SKU: HL.1247357
UPC: 196288152934. 6.75x10.5x0.036 inches.
Looking for an arrangement to feature a great soloist while still highlighting your choir? Look no further. Stacey Gibbs' arrangement of Dottie Rambo's classic hit “I Go to the Rock†is full of rhythmic energy, while exploring many harmonic shifts that will keep your singers and the audience completely engaged from beginning to end. This is what an a cappella gospel arrangement with a smooth jazz vibe is all about, and we give it our highest recommendation!
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: CF.CM9765
ISBN 9781491162538. UPC: 680160921287. Key: A major. Original.
I composed Sing with Me during the summer of 2020 as my own personal response to the relentless series of heartaches that we faced: the uncertainty of the COVID-19 pandemic, the anguish of not being able to sing together and the rise of social justice crises across the country. It is the first piece for which I have also written the text. At the time, I was unsure of what the fall semester would look like for my own choir. Would we be in person? If so, for how long? Therefore, I designed the piece to be accessible and adaptable to whatever situation we faced. It is my wish that the message of hope and unity will resonate with all who sing or hear it.Sing with me, as I sing with you,Let the music revive us anew;Yearning for beautiful harmony,Come and sing with me. All the world is longing for peace,For all meaningless hatred to cease;Joining together, your hand in mine,Let our voices shine! Dream with us, together as one,For the day when the battle is done;Fervently striving for unity,Come and dream with me.Come and sing with me. .
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: ST.EM33
ISBN 9790220200076.
This interesting collection looks back to the 'Winter' of Byrd and Mundy in the conservative settings of such verse as My prime of youth (see EM35B); but it is also a contemporary record, with two madrigals celebrating the failure of Guy Fawkes' Gunpowder Plot against James I. CONTENTS Behold now praise the Lord (S (or A) S (or A) TBB) But yet it seems (SSAB) Can I abide this prancing? (SSATB) Earth's but a point (SSATB) For Lust is frail (SSATB) He only can behold (SSAB) Her eyes like angels (SSATB) I can no more but hope (SSAB) In hope a King (SSAB) My prime of youth (SSAB) O heavy heart (SSAB) O Lord bow down thine ear (SATTB) Rest with yourselves (SSATB) Shall I abide this jesting (SSATB) The man upright of life (SSAB) The sacred choir of angels (SATBB) The Spring is past (SSAB) The stately stag (SSATB) The sturdy rock (SSATB) There is a garden in her face (SSATB) Those cherries fairly do enclose (SSATB) Though Wit bids Will (SSAB) What if a day (SSATB) Who loves this life (SSAB).
SKU: ST.EM39
ISBN 9790220209895.
CONTENTS A wise man poor (SAATB) As sudden death (SSAATB) But when himself (SSATB) Farewell, false love (SSAB (or T)) From the Tarpeian Rock (SSATB) Mourn now, my Muse (SSAATB) My lady wept (SSATB) My mistress is a paragon (SAATB) O help, alas (SSAATB) O Jesu, look (SSATB) O shall I die (SSAATB) O When my love (SSAATB) See, what is life (SAATB) Sleep aye, fond Hope (SSATB) That man that climbeth (SAATB) The ivy green (SSATB) The tyrant Love (SAATB) Unkind, alas (SSAATB) Use thyme whose tender plant (SAATB).
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