SKU: CA.1002709
ISBN 9790007189310. Text language: German.
The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorale concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking choral concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. Praetorius gives the verses of the well-known Easter hymn Christ ist erstanden to the concertists (soloists or small choir), who can perform these in alternating scorings. At the beginning, between the verses, and at the end, a magnificent Halleluja occurs as a ritornello, which can be performed by up to 5 choirs - ad lib, of course. Score and parts available separately - see item CA.1002700.
SKU: OU.9780193952973
ISBN 9780193952973.
ATT(Bar)B verses, SATB choir, and organ or string orchestra. Orchestral material is available on hire from the publisher.
SKU: CA.3107607
ISBN 9790007044923. Key: C major / a minor. Language: German/English.
The cantata Die Himmel erzahlen die Ehre Gottes (The heavens are telling of God in glory) BWV 76 by Johann Sebastian Bach was written for the 2nd Sunday after Trinity, which fell on 6 June 1723 in the year it was first performed. This ambitious two-part work was the second cantata which Bach wrote after taking up the position of Kantor of St. Thomas's in Leipzig. Bach's aim was evidently to demonstrate a particularly wide range of musical forms in both the arias and the recitatives in this cantata. The opening chorus is based on verses 2 and 4 of Psalm 19, with verse 4 structured as a choral fugue. Both parts of the cantata end with a chorale movement with different verses from the Lutheran hymn Es woll uns Gott genadig sein. The text refers loosely to the epistle reading from the 1st letter of St John, but deals more with general thoughts about the temptations of the Christian which can be overcome through love. Bach also performed the first part of the cantata later with minor revisions, but evidently no alterations to the text, on Reformation Day in Leipzig. Score available separately - see item CA.3107600.
SKU: HL.14030357
ISBN 9788759854471. English.
This is the Score for Bent Soreensen's 2001 composition, Six Songs, composed for Mezzo-soprano and Violin. Sorensen has set four verses by Japanese poet, Ono No Komachi and two by the Korean, Hwang Chin-i in a typically dramatic and colorful style. The music compounds the beautiful and passionate imagery of each text, which are all short verses loaded with meaning.
SKU: BA.BA08528
ISBN 9790006568888. 27 x 19 cm inches. Text Language: Latin. Text: Silvestri, Charles Anthony.
“Stillae†was composed for the “Jugendkonzertchor der Chorakademie Dortmund†who won first prize in the “Mårten Jansson Choral Competition†in 2018. The American poet Charles Anthony Silvestri wrote the lyrics.The poem is divided in four short clear Latin verses resembling the form of medieval poetry. The first three verses offer short glimpses of Mary’s life with Jesus described through different kinds of drops – Stillae:Drops of water – when she bathes her tiny sonDrops of tears – when she cries while pondering his fate, and finallyDrops of blood – that fall on her face from the crossThe music and lyrics paint this transition from happiness to worry and deepest grief, concluding in a final verse; a still prayer to Mary to take our drops, our prayers, and offer them to Jesus.
SKU: GI.G-6854
UPC: 785147685401. English. Text by Edwin Hatch.
This refrain and verses are in a chantlike free meter. Though scored for SATB voices, it can be sung unison or two-part with accompaniment, and the assembly may sing the refrain. The two-part verses can be sung by any combination of two voices. For Pentecost or any occasion that calls for invoking the Holy Spirit. Keyboard and assembly parts are optional
SKU: CA.1002719
ISBN 9790007181413. Text language: German.
SKU: HL.48025281
UPC: 196288161424.
In Jubilate Deo Kim André Arnesen goes back to the music to which he was introduced from a very early age as a chorister at Nidaros Cathedral in Trondheim, Norway. There he sang regularly in concerts and services, and many of his favourite works come from the repertoire for choir and organ. Although the composer has not written a lot for those forces, they are perfect for the character andemotions portrayed in this piece. The joy and exuberance of the music reflects the Latin text (the opening two verses of Psalm 100: “Rejoice in God, all the earthâ€, and verses from Psalm 57: “I will sing and make musicâ€), with dancing, syncopated rhythms and a more solemn, soothing middle section. A real showstopper, made even more effective by the optional percussion (tambourine and hand drum – an extracted percussion part is included in the vocal score).
SKU: CA.3107611
ISBN 9790007044947. Key: C major / a minor. Language: German/English.
The cantata Die Himmel erzahlen die Ehre Gottes (The heavens are telling of God in glory) BWV 76 by Johann Sebastian Bach was written for the 2nd Sunday after Trinity, which fell on 6 June 1723 in the year it was first performed. This ambitious two-part work was the second cantata which Bach wrote after taking up the position of Kantor of St. Thomas's in Leipzig. Bach's aim was evidently to demonstrate a particularly wide range of musical forms in both the arias and the recitatives in this cantata. The opening chorus is based on verses 2 and 4 of Psalm 19, with verse 4 structured as a choral fugue. Both parts of the cantata end with a chorale movement with different verses from the Lutheran hymn Es woll uns Gott genadig sein. The text refers loosely to the epistle reading from the 1st letter of St John, but deals more with general thoughts about the temptations of the Christian which can be overcome through love. Bach also performed the first part of the cantata later with minor revisions, but evidently no alterations to the text, on Reformation Day in Leipzig. Score and part available separately - see item CA.3107600.
SKU: GI.G-7138
UPC: 785147713807. English. Text Source: Blessed be the God of Israel, based on Luke 1:68–79, alt. Text by James Quinn. Scripture: Luke 1:68–79.
Quinn's words and Joncas' music combine to give voice to the prophecy of Zechariah. This 5-verse paraphrase of the canticle contains two melodies-one for the odd verses, one for the even verses. The third verse is an effective, a cappella SATB setting.
SKU: WD.080689705120
UPC: 080689705120.
In the past twenty years, worship styles in many churches have transformed, emphasizing a personal worship that strives for intimacy with the Father. This renewal led some ministries, perhaps unintentionally, to abandon the great hymns of our faith in favor of newly composed worship songs. Other ministries, in an effort to create a balanced worship style, mixed the new with the old, sometimes with results that only amplified the differences between the two. Hymns for Praise & Worship bridges the stylistic gap between modern-day worship songs and the hymns of our Christian heritage. A select advisory board of active music ministers, Word Music staff and key choral arrangers were assembled to pinpoint fifty-six hymns from the vast array of hymnody, not only for their musical quality, but for the messages that they bring to worshippers today. Veteran choral arrangers John E. Coates and Travis Cottrell have been creating new settings of hymns for their own congregations for years. Their experience as worship leaders brought not only musicality, but also congregational and choral pragmatism to each new arrangement in Hymns for Praise & Worship. With all of the same editions and features as the Songs for Praise & Worship series, this collection is designed to work hand-in-hand with existing resources for worship. Various stylistic changes make these settings flow easily, appeal to the modern ear, and correlate with the styles of contemporary praise & worship songs. Throughout this book you will encounter variations from traditional time signatures, intuitive syncopated rhythms, and substituted chords and harmonies. Even the few hymns with more traditional settings are treated in a manner that takes the congregation on a journey through the verses, sometimes in a more through-composed manner, and usually culminating in a climactic conclusion. Each of the changes was not implemented arbitrarily, but with the goal of making the timeless messages of each hymn leap from the page in new and exciting ways. Two added features of Hymns for Praise & Worship are the demonstration and accompaniment recordings. While the songs in the collection are well known, the new arrangements are not. The staff of Word Music felt that it was vital to provide audible resources to teach and lead worship to best communicate the desires of the arrangers. All of the core editions (Choir/Worship Team, Worship Planner, Keyboard Edition, Guitar Edition) reflect the verses and voicings used on the recordings.
SKU: GI.G-005871
UPC: 641151058719.
Nick Palmer has composed a straightforward yet lush four-part refrain skillfully complemented by harmonically inventive verses. This setting captures the essence of the Advent season with verses set in the parallel minor. Cantors will look forward to singing and expressing the elegant lines based on Mary‚ hymn of praise.
SKU: CA.1002714
ISBN 9790007189358. Text language: German.
The collection Polyhymnia Caduceatrix & Panegyrica of 1619 is rightly regarded as the high point in Michael Praetorius's output. It combines Solennische Friedt- und Frewden-Concert: which Praetorius as a travelling musician had composed largely for festive occasions - he writes of Kayser: Konig: Chur: vnd Furstlichen zusammen Kunfften - and also for furnehme Capellen vnd Kirchen. In these chorale concerti the highly modern, Italian style and the Protestant chorale combine and form a symbiosis which showed the way forward for the history of German music. The chorale settings draw on influences from Venetian polychoral music, use ritornelli and employ obbligato instruments in a way which is beyond compare, even in contemporary Italy. Here we see a quite different side of the master from the composer of Es ist ein Ros entsprungen. And above all, Praetorius always remains a practical musician who ensures that these breathtaking choral concerti can also be effectively performed with smaller forces, sometimes considerably reduced ones. Praetorius gives the verses of the well-known Easter hymn Christ ist erstanden to the concertists (soloists or small choir), who can perform these in alternating scorings. At the beginning, between the verses, and at the end, a magnificent Halleluja occurs as a ritornello, which can be performed by up to 5 choirs - ad lib, of course. Score and part available separately - see item CA.1002700.
SKU: CF.CM9720
ISBN 9781491160992. UPC: 680160919598. Key: E minor. Finnish, English. Finnish Carol with additional words by Dan Miner.
Accompanied by piano and oboe, this traditional carol offers treble choirs an opportunity to explore the beauty of traditional Finnish music. This arrangement offers each voice part the opportunity to lead as well as harmonize the melody throughout the verses. Care should be taken to ensure the melody is properly balanced through the harmonization in each verse. Tenutos are marked throughout to help choirs discover the simplistic beauty of this carol. Marked pitches should be stressed, but not accented. To further aid in the flow of the melodic line, I suggest a slight crescendo in each measure from beat 4 over the bar-line into beat 1 (as in m. 16-17) unless otherwise marked. An English paraphrase is offered in addition to the original Finnish text to make this song accessible to choirs of all abilities. It is my sincere hope that through this arrangement, choirs and audiences will fall in love with this simplistically beautiful carol! Finnish Pronunciation Guide Finnish is written phonetically with every letter sounding. This includes both vowels in a diphthong. Consonants sound as English consonants. Phonetic Vowel/IPA Pronunciations a = ah / [a] e = ey / [e] i = eeh / [i] o = oh / [o] u = ooh / [u] j is pronounced as an English y y is pronounced as a German u a is pronounced as in the English word that with a mix of eh sound There is a recording of the Finnish pronunciation by the arranger which can be found at www.carlfischer.com/cm9720 About the arranger Dan Miner is an Assistant Choir Director at Atascocita High School in the metropolitan area of Houston, TX and has taught choral music at both the junior high and high school levels in both Arizona and Texas. He holds degrees in music education and piano performance from Michigan State University. In addition to composing, outside of the classroom Dan is an active accompanist for community, school, sacred, and TMEA Region choirs. He also serves as Organist/Music Associate at Clear Lake United Methodist Church.Accompanied by piano and oboe, this traditional carol offers treble choirs an opportunity to explore the beauty of traditional Finnish music. This arrangement offers each voice part the opportunity to lead as well as harmonize the melody throughout the verses. Care should be taken to ensure the melody is properly balanced through the harmonization in each verse.Tenutos are marked throughout to help choirs discover the simplistic beauty of this carol. Marked pitches should be stressed, but not accented. To further aid in the flow of the melodic line, I suggest a slight crescendo in each measure from beat 4 over the bar-line into beat 1 (as in m. 16-17) unless otherwise marked.An English paraphrase is offered in addition to the original Finnish text to make this song accessible to choirs of all abilities.It is my sincere hope that through this arrangement, choirs and audiences will fall in love with this simplistically beautiful carol!Finnish Pronunciation GuideFinnish is written phonetically with every letter sounding. This includes both vowels in a diphthong. Consonants sound as English consonants.Phonetic Vowel/IPA Pronunciationsa = ah / [a]e = ey / [e]i = eeh / [i]o = oh / [o]u = ooh / [u]j is pronounced as an English yy is pronounced as a German üä is pronounced as in the English word “that†with a mix of “eh†soundThere is a recording of the Finnish pronunciation by the arranger which can be found at www.carlfischer.com/cm9720About the arranger Dan Miner is an Assistant Choir Director at Atascocita High School in the metropolitan area of Houston, TX and has taught choral music at both the junior high and high school levels in both Arizona and Texas. He holds degrees in music education and piano performance from Michigan State University.In addition to composing, outside of the classroom Dan is an active accompanist for community, school, sacred, and TMEA Region choirs. He also serves as Organist/Music Associate at Clear Lake United Methodist Church.
SKU: HL.14035285
The Five Lesser Joys of Mary begins with a conventional Nativity scene - the ox and the ass for warmth, the star, the Wise Men - to verses attributed by Warlock to one Daniel Lawrence Kelleher, editor of Christmas Carols (No. 18 in the second series of Augustan Books of English Poetry) where the anonymous verses were published.
The fourth stanza recounts Jesus 'Confounding the doctors, the poor little Child,' while the fifth carries us to Calvary and a singularly lame conclusion as Mary 'Saw Jesus droop over and lie very still, She thought of the good times they had long ago When He'd droop in her arms and she'd singhusheenlo.'
Strophically composed, with small variations, Warlock's tenderness seems generic.
SKU: CA.742800
ISBN M-007-24313-5. German.
... so weit die Wolken gehen (... as far as the clouds reach) (2016) represents a chorale arrangement of the song about the Good Shepherd, framed by supplementary verses from Psalms 34 and 36. Flute and organ contribute to the interpretation of the text by independent motivic lines. Verses 2 and 4 are sung by the solo contralto; structural variety is created by means of free melodic lines. At the end, the interaction between soloist and choir, as well as the compression of the setting results in an enthralling intensification.
SKU: CA.1002715
ISBN 9790007189365. Text language: German.
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