SKU: SU.YR2600V1
Traditional texts (two in Hebrew, one in Yiddish and English) and melodiesTTBB & piano Composed: 1992 Published by: Yelton Rhodes Music.
SKU: SU.YR1C17V1
Two traditional Puertorican Villancicos arranged by Edgar Colon-HernandezTTBB & piano Composed: 2010 Published by: Yelton Rhodes Music Minimum order quantity: 8 copies. To order quantities fewer than 8, please email customer service at sales@subitomusic.com.
SKU: HL.1108589
UPC: 196288103349. 6.75x10.5x0.019 inches. Mark 5:36, Proverbs 3:5-6.
A unique offering, this unaccompanied anthem takes on the character of a sea chanty in style and spirit. Featuring a soloist, the call and response format invites creative singer placements, along with two voicings, as performance options.
SKU: GI.WW1734
UPC: 785147016168. English. Text by William Blake.
The Ecchoing Green is the second movement from Carrapatoso’s two-movement work, Diptych of Innocence and Light. One of Portugal's most prolific composers, Carrapatoso's artistry and brilliance is capured in this work for more advanced TTBB chorus. With a flowing and supportive piano accompaniment and a beautiful William Blake text, this will be a good addition to any TTBB concert program.
SKU: BT.HU-2601-250
English.
Ce célèbre chant de Noël anglo-saxon (dont la mélodie est également connue sous le nom d’Humility) a été composé, en 1771, par John Goss (1800-1880), sur un texte d’Edward Caswall (1841-1878). John Goss est né Fareham dans le Comté du Hampshire, en Angleterre. En 1811, il est admis comme choriste la Chapelle Royale, où il étudie auprès de John Stafford Smith et de Thomas Attwood, organiste la cathédrale Saint-Paul de Londres. En 1824, il est nommé organiste l’église Saint-Luc de Chelsea. la mort de Thomas Attwood, en 1838, John Goss lui succède comme organiste la cathédrale Saint-Paul. Il compose de nombreux motets et odes pour divers services religieuxexceptionnels célébrés en la cathédrale. En 1872, il quitte son poste Saint-Paul et est fait chevalier par la reine Victoria. Parallèlement ses fonctions d’organiste l’église Saint-Luc et la cathédrale Saint-Paul, John Goss a enseigné l’harmonie l’Académie Royale de Musique de Londres pendant quarante-sept ans. Parmi ses nombreuses odes encore chantées, on peut citer Infant Holy, Infant Lowly, Praise My Soul et See Amid the Winter's Snow.
SKU: PR.312419270
ISBN 9781491137918. UPC: 680160692606. English. Charles Mackay.
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?
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