SKU: HH.HH479-CHS
ISBN 9790708146902.
O Nata Lux is a six-part, a cappella motet. The anonymous tenth-century text is suitable for inclusion throughout the liturgical year. Evoking a deep sense of longing, this contemplative motet would enhance any concert programme of a capella choral music.
SKU: HL.14011728
ISBN 9788759851890. UPC: 888680705817. 10.5x14.5 inches. Danish.
These Four Madrigals by Pelle Gudmundsen-Holmgreen are settings of texts by the Australian author, Les Murray. Two songs were originally written for the Song Company, Australia and two more from his larger work, Sound/Sight for Danish Radio Chamber Choir. All have been arranged here for six voices (SSATBarB) with texts in English and Danish. Duration 16:30.
SKU: HL.288472
ISBN 9788759841150. UPC: 888680911348. 8.5x11 inches.
Maja S. K. Ratkje's A Dismantled Ode To The Moral Value Of Art for 6 Part Chorus.
It was performed under the direction of Leonard Bernstein at a concert to mark the fall of the Berlin Wall, it appears in Stanley Kubrick's A Clockwork Orange. Hitler celebrated his birthdays with it, and the government of Rhodesia made it their anthem. And the prisoners in German concentration camps played it. It also figured prominently at Mitterand's 1981 investiture. In 2012, we celebrate the Ode to Joy's 40 years anniversary as National Anthem of the EU.
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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