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: SU.80300189
This radiant setting of the Hymn of Saint Francis to Brother Son and Sister Moon is a harmonized chant, in which the declamation of speech rhythms and accents is a vital part of the performance. It is the traditional festival song of the School Sisters of St. Francis in Milwaukee, Wisconsin, sung at all their reunions. English. SSAA a cappella. Easy. SSAA, a cappella Published by: Treble Clef Music Minimum order quantity: 8 copies.
SKU: M2.MOS-69449
ISBN 9790203755678.
SKU: M2.MOS-69449-60
ISBN 9790203755692.
SKU: SU.80300142
This new setting of a Newfoundland folk song text relates the tale of a young woman, abducted by sailors, who outwits and escapes them, and steals their gold. It begins and ends with bagpipe-like choral drones. Singers will enjoy the different accompaniment figures as the modal melody is passed from one part to another. Finalist in the Diva Complex 1996 Composition contest. SSAA, high bongo, and tambourine. Medium.SSAA, tambourine and high bongo Published by: Treble Clef Music Minimum order quantity: 8 copies.
SKU: SU.95010390
Text: Alice Walker.
SSAA Chorus, Piano, Maracas Duration: Text: Alice Walker Composed: 1997 Published by: Subito Music Corporation NOTE: Life Cycle (1994-2001) is an ongoing project for women's voices and instruments to poems by women. Other movements include (to date): Friends (#95010450); The Habit of Anger (#95010370); Kneeling in the Big City [Demeter, Persephone] (#95010380) Minimum order quantity: 8 copies. Perusal copies are available by contacting perusalrequest@subitomusic.com (include the organization name with your request). To order quantities fewer than 8, please call customer service at (973) 857-3440.
SKU: SU.95010370
Text: Elizabeth Macklin.
SSAA Chorus, Piano Duration: Text: Elizabeth Macklin Composed: 2001 Published by: Subito Music Corporation NOTE: Life Cycle (1994-2001) is an ongoing project for women's voices and instruments to poems by women. Other movements include (to date): Friends (#95010450); Kneeling in the Big City [Demeter, Persephone] (#95010380); They Were Women Then (#95010390) Minimum order quantity: 8 copies. Perusal copies are available by contacting perusalrequest@subitomusic.com (include the organization name with your request). To order quantities fewer than 8, please call customer service at (973) 857-3440.
SKU: SU.80300296
Christina Rossetti’s poem extolls Mary, the mother of Jesus, exploring in images from nature the paradox of a divine, yet helpless, infant born to a human mother: The Sun of Righteousness her Son, she was His morning star. Eleanor Daley’s setting combines rich harmonies with a mood of hushed awe, in textures which sensitively move from unison to two-part passages, then open out to four-part harmony.SSAA, a cappella Published by: Treble Clef Music Minimum order quantity: 8 copies.
SKU: MN.56-0117
UPC: 688670221415. English.
Composed in 2000 for the highly regarded Cantamus Girls’ Choir and their founder, Pamela Cook, The Good-Morrow is Howard Goodall’s stunning setting of the John Dunne poem, for upper voices and piano. The universal themes of love, compassion, and togetherness are echoed in the music, a reflective and uplifting choral work ideal for concert performance.
SKU: SU.80300165
This arrangement is a medley of three spirituals: Come down, angels, Listen to the angels, and My way's cloudy, all from The Story of the Fisk Jubilee Singers, one of the earliest printed collections of slave spirituals. In all three, angels are the heavenly messengers who inspire and lead the singers out of bondage into the promised land. In this arrangement, the angels are not dimpled cherubs, but rather towering figures who energize the singers in their difficult and dangerous journey. Swing rhythm sections alternate with softer sections in straight rhythm, in this fine concert closer with barn-burning piano accompaniment. The spirituals' Exodus imagery makes this medley suitable for Passover programming, as well as for concerts which honor slave spirituals. SSAA and piano; 14 pages; duration: 5:00 min.; range: e to g#''; difficulty: medium. SSAA, piano Published by: Treble Clef Music Minimum order quantity: 8 copies.
SKU: SU.80300105
Clear-textured settings of the fairies' songs from A Midsummer Night's Dream and The Tempest, these songs are lavishly effective in their text setting, harmony, rhythm, and dynamics. The beauty of sound of women's voices shines through these pieces. First published in 1897. SSAA a cappella; English. Medium difficulty.SSAA, a cappella Published by: Treble Clef Music Minimum order quantity: 8 copies. Published by: Treble Clef Music.
SKU: GI.WLG164
UPC: 785147016267. English. Text by Emily Dickinson.
An incredibly dynamic work for treble choir, On the Strangest Sea is a unique setting of a well-loved text by Emily Dickinson. A driving piano accompaniment, interesting violin part, and beautifully crafted vocal lines make this a great option for a concert centerpiece. Your singers will appreciate the sentiment of the work and the variety of texture in the vocal writing. Lynne Gackle Choral Series.
SKU: SU.80300106
Clear-textured settings of the fairies' songs from A Midsummer Night's Dream and The Tempest, these songs are lavishly effective in their text setting, harmony, rhythm, and dynamics. The beauty of sound of women's voices shines through these pieces. First published in 1897. SSAA a cappella; English. Medium difficulty.SSAA, a cappella Published by: Treble Clef Music Minimum order quantity: 8 copies.
SKU: BP.BP2290
6.875 x 10.5 inches.
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.DF1023
6.88 x 10.5 inches.
From the composer: Written as a statement of support for, and allyship with, our Black brothers and sisters (as well as all people of color). Too often, in any aspect of life, we explain away other people’s experiences instead of seeking to understand experiences that differ from our own; we’re so busy talking about our own viewpoints that we fail to listen to the voices we most need to hear. I asked Tony Silvestri to write a text that could function as a personal statement from me to people I need to listen to—especially to my friends of color. This the text that resulted—words that speak powerfully for any situation where we need to listen to those who have been marginalized or mistreated, not heard or believed. For SATB or SSAA choir with piano and optional guitar.
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: OU.9780193572935
ISBN 9780193572935. 10 x 7 inches.
For SSAA and piano Presented here in an arrangement for upper-voices, this is a beautiful setting of an evocative poem by Emily Dickinson that explores the symbolization of hope as a bird. Quartel offers soaring melodic lines, rich harmonies, and a fluttering accompaniment to illustrate the persistence of hope even through hardship.
SKU: JK.00747
Doctrine and Covenants 107:22.
This loving anthem for women's chorus (SSAA) and organ accompaniment was performed by the Mormon Tabernacle Choir in 1974 as a tribute to our prophet: We ever pray for thee our prophet dear.... One part may be sung a cappella.Composer: Evan Stephens Arranger: Robert P. Manookin Lyricist: Evan Stephens Difficulty: Medium Performance time: 4:30Reference: Doctrine and Covenants 107:22.
SKU: SU.80300148
This mellifluous setting is achingly sweet but never sappy, with distinctive writing for all parts and an independent keyboard accompaniment. An unusually good match of a 12th century hymn text (known in English as Jesus, the very thought of thee) and its musical setting. Latin, with full translation. SSAA and keyboard. Medium. SSAA, piano Published by: Treble Clef Music Minimum order quantity: 8 copies.
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