SKU: SU.80402150
SSATBB Chorus & Organ Composed: 2011 Published by: Paulus Publications Minimum order quantity: 8 copies. To order quantities fewer than 8, please call customer service at (973) 857-3440.
SKU: CA.970240
ISBN 9790007089801. Key: F minor. Language: German. Text: Heermann, Johann. Text: Johann Heermann.
Score available separately - see item CA.970200.
SKU: MN.80-854
UPC: 688670808548.
Tu es Petrus (you are Peter, the rock) is based on a Gregorian antiphon for the Feast of Saints Peter and Paul/Feast of the Chair of Peter. The piece was composed specifically to fit the parameters and setting of a Papal audience, with a brief performance time. In six-parts with octave doublings, it makes a big a cappella sound for a big space. A powerful new choice for pilgrim choirs to Rome!
SKU: MN.50-1137
UPC: 688670511370. English.
A lilting choral accompaniment evokes pizzicato sounds surrounding the tenor melody in verse one. The other verses are set more conventionally but still reflect the goals of our Christmas with The Singers series: that the audience will enjoy the famliarity of the carol but be enchanted by the creativity of the arrangement. Challenging, but masterful in how Matthew Culloton treats the ensemble as a self-sufficient choral idiom. Duration 2:30.
SKU: HL.49013718
ISBN 9790001126274. 7.5x11.0x0.045 inches. German.
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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