SKU: WD.080689752728
UPC: 080689752728.
The life-changing story of Jesus' death and resurrection is told from the unique perspective of the Samaritan woman at the well as she is transformed by the sacrificial love of Christ in this passionate new work from Deborah Craig-Claar, Allan Douglas and Phillip Keveren. Two actresses portray the woman called Anna - an older woman who looks back at the Passion events from a post-resurrection perspective, and her younger counterpart who encounters Jesus at the well and joins His followers in Jerusalem during Passion Week. The extraordinary score includes songs written or made popular by today's most accomplished artists, including Michael W. Smith, Keith Getty, Stuart Townend, Matt Maher, and Natalie Grant. Phillip Keveren's breathtaking chamber ensemble instrumentation creates an intimate and compelling experience. At only 40 minutes in length and with only two female characters, one male character, and purely optional sets/lights/costumes, Never Thirst Again can be offered by churches of any size or production capability.Includes songs written or made popular by Michael W. Smith, Keith Getty, Stuart Townend, Matt Maher, Natalie Grant, Tony Wood, Michael Farren, Audrey Assad, and Shelley Johnson. Chamber ensemble instrumentation creates an intimate and compelling experience. Accessible cast requirements: two female characters, one male character - costumes, props, and sets are purely optional. Reader's Theatre script available at www.wordmusic.com. Features early American classics There Is a Fountain and My Song in the Night. Thoughtful benediction, Peace Be with You, or an exuberant and congregational Finale.
SKU: WD.080689862120
UPC: 080689862120.
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: C4.9790902260473
ISBN 9790902260473. 8.27 x 11.7 inches.
Forming part of the A Distant Music anthology, Praise: Psalms and Prayers 1 showcases 20 sacred choral works by Australian composers, most published here for the first time.Containing a variety of accompanied and unaccompanied works, Praise: Psalms and Prayers 1 offers choirs access to quality Australian sacred music. Settings include texts from the Book of Psalms, well-known prayers as well as a spiritual poem by Australian Erica Jolly.The 90-page volume covers a range of abilities and variety of compositional styles.
SKU: WD.080689062278
UPC: 080689062278.
With the weekly demands of providing music for corporate worship, choirs need an easy solution for quality worship music. Music ministries need arrangements that provide options for performance, conserve rehearsal time, and are consistent with the same style and integrity of the selections already at use in their program. Simply...the Best is that solution: an easy-to-sing booklet with three proven anthems re-arranged to maximize rehearsal efficiency. The songs are familiar and the parts are easy enough to learn in as little as one rehearsal. Simply...the Best arrangements are even crafted to work when there are no men available to sing, creating flexibility and the option for a women's-only choir.An exclusive benefit of the Simply...the Best series is the Virtual Accompanist trax (included on the CD accompaniment trax.) The Virtual Accompanist trax includes the women's parts being sung and played on the left channel and men's voice parts being sung and played on the right. By panning the trax to either side, you can let each section hear its parts separately. Whether you sing all three songs together or on separate occasions, with live accompaniment or with the split track accompaniment CD, this series is a simple solution to encourage choirs to lift their voices in praise. No choir is too small or too large to benefit from the practical arrangements and the new trax features of Simply...the Best.
SKU: WD.080689963421
UPC: 080689963421. Narration by Heidi Petak.
Blessed Dawn, created by award-winning songwriter Tony Wood, with narration by Dr. Heidi Petak and arrangements and orchestrations by Daniel Semsen, is one of the most profound and provocative Easter musicals in recent history.Just as the songs portray a landscape of both old and new, the landscape of performance levels found in Blessed Dawn range from the intuitive and accessible to the moderately challenging. Conceptually, the musical strikes tones of great emotion and high celebration, voiced alongside notes of the sorrow, reverence and suffering portrayed in the Passion of the Christ. This new work calls out to those who hear it, urging that you present it with great focus and a special commitment to sharing the message of the Gospel and the power of His resurrection. We pray a special blessing on you and your choir, orchestra, soloists, narrators and media teams, as you present the story of Easter in...Blessed Dawn.Song Titles: The Life * Resurrection Hymn Medley includes Christ the Lord Is Risen Today, He Lives and Crown Him with Many Crowns * Wondrous Cross (Underscore 1) * Cross of Christ * It Was Finished (Underscore 2) * The Day Before * Then Came the Morning * Blessed Dawn of Easter's Day with Alleluia! Alleluia! * Jesus, Only Jesus * The Life (Reprise).
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.EM21
ISBN 9790220200854.
CONTENTS Adieu, sweet love (SSA(or T)B) Alas, where is my love? (SSA(or T)TB) And must I needs depart? (SSATB) Ay me, my mistress scorns (SST) Beauty is a lovely sweet (SAT) Come, follow me, fair nymphs (SAT) Dame Venus hence to Paphos go (SSAT) Dear if you wish my dying (SSATTB) Down from above falls Jove (SATB) Fair Hebe, when dame Flora (SST(or A)T(or A)TB) Hark, hear you not? - Oriana's farewell (SSATB) If love be blind (SATB) Love would discharge (SST) Merrily my love and I (SST(or A)T(or A)B(or T)B) Music some think no music is (SSATTB) O fly not, love (SSA(or T)A(or T)T) Phyllis, farewell (SATB) Phyllis, farewell (SSA(or T)A(or T)TB) Sister, awake (SSATB) Strange were the life (SAATB) Sweet Gemma (SSATB) The nightingale so soon as April (SST(orA)) Those sweet delightful lilies (SSATB) Thyrsis on his fair Phyllis' breast (SSAA(or T)TB) When Oriana walked (SSATTB) Who prostrate lies (SSAT(or A)B) Wither so fast? (SATB) Yet stay alway (SSA(or T)TB) Your shining eyes (SAB).
SKU: SU.91480530
Vs. 2-5 Text: The First Letter of Peter: Chapter 2.
The words, Surely thou hast tasted that the Lord is good, open the anthem. This gentle and lyrical section, marked by dialogue between the sections of the choir, unfolds and eventually reaches a climax on the words precious in the sight of God. A quick, energetic and imitative middle section soon emerges to proclaim the words, Come, and let yourselves be built, as living stones, into a spiritual temple. Here the spirit of medieval music, the building stones for Western music, is invoked. After the anthem’s primary climax is reached on the words Jesus Christ, a solo soprano emerges from the choral texture to close this work with a serene Amen. The first performance of Dan Locklair’s anthem, In the sight of God took place on Sunday 4 October 2009. The occasion was Dedication Sunday, and the text was selected by John Scott from The First Letter of Peter, vv 2-5. Professor Locklair has provided us with a delightful addition to our repertoire at St Thomas. The work is grateful to sing, well written for voices, lyrical in style with a well-crafted sense of architecture and climax. In every sense it is an enjoyable piece for the choir, quite approachable, and judging from the many positive comments I heard afterwards from members of the congregation, it was very well received. -- Reflections on the premiere by John Scott, Director of Music, St. Thomas Church Fifth Avenue, New York, NY SATB Chorus, a cappella Duration: 4' Text: The First Letter of Peter: Chapter 2, vs. 2-5 Composed: 2009 Published by: Subito Music Publishing Minimum order quantity: 8 copies. Perusal copies are available by contacting perusalrequest@subitomusic.com (include the organization name with your request). To order quantities fewer than 8, please call customer service at (973) 857-3440. YouTube:.
SKU: ST.CN19P
ISBN 9790220224782.
The composer was drawn to the beautiful stillness and sadness of the poem by Christina Rossetti, which transcend its rigid sonnet structure, and allude via the epigraph to the mysterious Willow-Wood cycle by Christina's brother Dante Gabriel Rossetti. The music suggests a division of the poem into three stanzas, alternating with tranquil interludes (using the opening melody) representing the 'willow-wood' of the title, so that the listener is constantly reminded of the gentle surroundings. As the intensity of the text increases, so does the astringency of dissonance in the verses, reaching its apogee just before consonance breaks through at the crucial phrase 'one moment joined'. The simplicity of the vocal writing conveys the serenity of the setting, while simultaneously suggesting the austere melancholy of the lovers. An Echo from Willow-Wood was the winner of the Stainer & Bell Award for Choral Composition 2015.
SKU: HL.14020995
ISBN 9780711961920.
Study score of The Three Kings, A Christmas Cantata for SATB soli, chorus and orchestra. Texts by George Mackay Brown and mediaeval, anonymous. This work was commissioned by the London Symphony Chorus to commemorate its 30th anniversary. First performed on 15th October 1995 at the Barbican Hall, London. Duration 50 minutes. Vocal Score also available for sale. Conductor's score and orchestral parts are available for hire.
SKU: WD.080689443770
UPC: 080689443770.
Themes are an important part of our lives. They give us connectivity and consistency. They provide focus. They offer common ground with like-minded people. Good themes are recurring themes...especially in regard to redeeming love!
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