SKU: JK.01219
Revelation 1:17-18, Doctrine and Covenants 6:36-37.
Anthem for mixed chorus (SSATB) and piano, appropriate for Sacrament or Easter service.Come let us sing of endless love, of Him who left His throne above and came to earth, Oh, wondrous plan! To suffer, bleed and die for man.Composer: David Len Allen Lyricist: George A. Manwaring, treatment by David Len Allen Difficulty: Medium Performance time: 2:20Reference: Revelation 1:17-18, Doctrine and Covenants 6:36-37.
SKU: CA.138900
ISBN 9790007003487. Key: C minor. Language: German.
For the 1st Sunday after Easter.
SKU: CA.139200
ISBN 9790007003517. Key: A minor. Language: German.
For the 5th Sunday after Easter.
SKU: GI.G-008817
UPC: 641151088174. English.
Orlando composer Bob Schaefer always brings out the best in choirs with his musically compelling liturgical works. The images he portrays in each unique composition serve to support the particular liturgical day or ritual action. In this eucharistic anthem he makes use of staggered vocal entrances, creating a wash of sound as the melody first emerges from the lower voices.
SKU: GI.G-005856
UPC: 641151058566. Text by St. John of Damascus.
SKU: CA.2005105
ISBN 9790007100476. Key: D dorian. Language: German/English.
Score available separately - see item CA.2005100.
SKU: CA.136800
ISBN 9790007003272. Key: G minor. Language: German.
SKU: CA.2904000
ISBN 9790007203054. Language: German.
SKU: CA.200800
ISBN 9790007006112. Language: German.
SKU: CA.138800
ISBN 9790007003470. Key: D minor. Language: German.
SKU: CA.2005100
ISBN 9790007089450. Key: D dorian. Language: German/English.
SKU: CA.964100
ISBN 9790007143541. Text language: Latin.
The Good Friday Responsory Tenebrae factae sunt for six-part chorus was commissioned in 2012 for Peking University Student Choir and was premiered at the World Choir Games in Cincinnati, Ohio, USA conducted by Hou Xijin. It is an ambitious work with a fervent intensity. Matsushita sets the two last words of Jesus, Deus meus, ut quid me dereliquisti? [My God, why hast thou forsaken me] and Pater, in manus tuas commendo spiritum meum [Father, into thy hands I commend my spirit] as pained outcries in Stravinskyian harshness, in chords characterized by tritones, as a truly superhuman work of redemption whose Easter message of hope only appears in the last conciliatory F major chord. Although this work lies slightly beyond the upper limit of the musical and vocal technical demands of the Carus Contemporary series, it is well within the abilities of ambitious chamber choirs.
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