with hungry men thy bread 4. 2. Recitativo (Basso): The bounteous God 5. 3. Aria (Alto): One's creator while on earth yet 6. Second part: 7. 4. (Basso) To do good and share your blessings 8. 5. Aria (Soprano): Highest, my possessions 9. 6. Recitativo (Alto): How shall I then, O Lord 10. 7. Choral: Blessed those who through compassion

Par FOCCROULLE BERNARD. This piece is part of a composition cycle for ancient organs. It is meant for a soprano voice and a cornetto (cornet à bouquin), favorite instrument of the Renaissance music and of the early baroque period, often considered the closest to human voice. This piece was written for a meantone temperament (eight perfect thirds), which is also the temperament in which the cornetto naturally sounds the best. A slightly modified meantone temperament can also be suitable. Ideally, the organ should have two keyboards. However, a version for one keyboard should not be excluded. The indication of dynamics and registration are to be interpreted freely depending on the instrument, and of the balance with the voice. The organ switches between the resonance and soloist functions, almost always in duo with the cornetto. The organist will make sure not to cover the voice and instead will look to merge with it. The text comes from the Song of Songs. Music was often made from it and Monteverdi used it in a famous motet for tenor and basso continuo in Il Vespro della Beata Vergine. The premiere of Nigra Sum took place on September 16, 2012, on Thomas d'Orp-le-Grand's organ, an instrument inspired by the 17th Century Franco-Flemish craftsmanship. The artists were Alice Foccroulle, soprano, Lambert Colson, cornetto, and the composer at keyboards. / contemporain / Répertoire / Soprano, Cor et Orgue

Budmouth Dears is a composition by Martin Shaw which is a setting of a poem by Thomas Hardy. The work is scored for Unaccompanied Mixed Voice Choir (SSAATTBB).

Coffret hommage au chef d'orchestre tchèque Rafael Kubelik Fils du grand violoniste Jan Kubelík, il sera le directeur de la Philharmonie tchèque avant de prendre l?Orchestre symphonique de Chicago, puis la direction de Covent Garden à Londres, et sera jusqu?à sa disparition en 1996 l?invité régulier de la Philharmonie de Berlin comme de celle de Vienne. Dans les années 60, le catalogue symphonique de Deutsche Grammophon est à construire : si Karajan se voit confier les cycles Beethoven et Brahms, c?est à Kubelik qu?incombe la lourde tâche d?enregistrer ceux de Mahler, Dvorak et Schumann (son cycle Beethoven viendra plus tard). La présence régulière, encore aujourd?hui, de ses intégrales au catalogue est le meilleur gage d?une excellence qui défie le temps. Elles sont pour la première fois réunies dans un somptueux coffret de 23 CD en édition limitée qui ravira les mélomanes qui ne posséderaient déjà ces joyaux de l?histoire de disque.

Cette composition lente est magnifique et intense contient beaucoup de séquences mélodiques et est dédiée au Saint François ? un personnage dont l?histoire de vie impressionnait toujours le compositeur. Il avait déjà honoré François d?Assise dans plusieurs ?uvres tel qu?une composition pour cordes un oratorio une messe et un Laudate pour chorale et orchestre d?harmonie. Canzone di Francesco va créer un moment de méditation et de réflexion pendant votre concert mais est aussi convenable comme morceau d?échauffement pour travailler l?intonation le phrasé et la production du son.