SKU: SU.80300168
Excerpts of the Requiem text in Latin, and metric verses of Psalm 23 in English, make this moving elegy suitable for memorial services and All Saints’ observations, as well as for general sacred use. SSAA a cappella; duration: 4’25; range: a flat-a; difficulty: medium. SSAA, a cappella Published by: Treble Clef Music Minimum order quantity: 8 copies.
SKU: SU.80300266
This setting of the Witches' Song from Macbeth boils and bubbles with shrieks, cackles, and short spoken solos. The piano part sets a thundery stage for Double, double toil and trouble choral ostinatos and six minutes of general musical mayhem. Some choralography (flickering lizard tongues, panting dog sounds) is provided for, with scope for much, much more. The Oakville Children's Choir, directed by Glenda Crawford, made this piece a big hit at the 2005 ACDA National Convention. SSAA, piano Published by: Treble Clef Music Minimum order quantity: 8 copies.
SKU: SU.80200514
8 page octavo Text: Jane Griner Published by: Dunstan House The text for this lullaby has been quite cleverly crafted by poet Jane Griner so that by the alteration of words in two spots shown in the score, the piece may be sung either as a general lullaby for any child, or as a more specific lullaby for the infant Jesus. Softly, Little Child was commissioned by a consortium of thirteen women's choruses organized under the auspices of the American Choral Directors Association by Dr. Lisa Fredenburgh, National Repertoire and Standards Chair for Women's Choirs. Minimum order quantity: 8 copies. Perusal copies are available by contacting office@DunstanHouse.com (include the organization name with your request). To order quantities fewer than 8.
SKU: LO.10-5646L
ISBN 9780787776176.
Mary McDonald is well known for her ability to create beautiful new melodies for time-honored texts, and this anthem is no exception. Commissioned by the Women's Chorus of the Arkansas Master Singers, this SSAA piece features an artfully crafted piano part and soaring vocal textures. Perfect as a general anthem and for Lent, it is also available in an SATB voicing.
SKU: HL.14043601
6.75x9.75x0.065 inches.
O Radix Jesse by Polish composer Pawe ukaszewski , is arranged here for unaccompanied SSAA Chorus with divisions. Pawe ukaszewski is part of a younger generation of Polish composers who specialise in sacred and choral music. After studying composition and receiving two Ph.Ds, ukaszewski 's work has been performed throughout Europe and the rest of the world. This composition, O Radix Jesse is a setting of the Magnificant antiphons used in Christian advent and Catholic Mass. The haunting harmonies created by the unaccompanied chorus in this composition are sure to remain with audiences for a long time, having been intricately crafted by this master ofspiritual music. Please note that the lyrics are in Latin. David Lindley, in the September 2015 issue of the Organists' Review, writes that ukaszewski's music is often compared to that of Gorecki, Part and John Tavener, and this piece manifests the family resemblance..
SKU: HL.48024903
UPC: 840126930771.
This setting of Ave Regina c''lorum (Hail, O Queen of Heaven), one of the four Marian antiphons with origins in the 4th century, is ajoyous work for upper voices, suitable for children's or women's choirs. It is full of energy and, although it is largely homophonic, the rhythmic interplay between the parts creates interesting textures which combine with Arnesens recognisable, beautiful harmonic language. The jubilant outer sections contrast with a slower, more mysterious middle section where the text speaks of the Virgin Marys beauty. A joy to both sing and listen to, this new piece will make an attractive addition to a concert or service.
SKU: HL.346276
UPC: 840126923414. 6.75x10.5x0.029 inches.
The SATB divisi setting has been performed all over the world, and was selected as one of the Texas All-State performance pieces. This new voicing for divisi treble voices is a complete makeover with stunning results. For advanced choirs. Difficult.
SKU: EC.RBM-101B
This composition was written for the New York Pops Orchestra in 1990 and has subsequently been extensively programmed by professional and non-professional musical ensembles in varied performance venues. It is a rhythmic yet lyrical setting of the liturgical Latin text which has been used with much success on both Holiday and general-purpose programs.This work was originally scored for SATB chorus and large orchestra: WWs in 3s, no organ required. No soloists.
SKU: HL.49045615
ISBN 9790001167086. UPC: 841886033238. 7.5x10.75x0.03 inches. Latin.
In Latin.
SKU: HL.288345
UPC: 888680910921. 6.75x10.5 inches.
This 5-movement, multi-media choral drama honors one of the great heroes of the emancipation era. The journey of those who sacrificed becomes a story we can relive and honor. Dr. Kean's goal was to compose and arrange original music and traditional spirituals in a style that is evocative of the enslaved Africans' frame of mind. The spirituals are accompanied with kalimba (thumb piano) to honor the sub-Saharan African musical tradition of connecting with ancestors and with the marimba to sound like the west African balafon. This is a work that will move an audience to tears. Medium to Advanced.The Journey of Harriet Tubman has generated a much needed discussion of African American enslavement and and cultural appropriation. The composer has dedicated half of his royalties from this work to âThe Equal Justice Initiative,â a private, 501(c)(3) nonprofit organization that is committed to ending mass incarceration and excessive punishment in the United States, to challenging racial and economic injustice, and to protecting basic human rights for the most vulnerable people in American society. Please visit https://eji.org/about for more info.
SKU: BP.BP2292
6.875 x 10.5 inches.
Now available for SSAA voices! The third movement of Craig Courtney’s trilogy, Divine Encounter, The Blessing is a newly-composed benediction based on Numbers 6:24-26. As Jesus blessed and multiplied the fish and bread, so God blesses the offering we bring to Him. The melody, which is one large-scale arc, is stated twice, creating a simple, sincere message of peace and rest. Suitable for use on its own, or as part of the three-movement work; effective in both worship and concert settings. Scored for SSAA choir and organ (in choral score) or piano (available separately) with optional brass sextet, or string quartet, or full orchestra. An accompaniment track (brass and organ) is also available.ChurchScripture reference: Numbers.
SKU: BP.BP2290
Now available for SSAA voices! The first movement of Craig Courtney’s trilogy, Divine Encounter, is a song in which God invites us to receive His bounty. The first verse of Isaiah 55 is expressed as a celebration rather than the meditative, lyric manner found in most settings. In contrast, the setting of the sixth verse is regal, earnest and authoritative and the architecture of the movement is built upon the contrast between these two styles. Suitable for use on its own, or as part of the three-movement work; effective in both worship and concert settings. Scored for SSAA chorus and organ (in choral score) or piano (available separately) with optional brass sextet, or string quartet, or full orchestra. An accompaniment track (brass and organ) is also available.ChurchScripture reference: Isaiah.
SKU: BP.BP2291
Now available for SSAA voices! This regal, stately second movement of Craig Courtney’s trilogy, Divine Encounter, is based on Micah 6:6-8. As we partake of God's bounty, our gratitude urges us to offer ourselves as living sacrifices to serve God and people alike. Suitable for use on its own, or as part of the three-movement work; effective in both worship and concert settings. Scored for SSAA choir and organ (in choral score) or piano (available separately) with optional brass sextet, or string quartet, or full orchestra. An accompaniment track (brass and organ) is also available.ChurchScripture reference: Micah.
SKU: HL.288346
UPC: 888680910938. 8.5x11.0x0.281 inches.
This 5-movement, multi-media choral drama honors one of the great heroes of the emancipation era. The journey of those who sacrificed becomes a story we can relive and honor. Dr. Kean's goal was to compose and arrange original music and traditional spirituals in a style that is evocative of the enslaved Africans' frame of mind. The spirituals are accompanied with kalimba (thumb piano) to honor the sub-Saharan African musical tradition of connecting with ancestors and with the marimba to sound like the west African balafon. This is a work that will move an audience to tears. Medium to Advanced. The Journey of Harriet Tubman has generated a much needed discussion of African American enslavement and and cultural appropriation. The composer has dedicated half of his royalties from this work to The Equal Justice Initiative, a private, 501(c)(3) nonprofit organization that is committed to ending mass incarceration and excessive punishment in the United States, to challenging racial and economic injustice, and to protecting basic human rights for the most vulnerable people in American society. Please visit https://eji.org/about for more info.
SKU: LO.15-3886H
ISBN 9780787775032.
Celebrating the wonder of music and the healing power of song, this spectacular work from Mark Hayes and lyricist Lollie Butler is an artistic expression of the unity and hope that music brings. Available in SSAA and SATB.
SKU: LO.15-3844H
ISBN 9780787774011.
Winner of the 2020 Queens' College MagSoc competition and the 2021 California CDA George Huessenstamm Choral Composition Competition , this floating, dance-like melody set to the Robert Browning poem truly sings. Song-like in nature, the harmonies have a contemporary and subtle jazz character that rings through sentimental text beautifully. Composed as a set of three compositions, also look for Day of Fire and Sun (15/3898H) and Give Me Your Stars to Hold (15/3843L)ire and Sun (15/3842L and Give Me Your Stars to Hold (15/3843L).
SKU: M2.MOS-69449-01
ISBN 9790203755685.
1955 erschien aus der Hand der franzosischen Nonne Carmen Bernos de Gaszold ein Gedichtband unter dem Titel Prieres dans l'Arche - Gebete aus der Arche. Diese Gebete werden den Tieren in den Mund gelegt, die mit Noah, in der drangvollen Enge der Arche vereint, das Ende der Sintflut erwarten. Die Dichterin folgt einer Tradition - man denkt an Asop, La Fontaine und Goethe - wenn sie im Wesen der Kreaturen Spiegelungen menschlicher Schwachen, Fehler und Tugenden erkennt. Denn die in der Wasserwuste gefangenen Tiere reden so fromm, furchtsam, selbstgerecht und banal, wie es menschlich ware. Und auch das Allzumenschliche - Hoffart, Leichtsinn, Neid - kommt zu Wort. Nur dass die Ichbefangenheit der betenden Tiere ihrer Unschuld keinen Abbruch tut. Ihre bedingte und bedrangte Natur findet Gedanken, die uns ein sympathisierendes Lacheln abgewinnt. Der Zyklus schien mir zur Vertonung geeignet, weil er ein religioses Thema unpratentios und originell vortragt und ein Stuck ermoglicht, das die ubliche Trennung zwischen weltlich und geistlich uberschreitet und Konzertsaal und Kirche in Anspruch nehmen kann. Zur Besetzung: Der Frauenchor muss aus den vier ublichen Stimmlagen 1. und 2. Sopran, 1. und 2. Alt bestehen, wobei auch noch Stimmteilungen vorkommen. In Nr. 9 Gebet der Taube wird noch ein (aus dem Chor zu bildendes) Soloquartett gebraucht. Der Instrumentalpart besteht aus einer Oboe und einem Streicherquintett (1. und 2. Violine, Viola, Violoncello und Kontrabass). Die Besetzung soll solistisch sein, kann aber bei den Streichern (und wenn die Klangbalance zum Chor dies wunschenswert macht) zu einem kleinen Kammerorchester erweitert werden. Der Charakter der Instrumente, ihre Techniken und Farben, erlauben mir realistische Klangmetaphern und physiognomische Parallelen - so, wenn das Cello im Duett mit dem Alt die hochmutige Giraffe in grossintervalligen Sprungen deutet, die rasende Geschaftigkeit der Ameise sich in schnellen Violinbariolagen ausdruckt oder die Oboe ein naturalistisches Rabengekrachz horen lasst. Der Zyklus beginnt mit dem Gebet des Noah. Man stelle sich das Gedrange und Geschrei vor, dass die Arche erfullt, die hochgehenden Wogen, den prasselnden Regen, und mitten darin den Urvater Noah, dem sich der Ausruf entringt: Herr, was fur ein Zirkus! Seine Ausbruche korrespondieren mit dem auf- und niederwogenden Streichersatz, bis der Sturm sich legt, die Wogen sich glatten und Noah in der mehrmals gedehnten Phrase Es dauert lange seine Ergebung und Hoffnung ausdruckt. Nach dem pharisaischen Gebet der Giraffe ergreift die Schildkrote das Wort. Ihr Instrument ist die Bratsche. Ihre schnaufende Kurzatmigkeit hindert sie, ihr Gebet zusammenhangend zu sprechen. Der fleissigen Ameise - sie erbost sich sehr uber die Grille, deren Wirtshausmusik sie unterbricht - folgt der Hahn mit hellen und scharfen Tonen. Er ist es, der die Sonne aufgehen lasst; man kann es in dem sich auffaltenden Klang der Coda horen. Der vergessliche Schmetterling taumelt in immer neu variierten Oboenfiguren durch die glasernen Sommerklange von Streicherflageoletts, bis es ihm einfallt, was er sagen wollte: Amen. Das Schwein bekennt sich zu seiner schnuffelnden und grunzenden Natur, die, von den Streichern mit rauhem Bogendruck gezeichnet, in der Coda durch eine stille F-Dur-Kantilene eine sonderbare Verklarung erfahrt. Vor uns die Sintflut ruft der Rabe, und sein durchdringender Oboenschrei ubertont das Wogen und Schwanken der Streicher, die hier Motive aus dem Gebet des Noah wieder aufnehmen. In der darauf eintretenden Stille bieten die Instrumente verschiedene Themen an, die folgenlos verschwinden - um nach dem Altsolo Die Arche wartet sich in einem ruhig-feierlichen a-cappella-Satz mit alternierendem Soloquartett wieder zusammenzufinden und das Werk in reinem Es-Dur beschliessen. Alfred Koerppen.
SKU: HL.48022722
ISBN 9780851628257. 7.25x10.0x0.091 inches.
A setting of a nativity poem from Her Maker's Maker by Michael Symmons Roberts, New-made for a king was commissioned by Andreas Klatt for Farnham Youth Choir. Scored mainly in four parts, the choral texture is homophonic, the harmony rich yet approachable by young performers, with a decorative piano accompaniment. In the mould of a lullaby, the piece's over-riding calm is troubled towards the close by indistinct pp lontano interjections from the piano, in response to the poem's portentous closing words.
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