SKU: HL.49019053
ISBN 9790001175586. 8.5x11.75x0.059 inches. German.
In 1999 a Bronze Age metal disc was found near the city of Nebra (Saxony-Anhalt/Germany), showing astronomical symbols and phenomena. Dated c. 1600 years BC, the so-called “Nebra sky disk†is regarded as the world’s oldest evidence of the astronomical skills of this period and allows us deep insight into the knowledge of the heavens possessed by our ancestors. Wilfried Hiller was inspired by this artefact to compose a work for mixed chorus. Text in German.
SKU: OU.9780193566996
ISBN 9780193566996. 10 x 7 inches.
For SSATBB unaccompanied This song skillfully blends a classic poem, Christina Rossetti's Uphill, with a relaxed, lightly jazzy style. Expanding from three- to six-part harmony, the chordal texture allows for strong annunciation of this well-known text. Chydenius's opening direction 'Swung, yet profound' encapsulates the essence of this work.
SKU: HL.49044159
ISBN 9790001195577. 7.5x11.0x0.06 inches. German.
Er macht nicht nur als Braunschweiger Domkantor, Organist und leidenschaftlicher Musik- bzw. Gesangspadagoge von sich reden. Gerd-Peter Munden stellt mit seiner Vertonung des 126. Psalms unter Beweis, dass er auch als Komponist geistlicher (Chor)Musik Meisterhaftes hervorzubringen versteht. Den zur Gattung der Wallfahrtslieder zahlenden Psalm Wenn der Herr die Gefangenen Zions erlosen wird setzt Munden fur sechsstimmigen gemischten Chor (SSATBB) a cappella und verlangt den Ausfuhrenden dabei in nur 70 Takten einiges ab. Haufige Taktwechsel sowie eine reiche (nicht nur) dynamische Ausdruckspalette mit feinsten Abstufungen, die vom dreifachen Pianissimo bis zu dreifachen Fortissimo reicht und ruhige bis sehr lebhafte Passagen umfasst, verleihen diesem 5-minutigen Werk einen hochst ergreifenden Gestus.
SKU: OU.9780193378339
ISBN 9780193378339. 12 x 8 inches.
For SSATBB unaccompanied A beautiful 6-part unaccompanied Marian motet written for the Marian Consort. The work combines reminiscences of Renaissance settings of this text with McDowall's distinctive contemporary voice.
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: 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: 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: HH.HH549-CHS
ISBN 9790708185642.
An intimate, six-part motet which would enhance a Christmas or Advent programme, and would also be suited for Marian Feasts. It has haunting, lullaby-like motives and harmonies which evoke light coming out of darkness.
SKU: HL.49001173
ISBN 9790001011471. German.
SKU: HL.48025430
ISBN 9798350126297. UPC: 196288210825. 6.75x10.5 inches.
“Waloyo Yamoni (We Overcome the Wind)†is the grand finale to Christopher Tin's second album 'The Drop That Contained the Sea'. The lyrics are a setting of a Lango rainmaking prayer. It was commissioned by the St. Matthews Chamber Orchestra, and recorded by the Royal Philharmonic Orchestra with the Soweto Gospel Choir. New York Concert Review wrote of the Carnegie Hall premiere “The audience reacted after the final notes with the loudest and longest standing ovation I have ever heard at any concertâ€, while The York Press wrote “We Overcome The Wind was an outpouring of joy; a unanimous standing ovation evinced the sense of togetherness at the heart of this concert.â€.
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