SKU: CF.CM9718

ISBN 9781491160978. UPC: 680160919574. Key: D major. English. Manmohan Ghose.

Manmohan Ghose was a professor, poet, and brilliant scholar from Eastern India in the late 19th century. He was educated in London, and was one of the first poets originally from India to publish poetry in English. A Lament is one of his earliest published poems; it progresses with vivid, scenic language from lullaby to permanent goodbye. Much later in life, Manmohan experienced a series of family tragedies that gave him a unique perspective on grief. After returning to India to mourn his father's death and eventually the passing of his wife, he never again made it back to England as he had wished to before his own death. The text of this piece has been paired with a mixolydian modal structure and a blend of musical elements designed to invoke a nostalgic, dream-like atmosphere. In the words of the composer: I like to think of this piece as a metaphorical hall of mirrors. The original 'image' of the melody becomes the source for multiple echoes and imitations that blossom into layers of polyphonic movement. As a nod to the poet's birth place, notes reminiscent of the kan-swar grace note technique of Hindustani classical music add ornamental interest to the piano and voices. This piece functions as an excellent educational introduction or further study into the concept of modes. When presenting this piece to a choir, directors may find it helpful to identify G as the tonal center and follow up with an explanation that G mixolydian has the same key signature as the key of C, because it naturally has no sharps or flats.
Manmohan Ghose was a professor, poet, and brilliant scholar from Eastern India in the late 19th century. He was educated in London, and was one of the first poets originally from India to publish poetry in English. “A Lament” is one of his earliest published poems; it progresses with vivid, scenic language from lullaby to permanent goodbye. Much later in life, Manmohan experienced a series of family tragedies that gave him a unique perspective on grief. After returning to India to mourn his father’s death and eventually the passing of his wife, he never again made it back to England as he had wished to before his own death. The text of this piece has been paired with a mixolydian modal structure and a blend of musical elements designed to invoke a nostalgic, dream-like atmosphere. In the words of the composer: “I like to think of this piece as a metaphorical hall of mirrors. The original ‘image’ of the melody becomes the source for multiple echoes and imitations that blossom into layers of polyphonic movement.” As a nod to the poet’s birth place, notes reminiscent of the kan-swar grace note technique of Hindustani classical music add ornamental interest to the piano and voices. This piece functions as an excellent educational introduction or further study into the concept of modes. When presenting this piece to a choir, directors may find it helpful to identify G as the tonal center and follow up with an explanation that G mixolydian has the same key signature as the key of C, because it naturally has no sharps or flats.

SKU: XC.2205012

9 x 12 inches.

“Here I am! is the empowering call at the climax of this thoughtful and inspiring song about the peaceful moments when you begin to wake up and gather your thoughts in the quiet light of your bedroom before rising to meet the day. Perfect for general concerts and graduation ceremonies. Available in multiple versions including a cappella, with piano accompaniment, and with additional string quartet parts. Perform with the accompaniment MP3 or add a string quartet to go with the piano accompaniment. Rehearse with the part-dominant MP3 practice tracks, available in a multi-user bundle to share with your whole choir.

SKU: GI.G-9730

UPC: 785147973003. English, Spanish. Text Source: Revised Order of Mass 2010, Lectionary for Mass

Over the past few years, as I have experienced the radical cultural transformation of Roman Catholic communities in the United States, I decided that I wanted to create something in response and support. Mass of Creation went through multiple revisions—into a Protestant version, a revised (2010) text version and a bilingual version. At each transition, the music struggled (I believe) to make the text “sing” as it had with the original version. With the Mass of Reconciliation / Misa de Reconciliación, I began with the premise that the text would be created to be sung throughout either in English or Spanish. My hope was that faith communities that had Masses in both languages might learn the mass setting in their own language and, when they came together for major feast days (Christmas Eve/Day, Easter Vigil/Day, and other celebrations) they could each sing with confidence and passion a setting in their own language.