SKU: AP.49702

UPC: 038081567891. English.

This powerful choral anthem was written by Broadway songwriters Lynn Ahrens and Stephen Flaherty in honor of the 40th anniversary of The Gay Men's Chorus of Washington, DC. Lynn's text uses harmony as a metaphor to represent acceptance, and Stephen's inspirational music is a canvas of hope and strength. Robust piano, bass, and drum parts provide a sturdy pop accompaniment for three full voicings designed to accommodate any four-part group.

About Alfred Pop Choral Series

The Alfred Pop Series features outstanding arrangements of songs from the popular music genre. These publications provide exciting, contemporary, and educationally-sound arrangements for singers of all ages, from elementary through high school, to college and adult choirs.

SKU: CA.3112349

ISBN 9790007207519. Language: German/English. Text: Fritsch, Ahasverus. Text by Ahasverus Fritsch.

This six-movement cantata uses the hymn of the same name by Ahasverus Fritsch, first recorded in 1698 in the Darmstadter Liederbuch. This places it amongst those chorale cantatas which use a hymn from the repertoire associated with Pietism. As was customary, the hymn text is retained in the outer movements, whereas the text for the inner movements - two secco recitatives and a tenor and a bass aria - are concerned with the contrast between the hostile world and the certainty of Jesus; the links between the cantata text and the Feast of the Epiphany are correspondingly tenuous. In the first movement the soprano sings the hymn melody complete, accompanied by mainly homophonic vocal parts, whilst the instrumental writing is largely influenced by the melody of the first line of the hymn. Remarkable is the tenor aria, with its contrasting central section and its chromatic twists and turns, in which Bach once again proves himself to be a master of harmony. The demands on the chorus are fairly modest, whereas the instrumentalists are challenged in the first movement and in both the arias. Score and part available separately - see item CA.3112300.

SKU: CA.3112319

ISBN 9790007166564. Text language: German/English. Text: Fritsch, Ahasverus.

This six-movement cantata uses the hymn of the same name by Ahasverus Fritsch, first recorded in 1698 in the Darmstadter Liederbuch. This places it amongst those chorale cantatas which use a hymn from the repertoire associated with Pietism. As was customary, the hymn text is retained in the outer movements, whereas the text for the inner movements - two secco recitatives and a tenor and a bass aria - are concerned with the contrast between the hostile world and the certainty of Jesus; the links between the cantata text and the Feast of the Epiphany are correspondingly tenuous. In the first movement the soprano sings the hymn melody complete, accompanied by mainly homophonic vocal parts, whilst the instrumental writing is largely influenced by the melody of the first line of the hymn. Remarkable is the tenor aria, with its contrasting central section and its chromatic twists and turns, in which Bach once again proves himself to be a master of harmony. The demands on the chorus are fairly modest, whereas the instrumentalists are challenged in the first movement and in both the arias. Score and parts available separately - see item CA.3112300.

SKU: CA.3112307

ISBN 9790007166748. Language: German/English. Text: Fritsch, Ahasverus. Text by Ahasverus Fritsch.

This six-movement cantata uses the hymn of the same name by Ahasverus Fritsch, first recorded in 1698 in the Darmstadter Liederbuch. This places it amongst those chorale cantatas which use a hymn from the repertoire associated with Pietism. As was customary, the hymn text is retained in the outer movements, whereas the text for the inner movements - two secco recitatives and a tenor and a bass aria - are concerned with the contrast between the hostile world and the certainty of Jesus; the links between the cantata text and the Feast of the Epiphany are correspondingly tenuous. In the first movement the soprano sings the hymn melody complete, accompanied by mainly homophonic vocal parts, whilst the instrumental writing is largely influenced by the melody of the first line of the hymn. Remarkable is the tenor aria, with its contrasting central section and its chromatic twists and turns, in which Bach once again proves himself to be a master of harmony. The demands on the chorus are fairly modest, whereas the instrumentalists are challenged in the first movement and in both the arias. Score available separately - see item CA.3112300.

SKU: CA.3112311

ISBN 9790007207472. Text language: German/English. Text: Fritsch, Ahasverus.

This six-movement cantata uses the hymn of the same name by Ahasverus Fritsch, first recorded in 1698 in the Darmstadter Liederbuch. This places it amongst those chorale cantatas which use a hymn from the repertoire associated with Pietism. As was customary, the hymn text is retained in the outer movements, whereas the text for the inner movements - two secco recitatives and a tenor and a bass aria - are concerned with the contrast between the hostile world and the certainty of Jesus; the links between the cantata text and the Feast of the Epiphany are correspondingly tenuous. In the first movement the soprano sings the hymn melody complete, accompanied by mainly homophonic vocal parts, whilst the instrumental writing is largely influenced by the melody of the first line of the hymn. Remarkable is the tenor aria, with its contrasting central section and its chromatic twists and turns, in which Bach once again proves himself to be a master of harmony. The demands on the chorus are fairly modest, whereas the instrumentalists are challenged in the first movement and in both the arias. Score and part available separately - see item CA.3112300.

SKU: PL.9606

Four Motets and a Chorale are choral interpolations drawn from Randall Giles' Latin setting of St. John's Passion. Movements I, II and V have organ accompaniment, primarily derived from the choral parts. Perhaps the best-known of these texts is Crux fidelis--Faithful Cross--which is set as a traditional four-part chorale. In the other four movements, Dr. Giles blends chromatic voice leading and varied meters (often within wide tessituras) to augment the naturally expressive sense of the texts.

Easily the most difficult music of this lot is Randall Giles's stunning Four Motets and a Chorale. Quia id quod accidit and Vinea mea electa are unaccompanied pieces of uncompromising dissonance and difficulty; Attolite portas and Christus factus est are accompanied works with triadic harmony. In the former, the energy of the counterpoint gives off a glistening intensity, whereas in the latter unrelated major and minor chords are juxtaposed like primary colors to create sensuous vibrancy of a Gustav Klimt canvas. The original accompaniment of these movements is for organ and brass sextet, which may be rented from Paraclete Press. Mr. Giles was kind enought to submit the chorale, Crux fidelis, it's a beauty, and it's a keeper! - AAM Journal.

SKU: PL.9628

These penitential anthems were transcribed by Dr. George Guest from the Gostling Manuscript. John Gostling was renowned for his extraordinary bass voice an held positions in the Church of England, eventually becoming Sub-Dean of St. Paul's Cathedral. Gostling was also a prolific copyist and his manuscript contains over 60 anthems of Blow, Purcell, Locke and others.Save me, O God of John Blow is a splendid example of the use of simple means to convey the meaning of a text. Mostly homophonic in texture, the subtle shifts of voicing and harmony all support the penitential nature of the text. The organ doubles the voice parts, discreetly supporting them in a continuo fashion. Dr. Guest has placed suggested tempi and dynamics throughout, further enhancing the practical nature of this edition. The voice parts are moderate in range, placing this piece within the scope of most choirs.