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.).­­.

SKU: HL.14041389

Latin.

The text for the choral work 'Hominis dies' is partly form the book of psalms, partly from Isaiah in the Latin translation of the Bible. The words are relevant today - they are about the fate of humanity - our fear of war and destruction, violence and polution. The choral work is divided in three parts, all of them introduced with a Halleluja. A Halleluja is most often a praise, but that is not the case in this work, where the suppressed and oppressed manking with this work express desperation and sorrow, but also hope.

The text for the choral work 'Hominis dies' is partly form the book of psalms, partly from Isaiah in the Latin translation of the Bible. The words are relevant today - they are about the fate of humanity - our fear of war and destruction, violence and polution.
The choral work is divided in three parts, all of them introduced with a Halleluja. A Halleluja is most often a praise, but that is not the case in this work, where the suppressed and oppressed manking with this work express desperation and sorrow, but also hope.

SKU: CF.CM9698

ISBN 9781491159996. UPC: 680160918591. Key: Ab major. Latin. Traditional Latin.

O Magnum Mysterium is a setting of a Latin sacred text written for Christmas. The text depicts the extraordinary occurring among the ordinary: God coming to earth as a tiny baby, and animals in a lowly stable being the first to witness his arrival. Adding dynamic contrast (crescendo/decrescendo) on every phrase and singing legato (smoothly) with a gentle choral tone will reflect the wonder and awe the original text and this setting attempt to communicate. Original Latin Text: English Translation: O magnum mysterium, O great mystery, Et admirabile sacramentum, And wonderful sacrament, Ut animalia viderunt That animals should see Dominum natum the newborn Lord jacentem in praesepio. Lying in a manger. O magnum mysterium. Amen. O great mystery. Amen. General Latin Pronunciation Guidelines: 1. There are only five pure vowel sounds in Latin: A = AH E=EH I = EE O = AW U = OO 2. Strive to flip all R's as if singing in Italian. Latin Pronunciation (accented syllables are UPPER CASE): aw MAH-nyoom mee-STEHR-yoom,* eht ahd-mee-RAH-bee-leh sah-krah-MEHN-toom, oot ah-nee-MAH-lee-ah vee-DEHR-oont DAW-mee-noom NAH-toom, yah-CHEHN-tehm een preh-SEH-pee-aw. aw MAH-nyoom mee-STEHR-yoom. AH-mehn. *The word mysterium in this piece is a three-syllable rather than a four-syllable word. This can be accomplished by pronouncing the last syllable ium as yoom rather than ee-oom.
O Magnum Mysterium is a setting of a Latin sacred text written for Christmas. The text depicts the extraordinary occurring among the ordinary: God coming to earth as a tiny baby, and animals in a lowly stable being the first to witness his arrival. Adding dynamic contrast (crescendo/decrescendo) on every phrase and singing legato (smoothly) with a gentle choral tone will reflect the wonder and awe the original text and this setting attempt to communicate.Original Latin Text: English Translation:O magnum mysterium, O great mystery,Et admirabile sacramentum, And wonderful sacrament,Ut animalia viderunt That animals should seeDominum natum the newborn Lordjacentem in praesepio. Lying in a manger.O magnum mysterium. Amen. O great mystery. Amen.General Latin Pronunciation Guidelines:1. There are only five pure vowel sounds in Latin:A = AH E=EH I = EE O = AW U = OO2. Strive to flip all R’s as if singing in Italian.Latin Pronunciation (accented syllables are UPPER CASE):aw MAH-nyoom mee-STEHR-yoom,*eht ahd-mee-RAH-bee-leh sah-krah-MEHN-toom,oot ah-nee-MAH-lee-ah vee-DEHR-oontDAW-mee-noom NAH-toom,yah-CHEHN-tehm een preh-SEH-pee-aw.aw MAH-nyoom mee-STEHR-yoom. AH-mehn.*The word “mysterium” in this piece is a three-syllable rather than a four-syllable word. This can be accomplished by pronouncing the last syllable “ium” as “yoom” rather than “ee-oom”.

SKU: HL.1498858

UPC: 196288219118. 6.75x10.5x0.019 inches.

The pieces contained in Arensky's Three Quartets, Opus 57 are quaint and accessible. These editions contain transliterations of the Russian (along with pronunciation guide), and an English translation which intentionally is more to the essence of the original poetry and a truer translation, rather than forcing a rhyme scheme at the expense of the integrity of the original text. The expressive imagery, with colorful depictions of nature and the stars, is heightened by the lyric solo cello. From soaring lines reflecting the mountains in “Serenada,” to the use of the cello's upper register in “To the Extinguished Stars,” to the running sixteenth notes mimicking “The Boiling Hot Spring,” the does not play a mere accompaniment role. The pieces can be performed together or individually, a cappella in the absence of a cellist. However, employing the solo cello gives the performer and listener the full visual and aural range of the expressive quality of these choral gems.

SKU: PL.0620

Scripture Reference: Luke 2:6-14 * ancient Latin text with a 19th century translation as well * Christmas carol of intensity, yet with a gentle lilt * demanding yet rewarding vocal writing with a high tessitura * like the Gregorian chant, modal with a slightly modern flavor * occasional six-part writing adds brilliance and depth * slower pace demands good breath control and stamina.

SKU: GI.G-5860

English. Translation: Unknown. Text by Traditional Spanish.

“Sing, Dance” is an imaginative traditional Spanish text in translation that evokes dancing in colorful, changing meters. “What shall we bring of gifts for the King?: a cake baked brown and sweet, a mouse gray and small…”! The organ part whirs, bounces, and twirls to a full-organ ending. Careful observation of the wide dynamic range is important to bring this fun text to life.

A rhythmic setting of a traditional Spanish text.

SKU: GI.G-7408

UPC: 785147740803. English, Spanish. Translation: Georgina Pando-Connolly. Text by Omer Westendorf.

Ferguson's classic concertato setting of the evergreen hymn is new again through the inclusion of a recent Spanish translation of the text. The poetry of Westendorf has said so much to believers for so many years, now these sentiments will be appreciated by a widening circle of Christians.