SKU: SU.91480570
Text: Angier Brock.
SATB Chorus, Organ Duration: 7' Text: Angier Brock Composed: 2010 Published by: Subito Music Publishing YouTube: Ms. Brock’s moving poem is lyrical throughout. Even in its beautiful originality, the poem invokes The Book of Common Prayer and biblical scripture (the latter through references to dust and breath from Genesis 2 to the final line of the poem invoking the opening of Psalm 62). Ms. Brock’s poetry is also filled with wonderful twists on traditional texts (such as in the creative and reverse naming of the Trinity in speaking of Inventing Wind, Generous Christ, and Luminous God). Musically, the main melodic material of the piece is immediately heard on a solo organ color accompanied by organ strings over a recurring pedal pulse on the pitch C. The chorus soon enters with the first stanza of the text. As this stanza unfolds, the harmony starts to gradually change as the pulsing pedal rhythm begins to move upward by step. An organ interlude, reflective of the opening introduction, soon emerges (though now over a C-sharp recurring pedal pulse), and leads to a similar choral setting as found in stanza one. As the poem’s second stanza moves forward, it eventually folds into the more harmonically rich stanza three. A fast, dance-like section evolves at Inventing Wind, what a lively dance your energy creates! eventually bringing the work to its climax point. The spirit of dance soon subsides and leads to a quiet and gentle close on the words …for you alone my soul in silence waits. Minimum order quantity: 8 copies. To order quantities fewer than 8, please email customer service at sales@subitomusic.com.
SKU: SU.YR6002V2
Words based on the writings of Emma Goldman and Mariana Romo CarmonaSATB, a cappella Composed: 2002 Published by: Barton Rhodes Press Minimum order quantity: 8 copies. To order quantities fewer than 8, please email customer service at sales@subitomusic.com.
SKU: GI.G-6296
UPC: 785147629603. English. Text by Deanna Light.
A unison hymn with a good deal of interesting choral “backup†that calls on God to bring us from our wandering into the communions of saints on earth and in heaven. The refrain is one of those melodies that you'll find yourself humming after hearing it just once. For cantor or soloist
SKU: EC.1.3706
UPC: 600313137068. English.
An a cappella treatment of this wonderful French carol. The piece begins with a four-part strophic setting; then as the piece develops, the parts begin to divide and play off each other, some serving as accompaniment to the melody. A delightful, bright and energetic treatment.
SKU: PR.312419020
ISBN 9781491131862. UPC: 680160680474. 6.875 x 10.5 inches. English.
Commissioned by the San Francisco Choral Society and the Piedmont East Bay Children’s Choir, Terra Nostra is a 70-minute oratorio on the relationship between our planet and humankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. Part I: Creation of the World explores various creation myths from different cultures, culminating in a joyous celebration of the beauty of our planet. Part II: The Rise of Humanity examines human achievements, particularly since the dawn of our Industrial Age, and how these achievements have impacted the planet. Part III: Searching for Balance questions how to create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. In addition to the complete oratorio, stand-alone movements for mixed chorus, and for solo voice with piano, are also available separately.Terra Nostra focuses on the relationship between our planet and mankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. The oratorio is divided into three parts:Part I: Creation of the World celebrates the birth and beauty of our planet. The oratorio begins with creation myths from India, North America, and Egypt that are integrated into the opening lines of Genesis from the Old Testament. The music surges forth from these creation stories into “God’s World†by Edna St. Vincent Millay, which describes the world in exuberant and vivid detail. Percy Bysshe Shelley’s “On thine own child†praises Mother Earth for her role bringing forth all life, while Walt Whitman sings a love song to the planet in “Smile O voluptuous cool-breathed earth!†Part I ends with “A Blade of Grass†in which Whitman muses how our planet has been spinning in the heavens for a very long time.Part II: The Rise of Humanity examines the achievements of mankind, particularly since the dawn of the Industrial Age. Lord Alfred Tennyson’s “Locksley Hall†sets an auspicious tone that mankind is on the verge of great discoveries. This is followed in short order by Charles Mackay’s “Railways 1846,†William Ernest Henley’s “A Song of Speed,†and John Gillespie Magee, Jr.’s “High Flight,†each of which celebrates a new milestone in technological achievement. In “Binsey Poplars,†Gerard Manley Hopkins takes note of the effect that these advances are having on the planet, with trees being brought down and landscapes forever changed. Percy Bysshe Shelley’s “A Dirge†concludes Part II with a warning that the planet is beginning to sound a grave alarm.Part III: Searching for Balance questions how we can create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. Three texts continue the earth’s plea that ended the previous section: Lord Byron’s “Darkness†speaks of a natural disaster (a volcano) that has blotted out the sun from humanity and the panic that ensues; contemporary poet Esther Iverem’s “Earth Screaming†gives voice to the modern issues of our changing climate; and William Wordsworth’s “The World Is Too Much With Us†warns us that we are almost out of time to change our course. Contemporary/agrarian poet Wendell Berry’s “The Want of Peace†speaks to us at the climax of the oratorio, reminding us that we can find harmony with the planet if we choose to live more simply, and to recall that we ourselves came from the earth. Two Walt Whitman texts (“A Child said, What is the grass?†and “There was a child went forth every dayâ€) echo Berry’s thoughts, reminding us that we are of the earth, as is everything that we see on our planet. The oratorio concludes with a reprise of Whitman’s “A Blade of Grass†from Part I, this time interspersed with an additional Whitman text that sublimely states, “I bequeath myself to the dirt to grow from the grass I love…â€My hope in writing this oratorio is to invite audience members to consider how we interact with our planet, and what we can each personally do to keep the planet going for future generations. We are the only stewards Earth has; what can we each do to leave her in better shape than we found her?
SKU: HL.35032448
UPC: 888680863838. 6.75x10.5 inches.
Majestic writing from beginning to end covers this equally grand text. Claiming the resurrection of Christ is a transcendent thought for the believer and the message of this anthem showcases the ministry of the Trinity with clarity and power. The music and text shout away any doubt and fully embrace this spiritual truth with soaring strains and towering harmonic moments. The entrance of the well-known “Crown Him with Many Crowns” is an immense moment, bringing the congregation into the colossal apex of this powerful statement of faith. Score and Parts (fl, ob, cl, hn, tpt 1-2. tbn 1-2, timp, tub bls, perc 1-2, pno, vn 1-2. va, vc, db) available as a digital download.
SKU: MN.50-5012
UPC: 688670550126. English. Scripture: Daniel 3:57-88.
A triumphant anthem of praise featuring fresh harmonic language typical of Cherwien's style. The steady rhythmic drive, varied motivic figures, and differing choral textures propel the music from beginning to end, while the organ is also given its own spotlights throughout. Commissioned by the American Guild of Organists for the 2016 National Convention.
SKU: GI.G-006440
This contemplative setting of Psalm 118 is one of Bob’s final compositions before his untimely passing in 2018. His well-conceived writing for choir and assembly always featured finely crafted singable tunes and harmonies. The refrain’s simple melody, utilizing chord tones of the harmonic structure, makes this easy for the assembly to join in almost at first hearing. The verses are set in a question-and-answer dialog between cantor and choir. More vocal forces are added with each stanza, bringing a richness to the overall sound and effect highlighting the words of this lovely composition.
SKU: GI.G-5965
UPC: 785147596509. English. Text Source: 1) Billings, William, Bringle, Mary Louise, 2) Bringle, Mary Louise. Text by Mary Louise Bringle.
This early American “fuguing tune†allows singers to let loose with rustic and boisterous joy. If your choir has never sung indigenous shapenote style, this arrangement would make a fun and satisfying introduction. Poet Mary Louise Bringle provides two new hymn texts for this lively music. It’s easy to catch on to the style. Don’t be afraid, try it! “Wake Every Breath†is suitable for a Sunday of Ordinary Time, Eastertide, or celebrations of music in worship. An alternative text, “Let Heavens with Gladness Ring,†is specific to Christmas. Optional keyboard part can double voices.
SKU: BA.BA11309
ISBN 9790006577705. 27 x 19 cm inches. Text Language: English.
It is a small music history sensation: Thanks to Yves Grard an unknown and unpublished manuscript penned by Camille Saint-Saëns has been unearthed in the Mdiathèque Jean Renoir in Dieppe in France.It is the top four instrumental parts which make this manuscript something of a sensation. Placed under each other are â??Saxophone Soprano en Si bâ?, â??Saxophone Alto en Mi bâ?, â??Saxophone Tnor en Si bâ? and â??Saxophone Baryton en Mi bâ?, strings, soprano solo with chorus and organ. Musical history has hitherto credited Jean-Baptiste Singele (1812â??1875) with having written the first saxophone quartet, his opus 53, which he completed in 1857. Now this historiography clearly has to be revised. The date 1854 has been found under the first page of the treasure from Dieppe, which is pasted over and also sewn, meaning that Saint-Saënsâ?? work was written three years earlier than that of Singele.In contrast to Singele, Saint-Saëns does not have the wind instruments taking solo parts but rather uses their tonal colour to depict textual moods and nuances. On the one hand the saxophones accompany the choral parts (certainly singable by amateurs) and support the human voices in fugal passages. On the other hand, they take the melody in the purely orchestral passages.Saint-Saëns wrote the motet in the period when he had taken up his first permanent appointment as organist at the Church of Saint-Merri in Paris. He revised the work several times over the decades, changing the motifs at the beginning, correcting obvious mistakes, reworking the ending, eventually changing the instrumentation several times and even â?? probably in the final stage â?? replacing the Latin text with an English one. Today, three-and-a-half versions have been handed down, one of them stopping after just a few pages. The compositional steps have been successfully reconstructed by means of detailed detective work. Furthermore, the first saxophone version (BA 11305) and the last English piano version (BA 11309) have been edited to produce a scholarly-critical edition.The present edition of the English version for soprano solo, choir and piano (BA 11309) serves both as a full score and as a vocal score due to the instrumentation.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: CA.3116205
ISBN 9790007172251. Language: German/English. Scripture: Matthew 22:1-14.
The cantata for the 20th Sunday after Trinity. Ah! I see now, as I to the wedding bidden, BWV 162 was first performed on 25 October 1716 in the Castle church at Weimar. During the first year in his position as Thomaskantor, Bach made a revival performance of the cantata on 10 October 1723. For this Leipzig version he added an additional obbligato voice in the first movement and in the final chorale he added a Corno da tirarsi, which played colla-parte with the soprano. However, we do not know what this mysterious instrument looked like. For performances today we recommend using a trumpet or a slide trumpet. The cantata begins not with an introductory chorus, but rather with a sonorous bass aria with a string accompaniment and obbligato trumpet. The following movements, movement 2 through 5, are also performed by vocal soloists. The third movement, a soprano aria, presents a peculiarity: the obbligato wind parts were not contained in the original version of this cantata. Our edition offers a reconstruction for the flute, made by the famous Bach interpreter and expert, Masaaki Suzuki. Score available separately - see item CA.3116200.
SKU: BA.BA04050
ISBN 9790006443598. 33 x 26 cm inches. Language: German. Text: Feustking, Friedrich Christian.
“Almiraâ€, Handel’s first opera, was well received when premiered in 1705 at the Theater am Gänsemarkt in Hamburg. The director was Reinhard Keiser, who, remarkably, had himself already set Friedrich Christian Feustking’s text to music. The role of Fernando was sung by Johann Mattheson. The translation used by Handel leaves several Italian arias in their original language, resulting in a delightful mixture of German and Italian.The opera which, after sundry entangled romances, ends in the wedding of three couples, is characterised by exuberant scenes: the procession at Almira’s crowning ceremony, a duel, a prison scene and a masked-ball involving the three continents Europe, Africa and Asia. The vocal score to “Almira†by George Frideric Handel brings about a small sensation: Whilst conducting a reenactment of this work in 1732, Georg Philipp Telemann removed the Aria no. 28 “Ingrato, spietato†from his conducting score. Since then this aria has been deemed lost. Due to necessity only the edited vocal text devoid of any music was presented in the 1994 volume of the “Halle Handel Editionâ€. Thanks to a recently discovered contemporary manuscript copy from the beginning of the 18th century which was found in the music library of the Mariengymnasium in Jever, this aria has now been made available to performers for the first time in this new vocal score edition. Previous to this the corresponding pages could only be seen as a facsimile in an article of the “Göttinger Händel-Beiträgeâ€.Now the aria can be performed again. Furthermore, with the help of this new source, missing measures in the basso continuo which had initially been completed by the editor of the “Halle Handel Edition†volume, could be reconstructed from the basso continuo part of the Bellante aria “Ich brenne zwar†(no. 71).
SKU: GI.G-8207
UPC: 785147820703. English. Text by Liam Lawton.
Featuring images of God calling us by name as he shows his great love for us, this edition can be used at various times throughout the year. The beautiful choral harmonies can be effectively performed by an SATB choir or by a smaller group of voices. The C instrument part may be used alone or in conjunction with the string quartet parts, bringing added texture and beauty to the piece.
SKU: HL.615941
UPC: 196288078944. 6.75x10.5x0.029 inches.
This joyful carol is also known as Personent Hodie. David Schmidt's arrangement begins by adding majesty and triumph. Then, a middle section brings new emotion in an a cappella rendering. Returning to the opening character, the piece concludes with a glorious finish.
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