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: CA.2731119
ISBN 9790007133894. Language: Latin.
The Requiem of Gabriel Faure is now available in two versions: in the symphonic version which was completed in 1900 and in a version with small orchestra of 1889. The symphonic version of Gabriel Faure's Requiem, published in 1901, was the product of a 13-year compositional process. Starting from the original five-movement form for strings, harp and organ, the composer wrote two additional movements, one after the other, and expanded the instrumentation in various stages for later performances. The present reconstruction of a version with small orchestra differs from other such attempts in that for the first time it presents the work not in a mixed version, but rather in the unified form from 1889. This is distinguished from the final version both in musical terms, as well as through the fact that it forgoes the use of flutes, clarinets and bassoons, while employing only two horns instead of four. With a critical Report with information about the source situation and the edition, and containing the individual readings (alternative readings, etc.). Since in 1889 the Offertoire was still without the choral section the present edition contains the Offertoire of the final version as appendix. Now available in carus music, the choir app. Score and parts available separately - see item CA.2731100.
SKU: PL.0607
* single line organ introduction on an 8' foundation in the bass clef joins the soprano and alto unison line in an exquisite duet * a cappella verse written with graceful voice leading and harmonic direction, highlighted with gentle counterpoint in the organ * sense of universal praise, not marked by time or space, achieved by the organ's harmonic progression, in the interlude before the final verse * choral harmonies open to a glorious climax in the final verse, followed by a gentle close in F Major
SKU: SU.27040110
First of a set of two pieces on poems of John Keats, this is a gently flowing SATB unaccompanied piece in D major with almost no accidentals. Expressive yet accessible choral writing on a unusual and evocative text. Written from the faery's point of view, there are references to autumn and spring that encourage faith, because The flower will bloom another year. Secular, Concerts, Memorial, Lament/Grief/Sorrow.SATB Chorus Duration: 3' Composed: 2011 Published by: Hutter Music.
SKU: PL.9904
Here is a fresh setting that deserves to be placed among the classic interpretations of this George Herbert poem. As is typical of Peter Pindar Stearns' style, this work contains many soaring, lyrical phrases for all the voice parts. Each verse is treated with further intensification of the harmonies and the voices expand to fill out the emotion of the words such a joy as none can move. This anthem will require a sensitive performance to obtain the many subtleties within the parts here.
SKU: PL.1012
* Lovely interpretations of two famous texts from the Gospels of Matthew and John * Lyrical and interesting melodies are typical of Stearns' Writing * Tonally conservative but with some modality make them appealing to the ear.
SKU: GI.G-009047
UPC: 641151090474. Text Source: The New England Psalm Singer , 1770.
Kyle Johnson has taken the traditional canon “When Jesus Wept†and creatively deconstructed it. We never hear more than two parts in canon with each other at the same time. Then he introduces a new counter-melody in the other parts and fills out the harmonies in other ways. While the words can be lost in the traditional four-part canon, the overall effect of Johnson’s approach is to create a moving meditation on the text. Easily accessible and highly recommended for small SATB choirs, but any size group will appreciate the artistry of this piece.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version