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: PR.411411640
ISBN 9781491137642. UPC: 680160691098. The Garden of the Finzi-Continis novel by Giorgio Bassani.
Based on Bassani’s 1962 novel, THE GARDEN OF THE FINZI-CONTINIS dramatizes the true story of a prosperous Jewish family’s disruptions and consequences from state-mandated antisemitism in Italy during World War II. Gordon describes the opera as “romantic, sun-drenched, and cataclysmic, all at the same time.” This dramatically topical and personal grand opera premiered at New York City Opera and National Yiddish Theatre Folksbiene to rave reviews in 2022. Chris Ruel wrote in OperaWire, “I have chosen Ricky Ian Gordon and Michael Korie’s THE GARDEN OF THE FINZI-CONTINIS as my favorite opera of 2022.”.At one point, in 2008, I was walking down 72nd Street, and I passed the video store, (this is when there were video stores) and I thought to myself, I wonder if Kevin (my partner) has ever seen The Garden of the Finzi-Continis? which was always one of my favorite movies. My reaction when we watched it that night was unlike any other time I had seen it. I was wrenched, sobbing, inconsolable. My heart felt like the autumn leaves we see blowing through the garden at the end of the movie. It seemed immediately that this had to be my next opera. I called Michael Korie, and we both bought the Bassani novel and read it. We settled on it. It felt clear that we both had a collective story to tell through it.Because this opera is so close to both of our hearts, it is dedicated to our fathers.It is not only that The Garden of the Finzi-Continis is a Holocaust story that makes it so resonant for me, though obviously this is no small matter, but the tragedy of people trying to live their lives, or actually living them, their petty disappointments, their heartbreaks, against the backdrop of total catastrophe… that makes it so moving. They cannot possibly imagine what will befall them, but we know… and this makes their every move fascinating and devastating… like watching moths under a glass. It is romantic, sun-drenched and cataclysmic, all at the same time.This is why I had to write it.
SKU: HL.2050289
UPC: 797242852596. 6.75x10.5x0.302 inches.
Peace on earth. Has there ever been such a thing - will there ever be? Wars and rumors of wars are the mile markers of history. Wars seem to be the events by which history is recorded. Did you ever hear of World Peace I or World Peace II - or the years of Civil Peace? Did the Holy Scriptures really promise Peace On Earth? Did an angel from heaven really proclaim “Glory to God in the highest, and on earth peace among those with whom He is pleased!” ? (Luke 2:14) The answer is...YES!Butwhatabout...? - Butwhatabout...? - Butwhatabout...?We could spend most of our lives filling in these blanks. However - if we take the cognizant, courageous leap of faith - if we choose to believe God's Word is true - then we must refine our understanding of peace. Jesus said - “Peace I leave with you; my peace I give you. I do not give to you as the world gives. Do not let your hearts be troubled and do not be afraid.” John 14:27Jesus knows about peace - He is indeed the Prince of Peace. How then can we define peace...? Peace is not the absence of conflict - Peace is the presence of God.God made His presence known in a spectacular, miraculous way long ago in the ancient city of Bethlehem. His presence remains just as real - just as powerful - just as loving.Thanks be to God for His tender mercy and all sufficient grace. May we be instruments used of God to live out and reach others with the good news. Glory to God in the highest! There Is Peace in the World Tonight.
SKU: HL.49042434
ISBN 9783795794491. 10.25x13.5x1.141 inches. German.
Carl Maria von Weber's fame rests mainly on 'Der Freischutz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as 'Preciosa', 'Oberon', and 'Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music; cantatas, odes and other occasional works; stage works; lieder and vocal works; orchestral works; chamber music; music for piano; piano reductions; miscellanea, arrangements and orchestrations; works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references.
SKU: HL.48023799
Author: Thomas Campion.
Thomas Campion's Never weather-beaten sail is a sprightly text that powerfully evokes the sailor's plea for God's calming presence upon the sea's unrelenting rushing waves. At the opening of this work for unaccompanied mixed voices, the jaunty alto/tenor movement in thirds symbolises the curling waves of the undulating sea, the mellifluous soprano melody represents the boat's sails, and the bass section's never-changing 'A' provides the anchor. All four voices then come together in homophony, urging God to come quickly...and take my soul to rest. Rather than a simple repetition of thematic material in the manner of a standard hymn, the texture alters through the rest of the work until the very end where all voices gradually fade away into the distance, leaving what seems like a lone voice in the wilderness to cry to Thee. Contrasting to other well-known setting of this text, this new work provides a fresh interpretation, suitable for intermediate choirs.
SKU: LP.765762197503
UPC: 765762197503.
This vibrant and soul-stirring song is combined with the well-known The Blood Will Never Lose Its Power into a terrific arrangement for solo voice and choir by Southern gospel master Wayne Haun.
SKU: LP.765762149229
UPC: 765762149229.
SKU: WD.080689757723
UPC: 080689757723.
Every choir leader knows that Sunday comes once a week, and there's always a need for sing-able arrangements that can be ready in an instant. The Instant Worship Choir Collection is packed with 20 dynamic arrangements that meet the need right when you need it! Perfect for small and large choirs alike (depending upon the circumstance: slim Sundays, summer choir, special event choir, snow choir, during busy seasonal rehearsal times) or whenever you want an easily-prepared song your choir is guaranteed to enjoy presenting.20 song value collection, re-voiced to be able to be rehearsed and ready in 30 minutes. At $9.95, that is less than 50 cents per anthem! Practice Trax available.
SKU: WD.080689677021
UPC: 080689677021.
SKU: HL.35032448
UPC: 888680863838. 6.75x10.5 inches.
Majestic writing from beginning to end covers this equally grand text. Claiming the resurrection of Christ is a transcendent thought for the believer and the message of this anthem showcases the ministry of the Trinity with clarity and power. The music and text shout away any doubt and fully embrace this spiritual truth with soaring strains and towering harmonic moments. The entrance of the well-known “Crown Him with Many Crowns” is an immense moment, bringing the congregation into the colossal apex of this powerful statement of faith. Score and Parts (fl, ob, cl, hn, tpt 1-2. tbn 1-2, timp, tub bls, perc 1-2, pno, vn 1-2. va, vc, db) available as a digital download.
SKU: GI.G-9958
UPC: 785147995807. English. Text Source: From I Loved You First, Christina Rossetti, 1830-1894, alt. Text by Christina Rossetti.
 The English Romantic poet, Christina Rossetti (1830–1894), is chiefly known for her mystic religious lyrics. Her limited number of love poems are mostly of an unhappy nature, rather like objective expressions of happiness denied. A certain steely stoicism within her caused her to turn away from love twice in her lifetime with two separate men. There is no evidence of resolute refusal of love in this poem, however. Here she profusely proclaims her deep love for another. Wayland Rogers has set the last five lines of I Loved You First to music. The setting is an excerpt from his song cycle, I-Thou , which was commissioned and premiered by Fourth Coast Ensemble in Chicago in 2018. About the Series: Doreen Rao, 2019 Robert Shaw Award recipient, launches her culturally inclusive choral series, Global Encounters for Young Voices, featuring accessible treble- and mixed-voice works for developing choirs.
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