SKU: HL.48025205
ISBN 9781705190241. UPC: 196288125921.
Huron Carol ('Twas the Moon of Wintertime) is perhaps the oldest Canadian song. It was written ca. 1642 by Jean de Brébeuf, a Jesuitmissionary at Sainte-Marie among the Hurons. The original words were in Huron language, but Whittall uses the English translation from 1926. The song's melody is based on a traditional French folk song “Une Jeune Pucelleâ€. Whittall's arrangement is done for Audite choir in 2013. It is a skillful arrangement, bringing out the best qualities of the original melody. Huron Carol ('Twas the Moon of Wintertime) on mahdollisesti vanhin kanadalainen laulu. Sen sävelsi n. vuonna 1642 Jean de Brébeuf, jesuiittojen lähetyssaarnaaja Saint-Marien lähetysasemalla Huron-kansan parissa. Laulun alkuperäinen teksti oli Huron-kansan kielellä, mutta Whittall käyttää vuoden 1926 englanninkielistä käännöstä. Laulun melodia perustuu ranskalaiseen kansansävelmään “UneJeune Pucelleâ€. Whittallin sovitus on tehty Audite-kuorolle 2013, ja se tuo taitavasti esiin laulun kauneimmat piirteet.
SKU: HL.48025164
ISBN 9781784548025. UPC: 196288104933. 0.035 inches.
Each year the BBC Music Magazine commissions a brand-new Christmas Carol for their readers and, when Grace-Evangeline Mason was invited to compose the 2021 carol, she decided to write and set her own poem titled A Winter Carol. The words, which depict snowy scenery and starry allusions to heaven and earth, also include a modern twist as the composer dreams of walking home at Christmas time under the warm glow of the street lamps all covered in a silver frost. Written in three verses with a short refrain in between repeating the word “winter,†the piece is a small, celebratory reflection of Christmas time. The carol begins in quiet consideration before opening up to feel hearty and warm. After a playful midsection, the work returns to a softer final coda, which is reminiscentof the opening.
SKU: CF.CMF1
ISBN 9780825857768. UPC: 798408057763. 6.75 X 10.5 inches. Text: Keith Hibbs; Claire Cloninger; Cherry Tadlock; Ron Harris. Claire Cloninger, Ron Harris, Cherry Tadlock, Keith Hibbs.
This collection offers both seasonal and general worship anthems from one of America’s premiere church writers. The anthems in this collection are perfectly suited for praise and worship and are sure to become an integral part of church choir programs. Seven anthems total, Hallquist has skillfully written these beautiful pieces with care and thoughtfulness; a style that has been one of his trademarks throughout the years. A must-have for every church choir! Faithful to the Vision (Anniversary/Dedication), I Often Dance (General Praise/Worship), In Times Like These (Encouragement/Easter Resurrection), Let Us Worship and Bow Down (Call to Worship), On a Hillside in Bethlehem (Christmas), They Could Not (Easter) and We Are His Love (Missions/Ministry).
SKU: SU.80400230
SATB Chorus, a cappellaDuration: 2:00Commissioned by: Varies (pieces from other works) Dedication: For The Dale Warland Singers Copyright 1998 Text author: North of England Traditional Published by: Paulus Publications (SP252) Minimum order quantity: 8 copies. To order quantities fewer than 8.
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: HL.1216159
UPC: 196288140146. 6.75x10.5x0.086 inches.
Lin-Manuel Miranda has slowly and surely become a musical theater icon of the modern era. Like Schwartz, Sondheim, Loesser, and Rodgers and Hammerstein, Miranda writes songs that are transcendent, singable, joyous, and worth the price of admission. This medley from show choir veteran Mark Brymer includes some of the most memorable highlights from an illustrious career: In the Heights, How Far I'll Go (from Moana), One More Song (from Vivo), We Don't Talk about Bruno (from Encanto) and My Shot (from Hamilton).
SKU: JK.01370
Doctrine & Covenants 20:11-12.
Original anthem for a cappella mixed chorus (SATB), from A. Laurence Lyons oratorio Visions of Light and Truth under the title Surely the Lord God. Includes scriptural text from JST Amos 3:7 and Doctrine & Covenants 20:11-12.Composer: A. Laurence Lyon Lyricist: JST Amos 3:7 and Doctrine & Covenants 20:11-12 Difficulty: Medium Performance time: 1:20Reference: Doctrine & Covenants 20:11-12.
SKU: MN.CH-1246
Evening Comes is the first piece in a series of commissions for the Saint Cyril's Music Series and is composed specifically for an evening service. Cardinal Newman's prayer, suggests a quiet, hushed, prayerful attitude which is evoked by an abundance of suspensions and resolutions within a relatively conservative harmonic context. The beginning tempo marking of Espressivo is intended to convey a feeling of rubato throughout, but not overly so. The fortes should never be thunderous, but the pianos should be exquisite, with the final amen eliciting a sense of renewed beginning rather than a final ending.lDuration 2:45.
SKU: FG.55011-356-5
ISBN 9790550113565.
Huron Carol ('Twas the Moon of Wintertime) is perhaps the oldest Canadian song. It was written ca. 1642 by Jean de Brebeuf, a Jesuit missionary at Sainte-Marie among the Hurons. The original words were in Huron language, but Whittall uses the English translation from 1926. The song's melody is based on a traditional French folk song Une Jeune Pucelle. Whittall's arrangement is done for Audite choir in 2013. It is a skillful arrangement, bringing out the best qualities of the original melody.
SKU: PR.342402020
ISBN 9781598064995. UPC: 680160616084. 8.5 x 11 inches. English. Text: William Shakespeare; Aurelius Prudentius Clemens; Aeschylus. Aurelius Clemens, William Shakespeare, Aeschylus. Texts from Aurelius Prudentius Clemens, Aeschylus, and William Shakespeare.
When Tim Sharp, Executive Director of the ACDA, offered Stucky the Brock Memorial Commission, it was decided that the text would commemorate the 50th anniversary of the assassination of John F. Kennedy, since the annual convention would take place in Dallas of that year. To that end, Stucky chose four different but pertinent texts to honor the occasion, although never referencing JFK by name. Take Him, Earth was premiered at the ACDA convention in March, 2013. Originally scored for chorus and chamber ensemble of nine instruments (available on a rental basis), Take Him, Earth is presented here in piano reduction. For advanced choirs. Duration: 13'.When Tim Sharp, Executive Director of the American Choral Directors Association, very kindlyoffered me the Raymond W. Brock Memorial Commission for 2013, he suggested that because thepremiere would take place at the national conference in Dallas in the 50th year since the assassinationof John F. Kennedy in that city, the text might refer in some way to that grim anniversary. Hesuggested, too, that I consider using a chamber ensemble or chamber orchestra to accompany thechorus.I took these suggestions to heart, but at the same time I wanted to write something universal enoughto be appropriate on other occasions, in other settings. Thus the score is dedicated to PresidentKennedy’s memory, but otherwise he is never referred to by name. Instead, I assembled a group oftexts that are associated with him in some way, but that also stand alone as a more general eulogy.As a refrain, there are a few lines from the early Christian burial hymn that begins “Take him,Earth, for cherishing†— lines that were earlier set to music by Herbert Howells in his classic motetcommissioned for Kennedy’s memorial service in 1963. The lines of Aeschylus “Drop, drop — inour sleep, upon the heart sorrow falls†from Agamemnon were quoted by Robert F. Kennedy uponthe death of Martin Luther King in April 1968. The celebrated “When he shall die, cut him out inlittle stars†from Act III of Shakespeare’s Romeo and Juliet was cited by RFK a few months after hisbrother’s murder.
SKU: CF.CM8776CD
ISBN 9780825852053. UPC: 798408052058. Text: Gary Hallquist. Gary Hallquist.
A striking setting of an original text, beautifully written for Alto solo with mixed choir by one of the best new church choral writers of the day, this choral anthem is perfect for anniversary Sundays, All Saints Day, or mission-emphasis worship. The words state very clearly, the vision and purpose of the Christian Church, while calling believers to accountability for responding to the challenge of life today. Musically, the piece is dynamic, lush and powerful, and incorporates the familiar hymn Lead On, O King Eternal, that fits well with the spirit and message. An accompaniment track offers full instrumental support for choirs and soloist.
SKU: HL.14043326
UPC: 888680046651. 10.0x6.75x0.078 inches.
John Tavener's Preces and Responses for Double Choir were commissioned by Cathedral Commissions of Wells Cathedral and were first performed on Sunday 18th May 2014 during New Music Wells 74-14, by Wells Cathedral Choir conducted by Matthew Owens.
SKU: OU.9780193511552
ISBN 9780193511552. 10 x 7 inches.
For unaccompanied SATB choir. Andrew Carter's setting matches in its powerful simplicity the text attributed to the French Quaker missionary, Stephen Grellet: 'I expect to pass through this world but once; any good thing therefore that I can do, or any kindness I can show, or any service I can render to any soul of man or animal, let me do it now; let me not defer or neglect it, for I shall not pass this way again.'.
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