SKU: HL.1334466
UPC: 196288186847. 6.75x10.5 inches.
Swing into the season with this toe-tapping, big-band styled holiday song! A perfect concert opener for pop and show groups, complete with a rhythm and horn section.
SKU: CA.927600
ISBN 9790007296117. French. Text: Gautier, Theophile.
A prevailing melancholy mood is characteristic of Theophile Gautier's (1811-1872) poetry; a melancholy mood which inspired composers such as Hector Berlioz and Gabriel Faure to compose settings. Tristesse (Sadness) is taken from the 1838 collection La Comedie de la Mort (The Comedy of Death). With over 50 poems this is regarded as Gautier's major Romantic work. Although the narrator in the poem is conscious of the joy and zest for life of spring coming into bloom around him, he cannot share this: Helas! j'ai dans le coeur une tristesse affreuse. (Alas, in my heart I bear a terrible grief.). Faure's setting portrays this effect less as a dramatic sigh than a melancholic unworldliness with peaceful piano accompaniment in the minor key. 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 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 ... Wo die Zitronen bluhn (Carus 83.514).
SKU: HL.49046382
UPC: 841886031753. 0.126 inches.
Magnificat is a tribute to the unaccompanied motets of favourite composers from several eras - in particular those of Dufay, the Eton Choirbook, Robert Carver, Lassus and Bach. The work is therefore full of contrast in texture, harmony, mood and pacing, and exploits the resources of unaccompanied chorus in a manner not only analogous to those already mentioned but also to ensemble or orchestral writing. Naturally - given the sentiments of the text - the mood is predominantly joyful and exuberant; but the darker implications of certain phrases in the text are not ignored. Towards the end there is a big choral explosion on one of the traditional plainsong chants for the Magnificat, before the work subsides into a coda of calm serenity. Magnificat was commissioned by the ORA choir. It is dedicated to the French composer Betsy Jolas, in celebration of her 90th birthday, and in equal celebration of our mutual love of many choral composers mentioned above.
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.80101165
This anthem is an original setting of the familiar Lenten text by Henry W. Baker. The mood is meditative and spare throughout, inspired by the mood of the Lenten season. 8 pages Published by: Zimbel Press.
SKU: OU.9780193361713
ISBN 9780193361713. 12 x 8 inches.
For SSATB unaccompanied Commemorating the martyrdom of St Catharine, this reflective piece sets the Antiphon at First Vespers, Feast of All Saints alongside a thought-provoking contemporary poem by Colin Tan, full of vivid imagery. Melodic lines reminiscent of plainchant enhance the contemplative mood.
About Oxford New Horizons
New Horizons showcases the wealth of exciting, innovative, and occasionally challenging choral music being written today. It encompasses the whole gamut of small-scale choral genres, both secular and sacred, and includes pieces for upper-voice and mixed choirs. With titles by some of the most accomplished choral composers active in Great Britain and abroad, the series introduces new repertoire and fresh talent to a broad spectrum of choirs. New Horizons features composers with growing reputations for quality composition reflecting a strong individual voice. The series is continually expanding and should be the first place to look for attractive and performable contemporary choral music.
SKU: JK.00757
Original Christmas anthem arranged for mixed chorus (SATB) and piano: Mary marveled at the news she'd mother the Anointed One. Mary marveled at the Temple, first-born son by law to bring. Simeon and Anna hailed the Messiah, Lord and King. Highest note in sopranos: D.Composer: Michael F. Moody Lyricist: Penelope Moody Allen Difficulty: Medium Performance time: ~2:20Reference: Luke:2.
SKU: OU.9780193392472
ISBN 9780193392472. 12 x 8 inches.
For SSATB unaccompanied This stunning setting of Revelation 22:12-13, 17, describes Christ's generous offering of grace to 'whoever is willing'. The piece begins with a lively opening but quickly shifts into a gentler mood, giving way to Jackson's rich harmonic language and inventive choral textures.
SKU: OU.9780193366015
ISBN 9780193366015. 12 x 8 inches.
For SATB unaccompanied To Music is a jubilant anthem set to a poem by Robert Herrick ('To Music - A Song'). Commissioned by the BBC to mark Stephen Cleobury's 60th birthday celebrations in 2009, the work perfectly captures the exultant mood of the text, extolling the virtues of music.
SKU: OU.9780193395732
ISBN 9780193395732. 12 x 8 inches.
For SATB unaccompanied (with divisions) Here Jackson sets early Christian texts by St Augustine of Hippo, Baldwin of Forde, and St Mary Magdalene de Pazzi alongside words by Estonian poet Doris Kareva. Each movement offers a change of mood, from the reflective 'Conversi ad Dominum' to the more urgent and pleading 'Aufer a me, Domine'.
SKU: OU.9780193395725
ISBN 9780193395725. 12 x 8 inches.
For solo soprano and SATB unaccompanied Ever-changing in mood and pace, La Musique is a setting of poems by Elizabeth Bishop and Charles Baudelaire on the transformative power of music. Jackson musically represents the complex psychological shifts contained in the texts' metaphors through alternating fully notated and indeterminate passages.
SKU: SU.27040120
Second in a set of two pieces on poems of John Keats, this text complements the first by touching on the ending of things, Set in pan F minor/phrygian in a brooding mood, the result is quite satisfying whether alone or paired with the first. Secular, Concerts, Memorial, Lament/Grief/SorrowSATB Chorus Duration: 3' 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: OU.9780193364707
ISBN 9780193364707. 10 x 7 inches.
For SATB and organ (or piano) This attractive setting of Reginald Heber's 1811 hymn for Epiphany was originally published as part of The New Oxford Easy Anthem Book. Bullard brilliantly captures the mood of the text through varied choral textures, expressive harmony, and an evocative organ (or piano) accompaniment.
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