SKU: GI.G-8959

UPC: 785147895909. English. Text by Gregg Sewell.

With newly composed words and music, Gregg Sewell offers a brief choral meditation on the boundless capacity of God’s love. An easy, flowing melody with steady phrasing later builds in dynamic intensity to highlight this divine love’s transformative power, ultimately coming to rest in quiet serenity. A piano reduction is provided for rehearsal.

SKU: HL.4003170

UPC: 884088651466. 9.0x12.0x0.044 inches.

“Cathedral Grove” is a magnificent park on Vancouver Island in British Columbia, Canada, containing some of the oldest and largest trees in the world. It is the towering, majestic pillars of these ancient giants and the quiet serenity of this place that inspired this music. Evocative and impressionistic in nature, Robert Buckley's writing depicts the richness of the colors and textures, and the diffused light shining through the canopy of leaves above. At times hauntingly lyrical, and other times prayer-like and reverent, but always filled with awe and beauty. (Includes optional part for acoustic guitar or harp). Dur: 3:05.

SKU: HL.370494

ISBN 9781705147009. UPC: 840126994025.

The First String Quartet in C major, Op. 37, was written in the autumn of 1917 and earned Szymanowski the first prize in a competition organized by the Ministry of Religious and in a competition organized by the Ministry of Religious and Educational Affairs in January 1922. The First String Quartet is notable for its clar and simple construction. The first movement is in the formof a sonata allegro; the Andantino semplice (in modo iuna canzone) in the middle is a cross between ternary and variation form. The final Scherzando alla burlesca also keeps to the form of a sonata allegro. The combinations and proportions of formal factors and the treatment of thematic material betray a fairly conventional adoption of classical models. Similarly, the expressive and structural use of melodic material shows a respect for traditional norms. Szymanowski created, in other works from the same period, his own individual type of melodic line, which was strongly expressive and achieved its effect chiefly by its tonal qualieties; nevertheless in this Quartet he returns to a fluid, cantilena-like, symmetrically shaped melodic line, which runs along in broad phrases of a concentrated, reflective character. Melody becomes the chief factor in the development of the form, both in thematic usage and in the application of a more polyphonic texture. Harmonic and tonal means are considerably simplified in the Quartet []. Most of the writing is linear, or horizontal, with individual treatment of each part, the parallel continuation of the four sound planes, almost a matter of principle. The functions of the particular instruments in realizing these planes are constantly changing,which accounts for the even greater variedy of tone-colour. The decision to forego experiment with forms and sonorities is reflectedin the overall approach to musical expression. The predominant atmosphere of restrained emotion, quiet lyricism and serenity is strongly suggestive of classical aestetic models. (Based on Zofia Helman Commentary on Szymanowski Complete Edition, Vol. B6) (II) The ''Second String Quartet'' represents an interesting attempt to revert to classical form coupled with the new harmonic and tonal vocabulary worked out previously in the ''Slopiewnie'', ''Stabat Mater'' and ''Mazurkas''. It was also the first time the composer had used folk elements in the framework of a major classical form. The ''Second String Quartet'' is in a special category among Szymanowski's works. Though it dates from the composer was still occupied with folk music, it nevertheless shows him returning to classical models, but at the same time using an aesthetic of subjective expression, which gives the work its own individual stamp. The ''Second String Quartet'' synthesis of the various directions in which Szymanowski was attempting to develop. The sonority and texture used in the first.

SKU: AP.30804

UPC: 038081351148. English.

This festive medley of Yuletide classics (Angels From The Realms Of Glory, Good King Wenceslas, Angels We Have Heard On High, While Shepherds Watched Their Flocks By Night, Silent Night, and Joy To The World) reflects the sounds, sights, and spirit of the season: the excitement of eager children as they anticipate Christmas morning, the joy of gathering with family and friends, and the peaceful serenity of a quiet Christmas Eve. A most musical collection of cherished holiday tunes certain to brighten your holiday concert and boost everyone's spirit at this very special time of the year.

SKU: KJ.SO287F

Capture a moment of perfect serenity with this quiet, peaceful selection. The calm, lilting mood of Simplicity would make the perfect counterpart to an energetic piece in your next concert program.

SKU: ST.CN12P

ISBN 9790220224690.

Among the UK's most noted choral composers and conductors, Ronald Corp does not hesitate to bring his own musical vision to a much-loved poem by the sixteenth-century lutenist songwriter and 'Doctor of Physick' Thomas Campion, following the example not only of Campion himself but also of Charles Wood and Hubert Parry. Eschewing the manner of Parry's resonant polyphony for a simple harmonised setting in a flexible verbal rhythm reflecting the measure of the words, this is a heartfelt plea for spiritual release uttered in a quietly elegiac tone, in which the serenity of the entreaty rather than its pathos is to the fore.

SKU: CL.012-4589-01

Perfectly combining both the reverent serenity and also the emotional qualities of O Holy Night, this exceptional Paul Clark arrangement will be the highlight of your holiday concert! Starting simply, this setting slowly builds to a strong full ensemble, and ends as quietly as it began. This beautiful rendition of a beloved holiday classic will bring back fond memories of Christmas past, as well as being a wonderful part of Christmas present for your audiences and performers. Superb!

SKU: CF.YPS258F

ISBN 9781491163986. UPC: 680160922772.

Homeward is a lyrical ballad in ABA form. The composition presents few rhythmic challenges, allowing the ensemble to concentrate on beauty of sound, balance, dynamic nuance, phrasing, and expressive performance. The woodwind voices present the melody at the opening accompanied by a flute countermelody. Care should be taken to balance the two parts. The four-measure phrases call for tapered dynamics and freedom of the metric pulse at cadence points. A change of tempo and key, with a lean toward the minor mode, mark the contrasting B section (m. 9). Heed the dynamic markings that swell to a climax (m. 16) and then subside within this section. Take liberty to hold back the tempo at the percussion link to the forte restatement of A (m. 27) and the arrival of the fortissimo climax (m. 33). The coda (m. 35) should be presented slowly and serenely as the composition comes to a quiet close.