SKU: PR.362034230
ISBN 9781598069556. UPC: 680160624225. Letter inches. English.
When the Texas Choral Consort asked Welcher to write a short prologue to Haydn's The Creation, his first reaction was that Haydn already presents Chaos in his introductory movement. As he thought about it, Welcher began envisioning a truer void to precede Haydn's depiction of Chaos within the scope of 18th-century classical style - quoting some of Haydn's themes and showing human voices and inhuman sounds in a kind of pre-creation melange of color, mood, and atmosphere. Welcher accepted this challenge with the proviso that his prologue would lead directly into Haydn's masterpiece without stopping, and certainly without applause in between. Scored for mixed chorus and Haydn's instrumentation, Without Form and Void is a dramatically fresh yet pragmatic enhancement to deepen any performance of Haydn's The Creation. Orchestral score and parts are available on rental.When Brent Baldwin asked me to consider writing a short prologue to THE CREATION, my first response was “Why?â€Â THE CREATION already contains a prologue; it’s called “Representation of Chaosâ€, and it’s Haydn’s way of showing the formless universe. How could a new piece do anything but get in the way? But the more I thought about it, the more it made sense. The Age of Enlightenment’s idea of “Chaos†was just extended chromaticism, no more than Bach used (in fact, Bach went further).Perhaps there might be a way to use the full resources of the modern orchestra (or at least, a Haydn-sized orchestra) and the modern chorus to really present a cosmic soup of unborn musical atoms, just waiting for Haydn’s sure touch to animate them. Perhaps it could even quote some of Haydn’s themes before he knew them himself, and also show human voices and inhuman sounds in a kind of pre-creation mélange of color, mood, and atmosphere. So I accepted the challenge, with the proviso that my new piece not be treated as some kind of “overtureâ€, but would instead be allowed to lead directly into Haydn’s masterpiece without stopping, and certainly without applause. I crafted this five minute piece to begin with a kind of “music of the spheres†universe-hum, created by tuned wine glasses and violin harmonics. The chorus enters very soon after, with the opening words of Genesis whispered simultaneously in as many languages as can be found in a chorus. The first two minutes of my work are all about unborn human voices and unfocused planetary sounds, gradually becoming more and more “coherent†until we finally hear actual pitches, melodies, and words. Three of Haydn’s melodies will be heard, to be specific, but not in the way he will present them an hour from now. It’s almost as if we are listening inside the womb of the universe, looking for a faint heartbeat of worlds, animals, and people to come. At the end of the piece, the chorus finally finds its voice with a single word: “God!â€, and the orchestra finally finds its own pulse as well. The unstoppable desire for birth must now be answered, and it is----by Haydn’s marvelous oratorio. I am not a religious man in any traditional sense. Neither was Haydn, nor Mozart, nor Beethoven. But all of them, as well as I, share in what is now called a humanistic view of how things came to be, how life in its many forms developed on this planet, and how Man became the recorder of history. The gospel according to John begins with a parody of Genesis: “In the beginning was the Word, and the Word was with God, and the Word was God.â€Â  I love that phrase, and it’s in that spirit that I offer my humble “opener†to the finest work of one of the greatest composers Western music has ever known. My piece is not supposed to sound like Haydn. It’s supposed to sound like a giant palette, on which a composer in 1798 might find more outrageous colors than his era would permit…but which, I hope, he would have been delighted to hear.
SKU: PL.0122
This imaginative setting of words by John White Chadwick creates a feeling of eternal strength from its constant musical flow. Peter Pindar Stearns is well known for his sensitivity to text and choir alike and this anthem reflects his keen imagination as well. The first verse is set in unison with a lovely soaring melody while the second verse supports the melody in four-part writing. A brief organ interlude ensues before the final verse which is for two part women and men's voices concluding in a spirit of unity.
SKU: CR.984283
ISBN 9780758659088. 7 x 10.25 inches.
David von Kampen masterfully crafts the text of Revelation 21:4 - 5 into an inspiring and striking piece for SATB and piano. A variety of compositional techniques—including declamatory writing, polytextuality, and a skillful use of key—connect the biblical text and song powerfully. Smaller choirs can easily adapt this piece for two-part voicing by singing just soprano and tenor in the middle section. Use this piece for Easter Vigil, during the rest of the Easter Season, on All Saints' Day, and for funerals.
Revelation 21:4 - 5 (ESV)
He will wipe away ev'ry tear from their eyes, and death shall be no more, neither shall there be mourning nor crying nor pain anymore, for the former things have passed away.
And He who was seated on the throne said, 'Behold, I am making all things new.'
Alleluia, alleluia, alleluia.
Scripture quotation from the ESV® Bible (The Holy Bible, English Standard Version®), copyright © 2001 by Crossway, a publishing ministry of Good News Publishers. All rights reserved. Used by permission.
SKU: PL.0607
* single line organ introduction on an 8' foundation in the bass clef joins the soprano and alto unison line in an exquisite duet * a cappella verse written with graceful voice leading and harmonic direction, highlighted with gentle counterpoint in the organ * sense of universal praise, not marked by time or space, achieved by the organ's harmonic progression, in the interlude before the final verse * choral harmonies open to a glorious climax in the final verse, followed by a gentle close in F Major
SKU: SU.27040110
First of a set of two pieces on poems of John Keats, this is a gently flowing SATB unaccompanied piece in D major with almost no accidentals. Expressive yet accessible choral writing on a unusual and evocative text. Written from the faery's point of view, there are references to autumn and spring that encourage faith, because The flower will bloom another year. Secular, Concerts, Memorial, Lament/Grief/Sorrow.SATB Chorus Duration: 3' Composed: 2011 Published by: Hutter Music.
SKU: PL.9904
Here is a fresh setting that deserves to be placed among the classic interpretations of this George Herbert poem. As is typical of Peter Pindar Stearns' style, this work contains many soaring, lyrical phrases for all the voice parts. Each verse is treated with further intensification of the harmonies and the voices expand to fill out the emotion of the words such a joy as none can move. This anthem will require a sensitive performance to obtain the many subtleties within the parts here.
SKU: PL.1012
* Lovely interpretations of two famous texts from the Gospels of Matthew and John * Lyrical and interesting melodies are typical of Stearns' Writing * Tonally conservative but with some modality make them appealing to the ear.
SKU: GI.G-009047
UPC: 641151090474. Text Source: The New England Psalm Singer , 1770.
Kyle Johnson has taken the traditional canon “When Jesus Wept†and creatively deconstructed it. We never hear more than two parts in canon with each other at the same time. Then he introduces a new counter-melody in the other parts and fills out the harmonies in other ways. While the words can be lost in the traditional four-part canon, the overall effect of Johnson’s approach is to create a moving meditation on the text. Easily accessible and highly recommended for small SATB choirs, but any size group will appreciate the artistry of this piece.
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