SKU: HL.260538
ISBN 9788759893760. 8.0x11.0x0.076 inches.
Bestilt af DR til DR VokalEnsemblet og DR SymfoniOrkestret til fejringen af 500-ars dagen for Reformationen d. 31. oktober 2017. Tekst fra Luthers Hymne, 1523 Nu fryd jer, kristne menighed, nu ingen sorg vil tynge. I samlet flok, med liv og lyst, vi tillidsfuldt vil synge: at Gud, der er sa god og st''rk, ar gjort et herligt underv''rk som dyrt han matte yde. Hvad jeg har l''rt, alt hvad jeg var, det ma du ogsa v''re. Guds rige vil vokse sig stort til lov og pris og ''re. Korpartitur / Vocal score: WH33037C Stemmer / Parts are available on hire: hire@ewh.dk.
SKU: HL.14019693
ISBN 9788759862513.
FORORD TIL ANDEN UDGAVE Siden Lydformning-Kordramatik blev udarbejdet i de forrygende tressere, de vilde eksperimenters tid, har udviklingen stabiliseret sig en del.Hvor tit horer man i dag om happenings eller antimusik? Det har ogsa vist sig, at mange af forsogene med ny notation har vaeret for vidtgaende, derfor har det vaeret nodvendigt at revidere andenudgaven og fjerne de mere modepraegede pafund fra 68.Men ellers er bogens grundide uaendret. Satserne kan udfores af folk uden saerlige forudsaetninger i korsang, ligesom der heller ikke anvendes instrumenter eller rekvisitter.Satserne fungerer bedst med grupper pa mindst 25. Det kreative element ogimprovisationsstyringen er stadig en vigtig del af bogen.Det er meget betydningsfuldt, at den enkelte korsanger i gruppen fornemmer sit specielle ansvar for den overordnede helhed.
SKU: OT.28072
ISBN 9789655050257. Text: Yoram Taharlev, Eli Mohar.
Alexander Kantsberg's arrangements bring a new, contemporary feel to Israeli classics and are great for high school or community choirs.
SKU: BA.BA06299
ISBN 9790006477975. 26.7 x 20.9 cm inches. Language: German. Text: Kurt / Santa Clara, Abraham a / Gryphius, Andreas / Fleming, Paul / u. a. Mati.
Print on demand (POD).
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: SU.27040100
A fresh lullaby of the familiar poem by William Blake (1757-1827). Harmony: mostly pan-diatonic with some chromaticism. USE: services, concerts, church choirs (Epiphany of the Lord.), Christmas, high schools, college, community, professional choruses.SATB Chorus Duration: 4' Composed: 2011 Published by: Hutter Music Minimum order quantity: 8 copies. To order quantities fewer than 8, please email customer service at sales@subitomusic.com.
SKU: SU.94010340
Tehillim to Yahweh is a very short paraphrase of part of Psalm 150, and in English is translated to Psalms to the Lord. It is meant to be of an easy level for an average church choir and is intended to be used as an introit in the divine worship service. There is a declamatory opening followed by a short passage of canonical entrances; the end of the work employs a small use of chromaticism. SATB Chorus, a cappella Duration: 1 ' Composed: 2013 Published by: Subito Music Publishing Minimum order quantity: 8 copies. Perusal copies are available by contacting (include the organization name with your request). To order quantities fewer than 8.
SKU: CA.925800
ISBN 9790007249205. Key: A flat major. German. Text: Cornelius, Peter.
Peter Cornelius once described himself as a poet-composer, for he wrote the texts for many of his songs himself. This is the case with In Lust und Schmerzen, the first song of the three Liebeslieder which make up op. 4. Cornelius composed these songs in 1854 in Weimar, where he was living near Franz Liszt whom he greatly admired. Liszt's influence can be discerned in the urgent piano accompaniment and the cumulative chromaticism which Cornelius chose as a means of expressing the emotional content of the text in music, alternating between Lust und Leiden, between Kampf und Ruh. The marking Leidenschaftlich bewegt [passionately agitated] aptly describes the character of the song. This art song was originally composed not for chamber choir, but for solo voice and piano. Denis Rouger has carefully adapted it to suit the requirements and expressive possibilities offered by a larger ensemble, without losing the any of the qualities of the original in the process. Each part in the choir has a melodic line drawn from the harmonic and rhythmic framework. In the process, the variety and refinement of the choral language combines with an enormous flexibility in form and expression, as French melodies or German art song demand from a soloist and pianist. The songs have been recorded by the figure humaine chamber choir on the CD Kennst du das Land ... (Carus 83.495).
SKU: ST.W182
ISBN 9790220207617.
Antony Herschel Hill's Ave Verum Corpus for unaccompanied SATB is one of a number of liturgical works by this gifted composer. Written for Prebendary John Pearce and the choir of St Simon Zelotes, Chelsea, London, Hill's setting projects the awe and mystery of the text through a rich variety of harmony that particularly exploits the lower registers of the individual voices to great effect. If you have a really good choir, take advantage of this and buy it. For pure musicianship little else has equalled it recently; the sense of architecture is superb, the climaxes are clean, controlled and never contrived, and the final section, 'miserere mei', uses a wonderfully restrained sense of chromaticism. What a magic piece.
ORGANISTS REVIEW
SKU: HL.1424333
UPC: 196288200574.
Looking for an accessible spiritual arrangement for Ash Wedneday? Look no further. This moving, deeply reflective four part a cappella spiritual uniquely uses moments of chromaticism while weaving the melody throughout the voices creating a satisfying experience for the entire chorus.
SKU: LO.10-5783L
ISBN 9780787779467.
Composer Victor Johnson and lyricist Pamela Stewart combine talents to bring us this winning anthem for Easter. The opening verse sets the stage for the Resurrection moment, with music that features a suspenseful melody full of rich chromaticism. At last, the music moves into a bright, major-key refrain as the choir sings, â??Rise up singing, Christ is risen.â? The vocal parts are carefully prepared and quickly learned, and an optional part for B-flat trumpet (included in the octavo) adds the perfect energy.
SKU: CA.2706005
ISBN 9790007187095. Language: Latin.
Carus-Verlag is now publishing this early work by Camille Saint-Saens in a critical new edition. Among the sacred works by Saint-Saens there are just two settings of the mass: the Messe de Requiem op. 54 from his middle period (1878), and the Mass op. 4 dating from 1856. This was first performed on 21 April 1857. Camille Saint-Saens was a devoted follower of historicism as part of the reform movement in French church music. This is more evident in the mass published here than anywhere else. The model for this work is the unison Messe Royale by Henry DuMont (1610-1683). Saint-Saens combined its Gregorian style in a convincing manner with contemporary elements of Romantic composition, an expressive chromaticism, which determines the harmonic progression. Alongside the orchestral forces, the Grand Orgue plays an important role. Used as a solo instrument, it is an equal partner in the composition. Score available separately - see item CA.2706000.
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