Nos Autem

Nunc autem manet was written for the wedding of Paul and Angharad de Cates in 2010. The text is taken from Corinthians 13:13 – ‘Now but three things remain: faith hope love. But of these three the greatest – this is love.’ The piece reveals the three fundamental tenets of Christian life with contrasting austere and lush harmonies and brief contrapuntal episodes ending with a gently pulsing chord-shift on the word ‘caritas’ over which the well-known plainsong melody ‘ubi caritas’ can be heard.The Novello New Choral Series is an inspiring selection of new works from a range of contemporarycomposers offering 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. This collection is perfect for choirs looking to broaden their repertoire and explore some of the best new music around.Born in 1963 John Duggan was a chorister at Westminster Cathedral and studied music at Oxford. Whilst still a boy he dreamed of writing in the choral tradition of Victoria Tallis and Palestrina. His vocal music has delighted both singers and audiences across Europe and the USA. He has written for a number of choirs including Commotio Westminster Cathedral Choir the Hildegard Choir and Sospiri and has received commissions from the Edington Music Festival Crossover Intergenerational Dance Group Oxford Youth Dance and The Oxford-Grenoble Association. He composers regularly for film and dance and performs as a singer and choral director whilst working as a recording engineer and producer.

10 reproducible choral works for a cappella tenor and baritone voices.Contents include: 'Come Ye Sons Of Art' 'In Flanders Fields' 'Keep Your Lamps Trimmed And Burning' 'Bethlehem Lullaby' 'Inimici Autem' 'Star Of Wonder' 'Wayfaring Stranger' 'Ding-a Ding-A Ding' 'Ning Wendete' and 'So Take This Song Of Joy'.

Dona nobis Pacem (Donne nous la paix) est un extrait de l'Agnus Dei de la messe catholique romaine, Cette phrase a été mise en musique de nombreuses fois dans l'histoire de la musique vocale, Bruno Rossignol l'inclut dans la série de ses oeuvres sacrées qui comprend : Stabat Mater, Salve Regina, Ave verum, Exurgens autem Maria, / Choeur Mixte

Chants libres est le fruit d?une longue recherche historique et musicologique permettant de mieux comprendre les mutations survenues dans le jazz et la musique improvisée en France durant les quarante dernières années. Si l?influence du free jazz américain est désignée, par la voix d?Ornette Coleman entre autres, comme un facteur prépondérant de renouveau et de libération de la musique, le contexte socio-historique européen permet aussi de cerner le désir profond de toute une génération de musiciens de s?affranchir de la tutelle du jazz noir.

Jef Gilson, Jean-Louis Chautemps ou François Tusques sont parmi les premiers à tenter l?aventure libertaire qui culminera, non sans excès ni impasses, au tournant des années soixante-dix. Ce sera alors l?éclosion des collectifs (Dharma, Perception, Cohelmec...) et avec eux la recherche d?une affirmation plus structurée de la liberté.

L?ouvrage de Vincent Cotro s?appuie sur une documentation importante et met en avant la parole des musiciens, à l?époque du free jazz comme aujourd?hui, grâce à de nombreux entretiens. L?étude musicale prend en compte les disques publiés ou, dans certains cas, les archives sonores et s?efforce de situer chaque production dans son contexte.

Le lecteur non musicien ou spécialiste (nombreuses transcriptions) prend conscience d?une expression musicale forte et authentique, mais aussi rigoureuse et variée. Si Michel Portal ou Joachim Kühn sont aujourd?hui des acteurs reconnus de ce mouvement musical, d?autres méritent amplement d?être redécouverts (Beb Guérin, les frères Méchali ou Villarroel...).Chants libres est abondamment illustré et propose de nombreuses annexes (groupes et musiciens en concerts, discographie, bibliographie détaillée, glossaire, index...). / Livre / Agrafé /

for SATB unaccompanied A surging choral work with distinct punctuated vocal lines often with a leading tenor part.

Dritter Teil: Nr. 1-120, vierter Teil: Nr. 121-294. / Recueil / Voix, Instruments

In addition to his world-famous film scores ('Godfather', 'La dolce vita'), Nino Rota also composed chamber and vocal music, with choral music playing a prominent role. The three choral pieces selected for this edition show Rota's characteristic melody and romantic harmony. Thanks to the low level of difficulty, even amateur choirs are able to sing the impressive pieces of the Italian master. / Choeur A Cappella

Le texte de la Visitation, tiré de l'Evangile selon Saint Luc (1, 39-45) narre l'épisode de la rencontre de Marie, enceinte de Jésus, et de sa cousine Elisabeth, elle-même enceinte de Jean-Baptiste,La salutation de Marie fait tressaillir l'enfant que porte Elisabeth et l'emplit du Saint-Esprit, Fêté le 31 mai dans le calendrier catholique, cet événement donne lieu en 2014 à une manifestation d'envergure au coeur de la célébration du 900ème anniversaire de l'Abbaye de Pontigny dans l'Yonne (France), moment dans lequel cette oeuvre s'inscrit en création, / Choeur Mixte

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