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: CF.CM9700
ISBN 9781491160008. UPC: 680160918607. Key: A minor. Hungarian. Hungarian Folk.
In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one's homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers' longing to return home; these are interspersed with the folk song's traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version. PERFORMANCE NOTES All spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music. If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end. TEXT Transliteration Jarba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. O mers mama de pe sat, O lasat coliba goala, Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Translation Green grass, tall grass, I would like to go home, but I cannot, because I have sworn not to. Tall grass, green grass - oh, that I cannot go home! My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty. Tall grass, green grass - oh, that I cannot go home! Tall grass, green grass - I would like to go home. but I cannot, because I have sworn not to. Stacy Garrop's music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys - some simple and beautiful, while others are complicated and dark - depending on the needs and dramatic shape of the story. Garrop served as the first Emerging Opera Composer of Chicago Opera Theater's Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels. Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children's Chorus. Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one’s homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers’ longing to return home; these are interspersed with the folk song’s traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version.PERFORMANCE NOTESAll spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music.If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end.TEXTTransliterationJarba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.O mers mama de pe sat, O lasat coliba goala,Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.TranslationGreen grass, tall grass, I would like to go home, but I cannot, because I have sworn not to.Tall grass, green grass – oh, that I cannot go home!My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty.Tall grass, green grass – oh, that I cannot go home! Tall grass, green grass – I would like to go home.but I cannot, because I have sworn not to.Stacy Garrop’s music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys – some simple and beautiful, while others are complicated and dark – depending on the needs and dramatic shape of the story.Garrop served as the first Emerging Opera Composer of Chicago Opera Theater’s Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels.Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children’s Chorus.Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).ÂÂ.
SKU: CF.CM9740
ISBN 9781491161203. UPC: 680160919789. Key: Bb major. English. Siegfried Sasson.
Everyone suddenly burst out singing; And I was filled with such delight As prisoned birds must find in freedom... These opening lines to Everyone Sang by the British war poet Siegfried Sassoon feel as relevant today as they did when the poem was first published in 1919. It was after the end of World War I and these words capture so much of the collective exhilaration, relief, and pure joy about the Great War finally coming to an end. And yet Sassoon himself felt none of that when he wrote this poem. In his own words, he was feeling dull-minded and depressed. Perhaps his time in the trenches was still too recent. One of the reasons the creative arts are so powerful is that a poet like Sassoon (or a painter like Van Gogh or a composer like Mahler) can take their own feelings of deep sadness or pain and transform them into something beautiful, even uplifting. Everyone Sang is a celebration of the promise that things can get better, that there are things worth looking forward to. The poem itself has so much rhythm and musicality. The appearance of suddenly in the first line of each verse gives those verses a rush of energy. Attention to the crescendo in measure 7, and again in measure 37, from mf to f will help the listener experience that rush. There are expressive opportunities with so many of the poet's bold choices of action words - burst, winging, and shaken. Then there's alliteration - a poetic device that can be overdone, but Sassoon strikes a wonderful balance. Suddenly/singing (measures 6-7 and 10-11) Find/freedom (measure 21-22) Winging/wildly (measure 23) Setting/sun (measures 47-49) Was/wordless (measures 65-75) Give these alliterations just a hint of emphasis (without overdoing) to bring out the natural rhythm of the text. And just as O is set apart in the poem by punctuation, I wanted the musical setting - in measure 57 - to honor that feeling of wonder - ...O, but Everyone Was a bird; and the song was wordless; the singing will Never be done. Friends, there is so much good ahead, so much to be excited about. May the singing never be done.Everyone suddenly burst out singingAnd I was filled with such delightAs prisoned birds must find in freedom…These opening lines to Everyone Sang by the British war poet Siegfried Sassoon feel as relevant today as they did when the poem was first published in 1919. It was after the end of World War I and these words capture so much of the collective exhilaration, relief, and pure joy about the “Great War†finally coming to an end. And yet Sassoon himself felt none of that when he wrote this poem. In his own words, he “was feeling dull-minded and depressed.†Perhaps his time in the trenches was still too recent.One of the reasons the creative arts are so powerful is that a poet like Sassoon (or a painter like Van Gogh or a composer like Mahler) can take their own feelings of deep sadness or pain and transform them into something beautiful, even uplifting. Everyone Sang is a celebration of the promise that things can get better, that there are things worth looking forward to. The poem itself has so much rhythm and musicality.The appearance of “suddenly†in the first line of each verse gives those verses a rush of energy. Attention to the crescendo in measure 7, and again in measure 37, from mf to f will help the listener experience that rush.There are expressive opportunities with so many of the poet’s bold choices of action words – burst, winging, and shaken.Then there’s alliteration - a poetic device that can be overdone, but Sassoon strikes a wonderful balance.Suddenly/singing (measures 6-7 and 10-11)Find/freedom (measure 21-22)Winging/wildly (measure 23)Setting/sun (measures 47-49)Was/wordless (measures 65-75)Give these alliterations just a hint of emphasis (without overdoing) to bring out the natural rhythm of the text. And just as “O†is set apart in the poem by punctuation, I wanted the musical setting – in measure 57 - to honor that feeling of wonder –…O, but EveryoneWas a bird; and the song was wordless; the singing willNever be done. Friends, there is so much good ahead, so much to be excited about.May the singing never be done.
SKU: PR.312419280
ISBN 9781491137925. UPC: 680160692613.
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 day”) 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…”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.14063892
ISBN 9781785588341. UPC: 840126939231. 6.75x9.75x0.304 inches.
This album features 16 of John Tavener's anthems for SATB choir.
Contents include: 'A Christmas Round', 'Advent Antiphon', 'Agnus Dei', 'As one who has slept', 'Exhortation and Kohima', 'TheFounder’s Prayer', 'God is with us (A Christmas Proclamation)', 'A Hymn to the Mother of God', 'The Lamb', 'Mother of God, here I stand', 'Nunc dimittis', 'O that we were there', 'Rocking', 'Song for Athene', 'Today theVirgin' and 'What God is, we do not know'.
SKU: HL.14042691
8.25x11.5x0.145 inches.
Vocal Score For John Tavener'S Three Hymns Of George Herbert For Satb Chorus, Percussion And Strings. Commissioned By The Legatum Institute [Www.Li.Com] As Part Of Its British And American Notions Of Liberty Programme, In The Year Of The Diamond Jubilee Of Her Majesty Queen Elizabeth Ii. First Performance On 21St April 2013 In Washington National Cathedral, By The City Choir Of Washington Conducted By Robert Shafer. The Three Hymns Of George Herbert Were Written After A Long Illness, And Represent For Me A Hymn Of Thanksgiving To God For A Relative Return To Health. They Are Intended To Be Sung In A Large, Resonant Acoustic, With The Main Choir And String Orchestra At One EndOf The Building, And An Echo Choir And String Quartet At The Other. The Percussion (Tubular Bells, Gongs And Tam-Tams) Should Sound From A Gallery Or Other Raised Position. The Hymns Were Inspired By The Transparent Poetry Of George Herbert, And Are Dedicated In Gratitude And Love To The Memory Of Mother Thekla, Former Abbess Of The Orthodox Monastery Of The Assumption, Normanby, Near Whitby, Who Died In 2011. - John Tavener.
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