SKU: PR.362034230
ISBN 9781598069556. UPC: 680160624225. Letter inches. English.
When the Texas Choral Consort asked Welcher to write a short prologue to Haydn's The Creation, his first reaction was that Haydn already presents Chaos in his introductory movement. As he thought about it, Welcher began envisioning a truer void to precede Haydn's depiction of Chaos within the scope of 18th-century classical style - quoting some of Haydn's themes and showing human voices and inhuman sounds in a kind of pre-creation melange of color, mood, and atmosphere. Welcher accepted this challenge with the proviso that his prologue would lead directly into Haydn's masterpiece without stopping, and certainly without applause in between. Scored for mixed chorus and Haydn's instrumentation, Without Form and Void is a dramatically fresh yet pragmatic enhancement to deepen any performance of Haydn's The Creation. Orchestral score and parts are available on rental.When Brent Baldwin asked me to consider writing a short prologue to THE CREATION, my first response was “Why?â€Â THE CREATION already contains a prologue; it’s called “Representation of Chaosâ€, and it’s Haydn’s way of showing the formless universe. How could a new piece do anything but get in the way? But the more I thought about it, the more it made sense. The Age of Enlightenment’s idea of “Chaos†was just extended chromaticism, no more than Bach used (in fact, Bach went further).Perhaps there might be a way to use the full resources of the modern orchestra (or at least, a Haydn-sized orchestra) and the modern chorus to really present a cosmic soup of unborn musical atoms, just waiting for Haydn’s sure touch to animate them. Perhaps it could even quote some of Haydn’s themes before he knew them himself, and also show human voices and inhuman sounds in a kind of pre-creation mélange of color, mood, and atmosphere. So I accepted the challenge, with the proviso that my new piece not be treated as some kind of “overtureâ€, but would instead be allowed to lead directly into Haydn’s masterpiece without stopping, and certainly without applause. I crafted this five minute piece to begin with a kind of “music of the spheres†universe-hum, created by tuned wine glasses and violin harmonics. The chorus enters very soon after, with the opening words of Genesis whispered simultaneously in as many languages as can be found in a chorus. The first two minutes of my work are all about unborn human voices and unfocused planetary sounds, gradually becoming more and more “coherent†until we finally hear actual pitches, melodies, and words. Three of Haydn’s melodies will be heard, to be specific, but not in the way he will present them an hour from now. It’s almost as if we are listening inside the womb of the universe, looking for a faint heartbeat of worlds, animals, and people to come. At the end of the piece, the chorus finally finds its voice with a single word: “God!â€, and the orchestra finally finds its own pulse as well. The unstoppable desire for birth must now be answered, and it is----by Haydn’s marvelous oratorio. I am not a religious man in any traditional sense. Neither was Haydn, nor Mozart, nor Beethoven. But all of them, as well as I, share in what is now called a humanistic view of how things came to be, how life in its many forms developed on this planet, and how Man became the recorder of history. The gospel according to John begins with a parody of Genesis: “In the beginning was the Word, and the Word was with God, and the Word was God.â€Â  I love that phrase, and it’s in that spirit that I offer my humble “opener†to the finest work of one of the greatest composers Western music has ever known. My piece is not supposed to sound like Haydn. It’s supposed to sound like a giant palette, on which a composer in 1798 might find more outrageous colors than his era would permit…but which, I hope, he would have been delighted to hear.
SKU: PR.312419280
ISBN 9781491137925. UPC: 680160692613.
Terra Nostra focuses on the relationship between our planet and mankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. The oratorio is divided into three parts:Part I: Creation of the World celebrates the birth and beauty of our planet. The oratorio begins with creation myths from India, North America, and Egypt that are integrated into the opening lines of Genesis from the Old Testament. The music surges forth from these creation stories into “God’s World” by Edna St. Vincent Millay, which describes the world in exuberant and vivid detail. Percy Bysshe Shelley’s “On thine own child” praises Mother Earth for her role bringing forth all life, while Walt Whitman sings a love song to the planet in “Smile O voluptuous cool-breathed earth!” Part I ends with “A Blade of Grass” in which Whitman muses how our planet has been spinning in the heavens for a very long time.Part II: The Rise of Humanity examines the achievements of mankind, particularly since the dawn of the Industrial Age. Lord Alfred Tennyson’s “Locksley Hall” sets an auspicious tone that mankind is on the verge of great discoveries. This is followed in short order by Charles Mackay’s “Railways 1846,” William Ernest Henley’s “A Song of Speed,” and John Gillespie Magee, Jr.’s “High Flight,” each of which celebrates a new milestone in technological achievement. In “Binsey Poplars,” Gerard Manley Hopkins takes note of the effect that these advances are having on the planet, with trees being brought down and landscapes forever changed. Percy Bysshe Shelley’s “A Dirge” concludes Part II with a warning that the planet is beginning to sound a grave alarm.Part III: Searching for Balance questions how we can create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. Three texts continue the earth’s plea that ended the previous section: Lord Byron’s “Darkness” speaks of a natural disaster (a volcano) that has blotted out the sun from humanity and the panic that ensues; contemporary poet Esther Iverem’s “Earth Screaming” gives voice to the modern issues of our changing climate; and William Wordsworth’s “The World Is Too Much With Us” warns us that we are almost out of time to change our course. Contemporary/agrarian poet Wendell Berry’s “The Want of Peace” speaks to us at the climax of the oratorio, reminding us that we can find harmony with the planet if we choose to live more simply, and to recall that we ourselves came from the earth. Two Walt Whitman texts (“A Child said, What is the grass?” and “There was a child went forth every day”) echo Berry’s thoughts, reminding us that we are of the earth, as is everything that we see on our planet. The oratorio concludes with a reprise of Whitman’s “A Blade of Grass” from Part I, this time interspersed with an additional Whitman text that sublimely states, “I bequeath myself to the dirt to grow from the grass I love…”My hope in writing this oratorio is to invite audience members to consider how we interact with our planet, and what we can each personally do to keep the planet going for future generations. We are the only stewards Earth has; what can we each do to leave her in better shape than we found her?
SKU: PR.312419020
ISBN 9781491131862. UPC: 680160680474. 6.875 x 10.5 inches. English.
Commissioned by the San Francisco Choral Society and the Piedmont East Bay Children’s Choir, Terra Nostra is a 70-minute oratorio on the relationship between our planet and humankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. Part I: Creation of the World explores various creation myths from different cultures, culminating in a joyous celebration of the beauty of our planet. Part II: The Rise of Humanity examines human achievements, particularly since the dawn of our Industrial Age, and how these achievements have impacted the planet. Part III: Searching for Balance questions how to create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. In addition to the complete oratorio, stand-alone movements for mixed chorus, and for solo voice with piano, are also available separately.Terra Nostra focuses on the relationship between our planet and mankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. The oratorio is divided into three parts:Part I: Creation of the World celebrates the birth and beauty of our planet. The oratorio begins with creation myths from India, North America, and Egypt that are integrated into the opening lines of Genesis from the Old Testament. The music surges forth from these creation stories into “God’s World†by Edna St. Vincent Millay, which describes the world in exuberant and vivid detail. Percy Bysshe Shelley’s “On thine own child†praises Mother Earth for her role bringing forth all life, while Walt Whitman sings a love song to the planet in “Smile O voluptuous cool-breathed earth!†Part I ends with “A Blade of Grass†in which Whitman muses how our planet has been spinning in the heavens for a very long time.Part II: The Rise of Humanity examines the achievements of mankind, particularly since the dawn of the Industrial Age. Lord Alfred Tennyson’s “Locksley Hall†sets an auspicious tone that mankind is on the verge of great discoveries. This is followed in short order by Charles Mackay’s “Railways 1846,†William Ernest Henley’s “A Song of Speed,†and John Gillespie Magee, Jr.’s “High Flight,†each of which celebrates a new milestone in technological achievement. In “Binsey Poplars,†Gerard Manley Hopkins takes note of the effect that these advances are having on the planet, with trees being brought down and landscapes forever changed. Percy Bysshe Shelley’s “A Dirge†concludes Part II with a warning that the planet is beginning to sound a grave alarm.Part III: Searching for Balance questions how we can create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. Three texts continue the earth’s plea that ended the previous section: Lord Byron’s “Darkness†speaks of a natural disaster (a volcano) that has blotted out the sun from humanity and the panic that ensues; contemporary poet Esther Iverem’s “Earth Screaming†gives voice to the modern issues of our changing climate; and William Wordsworth’s “The World Is Too Much With Us†warns us that we are almost out of time to change our course. Contemporary/agrarian poet Wendell Berry’s “The Want of Peace†speaks to us at the climax of the oratorio, reminding us that we can find harmony with the planet if we choose to live more simply, and to recall that we ourselves came from the earth. Two Walt Whitman texts (“A Child said, What is the grass?†and “There was a child went forth every dayâ€) echo Berry’s thoughts, reminding us that we are of the earth, as is everything that we see on our planet. The oratorio concludes with a reprise of Whitman’s “A Blade of Grass†from Part I, this time interspersed with an additional Whitman text that sublimely states, “I bequeath myself to the dirt to grow from the grass I love…â€My hope in writing this oratorio is to invite audience members to consider how we interact with our planet, and what we can each personally do to keep the planet going for future generations. We are the only stewards Earth has; what can we each do to leave her in better shape than we found her?
SKU: GI.G-9002
UPC: 785147900207. English. Text by Delores Dufner.
Though intended for Communion, each setting has its own theme, making them suitable at other times—whether in praise of the risen Christ, as a song to answer Christ’s invitation to the banquet, or when we gather in his name and then go forth to share his life with the world. While scored for SATB voices, the settings are versatile enough for use by cantor and assembly or by smaller, unison choirs. The accompaniments work well on organ, piano, or guitar. Contents: Alleluia, Alleluia, Praise the Risen Son!, Happy Are All Who Are Called to the Feast and Where Two or More Have Come.
SKU: CR.984387
ISBN 9780758672841. 7 X 10.25 inches.
This piece by Benjamin M. Culli paints a beautiful image of heaven. Arranged for SATB and piano, Culli treats the text with a lyrical tune and supportive piano accompaniment. The piece builds and modulates in the middle section, then finishes quietly in the original key. A moving selection for All Saints' Day.
A rest remains for all the weary;Arise, sad heart, and grieve no more;Though long the way, and dark and dreary,It opens to the golden shore.Before His throne the Lamb will lead you,On heav'nly pastures He will feed you,Cast off your burden, come with haste;Soon toil and strife will be unraveled,The weary way that you have traveled,Sweet is the rest that you will taste.
The Father's house has many a dwelling,And there for you a place will be.With perfect love His heart is wellingWho loved you from eternity.His precious blood the Lamb has givenThat you may share the joys of heaven,And now He calls out far and near:'You weary souls, cast off your sorrow;My light shines bright upon the morrow.Come, sweetest rest awaits you here!'
There rest and peace in endless measureWill be ours through eternity;No grief, no care, will mar our pleasure,And untold joy our lot will be.Oh, had we wings to hasten yonder—No more this sinful world to ponder—To join the glad, triumphant band!Arise, my soul, forget all sadness,For peace awaits you, joy and gladness—The perfect rest and promised land.
SKU: CF.CM9713
ISBN 9781491160084. UPC: 680160918683. Key: G major. English. Robert Bode. Original.
The piece was commissioned by Kevin Scully, Director of Creative Arts, for the Port Washington School District, New York, with special thanks to the Ed Foundation and HEARTS for their unwavering support. Performance Notes This lighthearted piece is a great way to bring multiple choirs together in harmony. It may be sung by a single SATB choir, though it is intended to be performed by multiple choirs of varying age levels. Song of the Sound was written for an all-district feeder festival piece for combined elementary, middle level, and high school choirs. Here is a suggested outline for combining multiple choirs: Rehearsal Letters A to B: Elementary choir only (two-part, Soprano, Alto) Rehearsal Letter B: add Middle Level Soprano, Alto with Elementary choir Rehearsal Letter C: Middle Level choir only Rehearsal Letter D: High School choir only Rehearsal Letter E to the end: Everyone! Song of the Sound: Running on the beach, digging in the sand, Seaweed in my toes, bucket in my hand. When I'm at the shore, way above the rest, These are all the things that I love the best. Skipping like a stone on the water, diving deep in the silvery foam, Swimming far where the land cannot hold us, where the lighthouse calls us home. Flying free above the marshes, soaring high above the sea, Where the tern and cormorant and plover call to lands we cannot see.Come let us go to the water, let us go to the singing shore: Where the gentle breezes whisper and the mighty breakers roar. We will look to the shining ocean, to the East, where the new day dawned: We will sing a song of the edge of the world and the waiting sky beyond. -Poem by Robert Bode (Hope Springs Retreat Center, Ohio. August 2019) About the Composer: Jacob Narverud (b. 1986) is an American composer, arranger, and conductor. Dr. Narverud is an active guest Conductor/Clinician for Choral Festivals and All-State Choirs across the country and is the Founder/Artistic Director of the Tallgrass Chamber Choir, a professional ensemble comprised of musicians from across the Great Plains. As a sought-after composer, Narverud has been commissioned to write new works for a variety of choral ensembles and organizations. Many of his Editors' Choirs compositions are publisher Best Sellers and are performed worldwide by choirs of all levels. Website: www.jnarverud.com YouTube & Spotify: @jacobnarverud.The piece was commissioned by Kevin Scully, Director of Creative Arts, for the Port Washington School District, New York, with special thanks to the Ed Foundation and HEARTS for their unwavering support.Performance NotesThis lighthearted piece is a great way to bring multiple choirs together in harmony. It may be sung by a single SATB choir, though it is intended to be performed by multiple choirs of varying age levels. Song of the Sound was written for an all-district feeder festival piece for combined elementary, middle level, and high school choirs. Here is a suggested outline for combining multiple choirs:Rehearsal Letters A to B: Elementary choir only (two-part, Soprano, Alto)Rehearsal Letter B: add Middle Level Soprano, Alto with Elementary choirRehearsal Letter C: Middle Level choir onlyRehearsal Letter D: High School choir onlyRehearsal Letter E to the end: Everyone!Song of the Sound:Running on the beach, digging in the sand,Seaweed in my toes, bucket in my hand.When I'm at the shore, way above the rest,These are all the things that I love the best. Skipping like a stone on the water, diving deep in the silvery foam,Swimming far where the land cannot hold us, where the lighthouse calls us home.Flying free above the marshes, soaring high above the sea,Where the tern and cormorant and plover call to lands we cannot see.Come let us go to the water, let us go to the singing shore:Where the gentle breezes whisper and the mighty breakers roar.We will look to the shining ocean, to the East, where the new day dawned:We will sing a song of the edge of the world and the waiting sky beyond.-Poem by Robert Bode (Hope Springs Retreat Center, Ohio. August 2019)About the Composer:Jacob Narverud (b. 1986) is an American composer, arranger, and conductor. Dr. Narverud is an active guest Conductor/Clinician for Choral Festivals and All-State Choirs across the country and is the Founder/Artistic Director of the Tallgrass Chamber Choir, a professional ensemble comprised of musicians from across the Great Plains. As a sought-after composer, Narverud has been commissioned to write new works for a variety of choral ensembles and organizations. Many of his Editors' Choirs compositions are publisher Best Sellers and are performed worldwide by choirs of all levels. Website: www.jnarverud.com YouTube & Spotify: @jacobnarverud.
SKU: CA.926610
ISBN 9790007295578. German.
Peter Schindler's full-length secular choral work Sonne, Mond und Sterne (Sun, Moon and Stars) narrates a love story based on old texts which are given a new interpretation through these musical settings. Some individual numbers were published in spring, and now more movements with piano accompaniment are available in print and digitally.- choral work of medium difficulty- will appeal to experienced Brahms Requiem singers as well as ambitious chamber or youth choirs with a gospel, pop or jazz background-cross-over between jazz, chanson, and chamber music Peter Schindler about Was ist die Welt?A strict Allegro ben ritmato symbolises how inexorable the course of the world is. The choir chants the question about what Welt (the world) actually is. Hectic bustle is expressed through a pulsing basic motif. This is repeated constantly and moves through the parts. A lyrical B flat minor in the central section allows us to float like shadows on the way into a dream.The song text is a collage. The first verse, by the Baroque poet Christian Hoffmann von Hoffmannswaldau, is concerned with the vanitas motif: the world, and everything which seems beautiful to us, is ephemeral. The second and third verses were written in the 18th century by Johann Gottfried Herder. Here, the poet expounds the view that real life does not take place in the world and that people's mathematical abilities are insufficient to measure space and time.
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