Par SUZUKI SHINICHI. The first classical Organ method for children, the Suzuki Organ School is based on Dr. Shinichi Suzuki's Mother Tongue Method. The Suzuki Method® of Talent Education is based on Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Organ School . The student listens to the recordings and work with their Suzuki organ teacher to develop their potential as a musician and as a person. This Suzuki Book and CD is essential for Suzuki Organ lessons. In certain pieces, the authors have placed small phonetic signs above the notes to indicate differentiated non legato playing. In order to develop pedal technique, pedal melodies are included between every manual piece. The included performance CD for Volume 1 is a great tool for Suzuki Organ lessons, encouraging practice while featuring recordings by Lars Hagström. Titles: 'A Little Fairytale' (Rönnberg), 'Allegretto' (Czerny), 'Amaryllis' (Ghys), 'Chant Arabe' (Anonymous), 'Cuckoo' (German Folk Song), 'Go Tell Aunt Rhody' (Folk Song), 'Gossip Tune' (German Folk Song), 'Herdsman's Song' (Danish Folk Song), 'Hippopotamus' (Rönnberg), 'Hot Dog' (English Folk Song), 'Lightly Row' (German Folk Song), 'Little Playmates' (Chwatal), 'Little Snail' (Traditional), 'London Bridge' (English Folk Song), 'Lullaby' (German Folk Song), 'Mary Had a Little Lamb' (Folk Song), 'My School Day' (Folk Song), 'Paris' (French Folk Song), 'Piglet' (G. Rönnberg, 'Song of the Wind' (Folk Song), 'Spain' (Traditional), 'The Fly' (Traditional), 'The Musical Box' (Rönnberg), 'Twinkle, Twinkle, Little Star Theme and Variations' (Suzuki). 'Allegretto,' 'Go Tell Aunt Rhody,' and 'Lullaby' are National Federation of Music Clubs Festivals Bulletin 2016--2020 selections. The first classical Organ method for children, the Suzuki Organ School is based on Dr. Shinichi Suzuki's Mother Tongue Method. The Suzuki Method® of Talent Education is based on Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Organ School . The student listens to the recordings and work with their Suzuki organ teacher to develop their potential as a musician and as a person. This Suzuki Book and CD is essential for Suzuki Organ lessons. In certain pieces, the authors have placed small phonetic signs above the notes to indicate differentiated non legato playing. In order to develop pedal technique, pedal melodies are included between every manual piece. The included performance CD for Volume 1 is a great tool for Suzuki Organ lessons, encouraging practice while featuring recordings by Lars Hagström. / Méthode / Méthode / Orgue

Hawkes Pocket Scores HPS 1562-Britten?s arrangements of Schubert?s The Trout (op 32/ D550) for small orchestra and Schumann?s Spring Night (op 39 no 12) for chamber orchestra dating from 1942 are settings of anonymous English translations. The new edition includes the original German words (Schubart Eichendorff) as many performers and audiences will prefer the songs in the original language. In his preface Nicholas Clark Librarian at the Britten-Pears Foundation speculates on why the songs were set in English and on the possibility that the translator was Peter Pears commenting that ?the English language settings allowed [Britten] to edge away from existing versions of the songs toassist him in imprinting his own unique mark on both worksThe Trout is scored for 2 clarinets & strings; Spring Night for flute oboe 2 clarinets bassoon 2 horns 2 trumpets trombone triangle harp (or piano) and strings.

An anonymous English text is the basis for this buoyant concert or Christmas work. Featuring mixed meters and contemporary harmonies this work provides both challenges and rewards to the singers. Performance Time: Approx. 3:10.

Based on an old Dutch melody printed by Adrianus Valerius in Nederlandtsche Gedenck-clank Harlem 1626 Prayer Of Thanksgiving has been arranged here by Eduard Kremser for SATB choir with Piano accompaniment.The English verison is by Dr. Th. Baker.

For Tenor, Alto, Three Female Voices et Piano. Par JANACEK LEOS. Janacek's intimate chamber-music drama about the passionate love of a simple farm boy for a beautiful gypsy girl is one of his great vocal masterpieces. This cycle of 22 songs for tenor (an alto and three female voices/female choir SSA are added in three numbers) was composed on a setting of poems that were published anonymously. It was not until 80 years later that their author was identified as the regional poet and writer Ozef Kalda. The cycle also contains theatrical elements, such as the alto entrance and exit cues and lighting effects. Composed in 1917-19, the Diary was premiered in Brno in 1921 from a manuscript prepared by Gustav Homola. The same manuscript served as abasis for the first edition which was issued by the Brno publisher Oldrich Pazdirek in 1921 as well as for this current first Urtext edition. Janácek ’s intimate chamber-music drama about the passionate love of a simple farm boy for a beautiful gypsy girl is one of his great vocal masterpieces. This cycle of 22 songs for tenor (an alto and three female voices are added in three numbers) was composed on a setting of poems that were published anonymously. It was not until 80 years later that their author was identified as the regional poet and writer Ozef Kalda. The cycle also contains theatrical elements, such as the alto entrance and exit cues and lighting effects. Composed in 1917-19, the “Diary” was premièred in Brno in 1921 from a manuscript prepared by Gustav Homola. The same manuscriptserved as a basis for the first edition which was issued by the Brno publisher Oldrich Pazdírek in 1921 as well as for this current first Urtext edition. First Urtext edition with a detailed Foreword (Cz/Eng/Ger) and Critical Commentary (Eng) by the editor Singing translations in German (by Max Brod) and English (by Bernard Keefe) Numbers IX to XI which include the alto and three female voices also available online / Niveau : 4 / Répertoire / Ténor, Alto, 3 Voix de Femme et Piano

A proven source of graded duets for both the student and teacher of brass and woodwind instruments. Each volume contains works from the Renaissance, Baroque and Classical periods, folk songs and traditional tunes, and a selection of original compositions by Keith Snell in a variety of styles. A useful source of repertoire. Contains: Allegro (Handel) * Andante (Telemann) * Andantino (Diabelli) * Appalachian Folk Song (American Traditional) * Aria (Speer) * Ballad (Tennessee Folk Tune) (Traditional) * Chorale (Speer) * Concert Duet in Four Movements (Snell) * Elizabethan Dance (Farnaby) * Etude (Snell) * Gavotte (Handel) * March (Anonymous) * March from Judas Maccabeus (Handel) * Minuet (Handel) * Mourish Dance (Susato) * Musette from English Suite No. 2 (Bach) * New England Chanty (American Traditional) * Old Tin Cans (American Folk Song) * Processional (Snell) * Renaissance Dance (Anonymous) * Ronde (Susato) * Toccata (Snell) * Waltz (Snell) * Wildwood Flower (American Folk Song).

The Welsh traditional song Suo Gân is here arranged for SATB Chorus and Organ Accompaniment by Stephen Cleobury. Written by an anonymous composer, in Welsh it literally means 'Lullaby'. This beautiful arrangement is sure to be a favourite with audiences and choirs alike. It features lyrics in both English and Welsh.This traditional Welsh song has been a favourite within the repertoire for many years, after having been first documented by folklorist Robert Bryan. With versions sung by Charlotte Church, Katherine Jenkins and the Choir of King's College, Cambridge, Suo Gân is one of the most recognisable and well-loved tunes in the Welsh and English repertoire. This new arrangement by Stephen Cleobury will be a welcome addition to any choir's performance, with the combination of such a new take on an established classic with simple beautiful music. / Choeur Mixte (SATB) Et Orgue

The Welsh traditional song Suo G n is here arranged for SATB Chorus and Organ Accompaniment by Stephen Cleobury. Written by an anonymous composer in Welsh it literally means 'Lullaby'. This beautiful arrangement is sure to be a favourite with audiences and choirs alike. It features lyrics in both English and Welsh. This traditional Welsh song has been a favourite within the repertoire for many years after having been first documented by folklorist Robert Bryan. With versions sung by Charlotte Church Katherine Jenkins and the Choir of King's College Cambridge  Suo G n is one of the most recognisable andwell-loved tunes in the Welsh and English repertoire. This new arrangement by Stephen Cleobury will be a welcome addition to any choir's performance with the combination of such a new take on an established classic with simple beautiful music.

Une anthologie de quatre siècles en dix volumes. Edité par Robin Langley / Orgue / niveau : Intermédiaire / Avancé / Partition

A terrific song in D flat completed in 1908 by the great English vocal composer Roger Quilter. He was inspired by a 16th Century traditional text by an anonymous poet which he has set to music for Voice and Piano creating an evocative and stirring work.

Here is a setting of the anonymous 16th-century Spanish carol with a secular English text. Available: 2-Part 3-Part Mixed. Performance Time: Approx. 2:00.

For Solo Voice and Piano.There are various versions of this anonymous ballad that has its own traditionalmelody. Berkeley provided a folk-like setting in this song for Sophie Wyss (1897-1983) the Swiss sopranoliving in England who gave important premieres of Britten.Wyss and Berkeley gave the first performance in a BBC broadcast on 13 July 1947.He had already dedicated ‘Tant que mes yeux’ Op. 14 No.2/6 to her and withhimshe gave the first performance of that song as well as ‘Ode du premier jour de mai’ Op. 14 No.2/7 at the Fyvie Hall London on 20 February 1945. Those two songswere published performed and recorded but ‘The LowLands of Holland’ has beenneglected. It comes as close as Berkeley ever got to the English folk song tradition.This edition is based on the copyist’s score at the British Library and includes thecorrections thecomposer provided with it.

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)

Andrew Cusworth's Adam Lay Ibounden is a work for Unaccompanied SAB Choir a setting of an anonymous 15th century English text. A performance lasts around 1 and a half minutes. This short setting of a well-known text is only 34 bars long but is nevertheless an attractive piece for choirs of sopranos altos and baritones. Each voice is allocated the tune which provides an effective setting appropriate to sing after the traditional first lesson at a service of Nine Lessons and Carols. - Sunday by Sunday

An anonymous 15th century English text forms the lyric framework for this stirring work that features mixed meters and bold melodic lines. Very much in the mainstream of the British choral tradition this short accompanied piecemakes a fine concert opener. Duration: ca. 1:30