SKU: CA.3103849
ISBN 9790007205706. Key: E phrygian. Language: German. Text: Luther, Martin.
The opening movement of Bach's chorale cantata on Luther's In deepest need I cry to you BWV 38, which was composed for the 21st Sunday after Trinity Sunday, belongs to a group of cantatas whose opening choruses are not concertante but have been kept in the style of a motet; the instruments merely amplify the vocal parts. The archaic character of the movement is emphasized by the addition of a trombone quartet. An exciting recitative and an aria full of pungent harmonies is followed by an entirely unusual recitative in which the chorale melody forms the bass foundation for the vocal part. A second aria - which is no less unusual -is a trio which is only accompanied by the continuo; it leads into the concluding chorale which, pursuant to the 1st line of text Ob bei uns ist der Sunden viel, already begins with a brusque dissonance. Score and part available separately - see item CA.3103800.
SKU: CA.3115405
ISBN 9790007187163. Language: German/English.
The cantata Mein liebster Jesus ist verloren BWV 154 was first performed on 9 January 1724, the 1st Sunday after Epiphany. The structure and extent of the work are unusual: it comprises eight, instead of the usual six movements. With a duration of around 15 minutes, it is a concise work. As well as this, at the beginning of the cantata there is an aria instead of the usual opening chorus. A chorale features at the end and in the third movement. Its brevity and straightforward arias make this cantata suitable for inclusion in any church service, and is easy for amateur ensembles to master. Score available separately - see item CA.3115400.
SKU: CA.3115414
ISBN 9790007208752. Language: German/English.
The cantata Mein liebster Jesus ist verloren BWV 154 was first performed on 9 January 1724, the 1st Sunday after Epiphany. The structure and extent of the work are unusual: it comprises eight, instead of the usual six movements. With a duration of around 15 minutes, it is a concise work. As well as this, at the beginning of the cantata there is an aria instead of the usual opening chorus. A chorale features at the end and in the third movement. Its brevity and straightforward arias make this cantata suitable for inclusion in any church service, and is easy for amateur ensembles to master. Score and part available separately - see item CA.3115400.
SKU: CA.3115449
ISBN 9790007187392. Language: German/English.
SKU: CA.3115419
ISBN 9790007208769. Language: German/English.
The cantata Mein liebster Jesus ist verloren BWV 154 was first performed on 9 January 1724, the 1st Sunday after Epiphany. The structure and extent of the work are unusual: it comprises eight, instead of the usual six movements. With a duration of around 15 minutes, it is a concise work. As well as this, at the beginning of the cantata there is an aria instead of the usual opening chorus. A chorale features at the end and in the third movement. Its brevity and straightforward arias make this cantata suitable for inclusion in any church service, and is easy for amateur ensembles to master. Score and parts available separately - see item CA.3115400.
SKU: CA.3115403
ISBN 9790007187156. Language: German/English.
SKU: CA.3115412
ISBN 9790007208738. Language: German/English.
SKU: CA.3115411
ISBN 9790007208721. Language: German/English.
SKU: CA.3115400
ISBN 9790007186760. Language: German/English.
The cantata Mein liebster Jesus ist verloren BWV 154 was first performed on 9 January 1724, the 1st Sunday after Epiphany. The structure and extent of the work are unusual: it comprises eight, instead of the usual six movements. With a duration of around 15 minutes, it is a concise work. As well as this, at the beginning of the cantata there is an aria instead of the usual opening chorus. A chorale features at the end and in the third movement. Its brevity and straightforward arias make this cantata suitable for inclusion in any church service, and is easy for amateur ensembles to master.
SKU: CA.3115413
ISBN 9790007208745. Language: German/English.
SKU: EC.RBM-124
This composition was commissioned in 2015 by the City of Fairfax Band and was premiered by that ensemble incollaboration with the Fairfax Choral Society on December 19 th of that year, under the baton of Robert J. Pouliot. The work was originally scored for symphonic wind ensemble and SATB chorus and has subsequently been transcribed for use in an orchestral/choral platform with the same voicing. (3.3.3.3, 4.3.3.1, timp. 3 perc., harp & strings).
The work is a setting of two Catholic liturgical texts traditionally associated with the season of Advent: Hodie, Christus Natus Est and O Magnum Mysterium. The work is a traditional arch-form in onemovement, a setting of the more reflective O Magnum Mysterium text being framed by a more ebullient and assertive treatment of the Hodie, Christus Natus Est text. There are passages of declamatory and angular rhythmic statements throughout, interspersed with contrasting sections of broad lyricism and reflectiveness. The piece begins and ends with triumphant brass and choral textures. This work is suitable for any Christmas program, especially as an opening or closing number.
No vocal soloists are called for in the performance of this work.
SKU: MN.CH-1285
Multiple Choirs. The Mass in Space was begun in the early 1980s and premiered March 12,1983 at Saint Peter's Church in NYC. After many years of following Charles Ives' dictum concerning spatial music (Place sound forces in space according to the structure of the music) in the Gregg Smith Singers' programming, Gregg decided to write a larger work completely devoted to spatial techniques. Writing music for space has one major problem: rhythmic togetherness. A couple of modern techniques and aleatoric devices and free rhythms are ideal for solving some of the problems, especially for performers at some distance from the conductor. Throughout the Mass, the chorus on stage and the piano are the set unit, while the performers in back/balcony have greater rhythmic freedom. All six movementsKyrie, Gloria, Credo, Sanctus-Hosanna, Benetictus-Hosanna and Agnus Dei pursue a different spatial aspect.The Gregg Smith Singers have performed excerpts from Mass in Space all across the US on several national tours, and in Russia in 1995 for the St. Petersburg International Spring Festival of Contemporary Music. In a subsequent tour of Northern France, GSS was challenged and thrilled to sing it in the Riems Cathedral and in the huge Amiens Cathedral. Wherever it has been performed, audience reaction has been overwhelmingly good.
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