SKU: HL.50600742
ISBN 9781495078767. UPC: 888680651114. 6.75x10.5 inches.
Two separate pieces under one cover ? ?Hineih Ma Tov?(Song of Peace 1-Psalm 133) and ?Oseh Shalom? (Song of Peace 2-Grant Peace) ? the first from Psalm 133 and the second from the book of Job and both expressing the hope and desire of a peaceful world.
SKU: CA.965600
ISBN 9790007165062. Text language: English.
In A Dream Within a Dream Edgar Allan Poe writes of a traumatic grief that shakes him to the core, affecting his perception of reality itself. Through this setting, his exploration continues into the musical realm. The piano textures here represent something that is not quite real, and fading mercilessly in and out between whimsical fantasy and crushing reality. This aids the tone of Poe's words and provides a backdrop for the voices to speak his emotions in a more solid context, albeit not always quite rationally. There is such a two-sided nature to the emotions at play that it is almost laughable to compare them musically, except when placing oneself into the mindset of a desperate mind. Poe needs no help in expressing his feelings - the power of his words carries an inherent statement without calling for musical aid. However, in Dreamscape we will attempt to explore them in the context of the modern psyche and hopefully one may see Poe's struggle arise within oneself in sensory ways not often accessible through poetry alone. (Daniel Elder).
SKU: GI.G-5125
Text Source: O beata beatorum, 12th C., alt. Faber, Frederick W. Text by Frederick W. Faber.
A concertato on in babilone with two quite varied texts. the second is the well-known “There's a wideness in God's mercy,†while the first is a lesser-know text for the feast of a martyr. It's a rather big setting for SATB, assembly, organ and brass, but if your parish patron is a martyr, this may be just the piece for a parish dedication, anniversary or feast day celebration. .
SKU: CA.2770519
ISBN 9790007166601. Language: Latin.
Man that is born of woman hath but a short time to live is one of the central biblical texts dealing with the transitoriness of human existence. Leopold Hofmann, Kapellmeister at St. Stephen's Cathedral in Vienna from 1772 to 1793, where W. A. Mozart was his church music assistant, also set this strongly expressive text. Hofmann's setting, in C minor, offers an austere harmony, characterized by suspensions in a homophonic, through-composed four-part vocal setting (soloists or SATB choir), reinforced only by two trombones and organ continuo. Four concise instrumental transitional passages between the individual verses relieve the pathos laden Viennese church style of this composition. With its tragic air, in some passages it closely resembles Mozart's Requiem K. 626. For this first edition, the two trombone parts are available both in the original clef and in alto clef. The figured bass has been realized so that the piece can also be performed without trombones, with only organ accompaniment. For a performance this piece could easily be combined with the Salve Regina by Pietro Cassati (Carus 27.703) from the Vienna series. Score and parts available separately - see item CA.2770500.
SKU: WD.080689862120
UPC: 080689862120.
The life-changing story of Jesus' death and resurrection is told from the unique perspective of the Samaritan woman at the well as she is transformed by the sacrificial love of Christ in this passionate new work from Deborah Craig-Claar, Allan Douglas and Phillip Keveren. Two actresses portray the woman called Anna - an older woman who looks back at the Passion events from a post-resurrection perspective, and her younger counterpart who encounters Jesus at the well and joins His followers in Jerusalem during Passion Week. The extraordinary score includes songs written or made popular by today's most accomplished artists, including Michael W. Smith, Keith Getty, Stuart Townend, Matt Maher, and Natalie Grant. Phillip Keveren's breathtaking chamber ensemble instrumentation creates an intimate and compelling experience. At only 40 minutes in length and with only two female characters, one male character, and purely optional sets/lights/costumes, Never Thirst Again can be offered by churches of any size or production capability.Includes songs written or made popular by Michael W. Smith, Keith Getty, Stuart Townend, Matt Maher, Natalie Grant, Tony Wood, Michael Farren, Audrey Assad, and Shelley Johnson. Chamber ensemble instrumentation creates an intimate and compelling experience. Accessible cast requirements: two female characters, one male character - costumes, props, and sets are purely optional. Reader's Theatre script available at www.wordmusic.com. Features early American classics There Is a Fountain and My Song in the Night. Thoughtful benediction, Peace Be with You, or an exuberant and congregational Finale.
SKU: WD.080689752728
UPC: 080689752728.
SKU: CA.3909705
ISBN 9790007162115. Language: Latin.
Telemann's Missa brevis on the Christmas hymn Ein Kindelein so lobelich is one of eleven surviving Latin Missae breves based on church hymns. The motetlike composition calls for a mixed choir accompanied by a basso continuo, reinforced by colla-parte instruments. However, the mass can also be performed solely with an organ accompaniment. Gottlob Harrer, the successor to Johann Sebastian Bach as Thomaskantor, performed the mass in Leipzig at Christmas in 1750 and 1751 with an instrumental accompaniment and for this purpose he added two horns. They are included in the present edition as ad libitum parts. Score available separately - see item CA.3909700.
SKU: CA.3909709
ISBN 9790007133108. Language: Latin.
Telemann's Missa brevis on the Christmas hymn Ein Kindelein so lobelich is one of eleven surviving Latin Missae breves based on church hymns. The motetlike composition calls for a mixed choir accompanied by a basso continuo, reinforced by colla-parte instruments. However, the mass can also be performed solely with an organ accompaniment. Gottlob Harrer, the successor to Johann Sebastian Bach as Thomaskantor, performed the mass in Leipzig at Christmas in 1750 and 1751 with an instrumental accompaniment and for this purpose he added two horns. They are included in the present edition as ad libitum parts. Score and parts available separately - see item CA.3909700.
SKU: CA.3909719
ISBN 9790007134754. Language: Latin.
SKU: CA.3909700
ISBN 9790007097516. Language: Latin.
Telemann's Missa brevis on the Christmas hymn Ein Kindelein so lobelich is one of eleven surviving Latin Missae breves based on church hymns. The motetlike composition calls for a mixed choir accompanied by a basso continuo, reinforced by colla-parte instruments. However, the mass can also be performed solely with an organ accompaniment. Gottlob Harrer, the successor to Johann Sebastian Bach as Thomaskantor, performed the mass in Leipzig at Christmas in 1750 and 1751 with an instrumental accompaniment and for this purpose he added two horns. They are included in the present edition as ad libitum parts.
SKU: CA.3909714
ISBN 9790007215316. Language: Latin.
Telemann's Missa brevis on the Christmas hymn Ein Kindelein so lobelich is one of eleven surviving Latin Missae breves based on church hymns. The motetlike composition calls for a mixed choir accompanied by a basso continuo, reinforced by colla-parte instruments. However, the mass can also be performed solely with an organ accompaniment. Gottlob Harrer, the successor to Johann Sebastian Bach as Thomaskantor, performed the mass in Leipzig at Christmas in 1750 and 1751 with an instrumental accompaniment and for this purpose he added two horns. They are included in the present edition as ad libitum parts. Score and part available separately - see item CA.3909700.
SKU: CA.3909711
ISBN 9790007215286. Language: Latin.
SKU: CA.3909712
ISBN 9790007215293. Language: Latin.
SKU: CA.3113903
ISBN 9790007181192. Language: German/English. Text: Rube, Johann Chr.
Bach's chorale cantata with its opening text Wohl dem, der sich auf seinen Gott recht kindlich kann verlassen (Tis well with him who on the Lord trusts just like a child) BWV 139 was performed for the first time on 12 November 1724 in the main Leipzig church service. The cantata text, based on the hymn of the same name by Johann Christoph Rube (1665-1746), is in praise of trust in God. In the opening chorus, full of depth of feeling, the hymn melody is heard throughout; this is followed by a lively tenor aria Gott ist mein Freund (God is my friend) with a musical depiction of the adversary raging in vain, and in the bass aria Das Ungluck schlagt auf allen Seiten (Misfortune assails me on every side) Bach presents both drama and Baroque imagery. One of the two solo violin parts for the tenor aria is lost, so our edition offers a reconstruction. The virtuoso violin part of the bass aria was evidently based on a part for violoncello piccolo, now lost. The edition provides for performance by violin or violoncello. Score available separately - see item CA.3113900.
SKU: ST.CN21P
ISBN 9790220224812.
Fire, Silver, Gold is an anthem suitable for general use, which was commissioned to mark the quatercentenary of one of the historic livery companies of the City of London, The Worshipful Company of Founders. Through a thoughtful combination of texts from Psalm 12 and from Zechariah 13, the composer celebrates the metal founder's craft in terms of salvation through the refining power of God's Word, as noble metals are tested against the purity of gold. Conveying a quietly reverent awe at this wondrous mystery, the music itself is a sublimation, in a clear two-part melodic design, of limpid harmonies and softly resolving discords that will inspire any choir able to pitch with confidence, and to project with profundity and conviction.
SKU: HL.277282
UPC: 840126915006. 6.75x10.5 inches.
Program note:Looking Up is a piece for large chorus and orchestra, and is in three sections, played without pause. In the 16th century, a variety of psalters in meter were printed in England, with the idea of making psalm-singing something that could happen easily at home, with the rhyming meter being an aid to memorization. These translations are wonderful exercises in brevity and sometimes clumsy rhymemaking, and were usually prefaced by a lengthy explanation as to their merits; the title of one of the first such volumes in English is: The Psalter of Dauid newely translated into Englysh metre in such sort that it maye the more decently, and wyth more delyte of the mynde, be reade and songe of al men. I thought it would be appropriate to set one of these introductions, and the first section of Looking Up sets the preface to Thomas Ravenscroft's psalter (1621), in which he writes: “The singing of Psalmes (assay the Doctors) comforteth the sorrowfull, pacifieth the angry, strengtheneth the weake, humbleth the proud, gladdeth the humble, stirres up the slow, reconcileth enemies, lifteth up the heart to heavenly things, and uniteth the Creature to his Creator.”It begins meditatively, but eventually grows agitated and fervent, with a vision of the “quire of Angels and Saints” “redoubling anddescanting” - an ecstatic and terrifying vision of the skies opening up. Ravenscroft then encourages the use of instrumental musicfor worship, at which point, a long, acrobatic orchestral interlude with jagged edges antagonizes the choir, who sing a kind of private, anxious meditation on two pitches.One of the most delicious biblical texts is an Apocryphal prayer known as the Benedicite or the Prayer of the Three Children (the same who were rescued by an angel after King Nebuchadnezzar tried to have them burnt in an oven for not bowing to his image). The text is repetitive, obsessive, and a gift to composers - each line is an invocation of an element of the natural world, followed by the phrase, “blesse ye the Lord, praise him & magnify him for ever.” In Looking Up, the setting begins with three solo voices, and then grows to include the whole choir, itemizing the whole of creation. The idea that these boys are spared from the furnace and then five minutes later are saying, “O ye the fire and warming heate, blesse ye the Lord...” has always felt very loaded to me, and the orchestra plays with this conflict between joyful praise and a more terrible (in the 16th-century sense) awefor the divine.The text for the third, and shortest, section is taken from Christopher Smart's (1722-1771) A Song to David, purportedly written during his confinement in a mental asylum. This ode to King David points out how David, as the author of some of the Psalms, observes the whole world from the “clustering spheres” to the “nosegay in the vale.&rdquo.
SKU: CA.3110805
ISBN 9790007047924. Key: A major / b minor. Language: German/English. Text: von Ziegler, Christiane Mariane. Text: Christiane Mariane von Ziegler.
The cantata Es ist euch gut, dass ich hingehe [It is well that I go forth] BWV 108 for Cantate Sunday is one of the cantatas composed on texts by the Leipzig poetess Christiane Mariane von Ziegler with which Bach concluded his second annual cycle of cantatas after he had abandoned the annual cycle of chorale cantatas at Easter 1725. The text contains two sayings by Jesus which are taken directly from the Sunday gospel reading (John 16:5-15). The quotation opening the cantata was set by Bach as a bass aria with solo oboe d'amore; it breathes tranquility and assurance. The second quotation, however, is set as an extended choral fugue in three sections; it forms the center of the cantata. The free text surrounding the biblical quotations is divided into two arias in which the emphasis is on melodic lines; there is only one single recitative, the original text of which was substantially abridged by Bach. A four-part chorale concludes the cantata. Score available separately - see item CA.3110800.
SKU: CA.5506309
ISBN 9790007242060. Language: English/German. Text: Eschenburg, J. J. / Loy, Felix.
First critical edition. The oratorio Judas Maccabaeus is one of George Frideric Handel's most popular choral works. It was performed over fifty times during the composer's lifetime and was one of his first works to be performed in Germany (1772). The frequent performances given by Handel himself resulted in a particularly large number of reworkings, reflecting local conditions. This new edition therefore offers the work in two performable versions: firstly, the version of the first performance in 1747, and the one from the last oratorio season during Handel's lifetime (1758/59). This makes available all the choruses and arias which Handel ever wrote for Judas Maccabaeus. Reflecting the latest Handel research, the edition is based for the first time throughout on Handel's conductor's score, thereby eradicating not only long-perpetuated mistakes, but also providing clarity about which pieces were actually performed by Handel. By contrast with the Chrysander edition obligatory until now, the aria Father of heav'n which introduces Part III is included here in its original, longer version. Score and parts available separately - see item CA.5506300.
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