Angel. Composed by Fadhilli William Mdawida. Arranged by Russell L. Robinson. Sws. Octavo. 16 pages. Duration 3 minutes, 4 seconds. Carl Fischer Music #CM9650. Published by Carl Fischer Music

By Attr. To John F. Wade / Anonymous / French Carol. Arranged by Daniel E. Gawthrop. Text: attributed to John F. Wade/William J. Kirkpatrick/French Carol. For SATB Choir. Christmas. Duration 4:50. Published by Jackman Music Corporation.
Level: Medium / Medium-Difficult (accompaniment).

SATB choir

SKU: ST.EM35B

Composed by John Mundy. Edited by Edmund H Fellowes. Library Volumes. Edited Edmund Fellowes. Revised Thurston Dart and Philip Brett. Paperback. Madrigals. Choral Score. Stainer & Bell Ltd. #EM35B. Published by Stainer & Bell Ltd. (ST.EM35B).

ISBN 9790220211652.

Organist of St George's, Windsor, and successor to the famous Marbecke, Mundy was amongst the earliest of the English madrigalists. There are 12 madrigals in this collection, ranging from Of all the birds, a tribute to William Byrd, to In deep distress and the tragic setting of words written by Chideock Tichborne on the eve of his execution in the Tower of London, My prime of youth. The volume also contains 25 psalms in three, four, and five parts.

CONTENTS
As I went walking (SAT)
Blessed art thou (SAT)
Have mercy on me, O Lord (SSATB)
Hear my prayer, O Lord (STB)
Heigh Ho! 'chill go to plough (SSAB)
I lift my heart to thee (SSAT)
In deep distress (SATB)
In midst of woods (SSATB)
Lightly she whipped o'er the dales (SSATB)
Lord arise and help thy servant (SSATB)
Lord to thee I make my moan (SATB)
My prime of youth (SATB)
O all ye nations (S (or A) AT)
O come let us lift up our voice (SAT)
O Lord of whom I do depend (SSAT)
O Lord turn not away thy face (SAT)
Of all the birds (SAT)
Penelope that longed (SSATB)
Praise the Lord, O my soul (SAT)
Save me, O God (SAT)
Sing ye unto the Lord (SSAT)
The black-bird made (SSATB)
The longer that I live (SSAT)
The Shepherd Stephon (S solo, A. viol, T. viol, B. viol)
Thus art thou bless'd (SAT)
Turn about and see me (SA (or T) T)
Unto thee lift I up mine eyes (SSATB)
Were I a king (SATBB)
Who loves a life (SSATB)
Witness ye heav'ns (S solo, A. viol, T. viol, B. viol)
Ye people all in one accord (SAB).

By Jamie Owens-Collins. Arranged by Fred Bock. For SATB choir, piano (trumpet). Eastertide. Octavo. Published by Crystal Sea Music Publishing

Choral SATB Choir and Piano

SKU: PR.312419020

From Terra Nostra. Composed by Stacy Garrop. Sws. Performance Score. 12 pages. Duration 3:15. Theodore Presser Company #312-41902. Published by Theodore Presser Company (PR.312419020).

ISBN 9781491131862. UPC: 680160680474. 6.875 x 10.5 inches. English.

Commissioned by the San Francisco Choral Society and the Piedmont East Bay Children’s Choir, Terra Nostra is a 70-minute oratorio on the relationship between our planet and humankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. Part I: Creation of the World explores various creation myths from different cultures, culminating in a joyous celebration of the beauty of our planet. Part II: The Rise of Humanity examines human achievements, particularly since the dawn of our Industrial Age, and how these achievements have impacted the planet. Part III: Searching for Balance questions how to create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. In addition to the complete oratorio, stand-alone movements for mixed chorus, and for solo voice with piano, are also available separately.
Terra Nostra focuses on the relationship between our planet and mankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. The oratorio is divided into three parts:Part I: Creation of the World celebrates the birth and beauty of our planet. The oratorio begins with creation myths from India, North America, and Egypt that are integrated into the opening lines of Genesis from the Old Testament. The music surges forth from these creation stories into “God’s World” by Edna St. Vincent Millay, which describes the world in exuberant and vivid detail. Percy Bysshe Shelley’s “On thine own child” praises Mother Earth for her role bringing forth all life, while Walt Whitman sings a love song to the planet in “Smile O voluptuous cool-breathed earth!” Part I ends with “A Blade of Grass” in which Whitman muses how our planet has been spinning in the heavens for a very long time.Part II: The Rise of Humanity examines the achievements of mankind, particularly since the dawn of the Industrial Age. Lord Alfred Tennyson’s “Locksley Hall” sets an auspicious tone that mankind is on the verge of great discoveries. This is followed in short order by Charles Mackay’s “Railways 1846,” William Ernest Henley’s “A Song of Speed,” and John Gillespie Magee, Jr.’s “High Flight,” each of which celebrates a new milestone in technological achievement. In “Binsey Poplars,” Gerard Manley Hopkins takes note of the effect that these advances are having on the planet, with trees being brought down and landscapes forever changed. Percy Bysshe Shelley’s “A Dirge” concludes Part II with a warning that the planet is beginning to sound a grave alarm.Part III: Searching for Balance questions how we can create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. Three texts continue the earth’s plea that ended the previous section: Lord Byron’s “Darkness” speaks of a natural disaster (a volcano) that has blotted out the sun from humanity and the panic that ensues; contemporary poet Esther Iverem’s “Earth Screaming” gives voice to the modern issues of our changing climate; and William Wordsworth’s “The World Is Too Much With Us” warns us that we are almost out of time to change our course. Contemporary/agrarian poet Wendell Berry’s “The Want of Peace” speaks to us at the climax of the oratorio, reminding us that we can find harmony with the planet if we choose to live more simply, and to recall that we ourselves came from the earth. Two Walt Whitman texts (“A Child said, What is the grass?” and “There was a child went forth every day”) echo Berry’s thoughts, reminding us that we are of the earth, as is everything that we see on our planet. The oratorio concludes with a reprise of Whitman’s “A Blade of Grass” from Part I, this time interspersed with an additional Whitman text that sublimely states, “I bequeath myself to the dirt to grow from the grass I love…”My hope in writing this oratorio is to invite audience members to consider how we interact with our planet, and what we can each personally do to keep the planet going for future generations. We are the only stewards Earth has; what can we each do to leave her in better shape than we found her?

SATB choir

SKU: ST.EM5

Composed by Orlando Gibbons. Edited by Edmund H Fellowes. Library Volumes. Edited Edmund Fellowes. Revised Thurston Dart. Note: Print on demand. Spiral-bound A4. Sacred. Choral Score. Stainer & Bell Ltd. #EM5. Published by Stainer & Bell Ltd. (ST.EM5).

ISBN 9790220206849.

Gibbons seems to have been outside the process 'by which', wrote Joseph Kerman in The Elizabethan Madrigal, 'England first became sophisticated in the ways of Continental music.' These 20 pieces certainly, if differently, follow the pure line of William Byrd and are still of the old 'English' school. They include The Silver Swan and Dainty Fine Bird.

CONTENTS
Ah dear heart (SAA (or T) A (or T) B)
Dainty fine bird (SST (or A) TB)
Fair is the rose (SA (or S) ATB)
Fair ladies that to love (SSAT (or A) B)
Farewell all joys (SSA (or T) A (or T) B)
How art thou thralled (SS (or A) TTB)
I feign not friendship (SSAT (or A) B)
I see Ambition never pleased (SSATB)
I tremble not at noise of war (SSAT (or A) B)
I weigh not fortuneAs frown (SSAT (or A) B)
Lais now old (SATT (or A) B)
Mongst thousands good (SSAT (or A) B)
Nay let me weep (SA (or S) T (or A) T (or A) B)
NeAer let the sun (SAT (or A) TB)
Now each flowery bank of May (SST (or A) TB)
O that the learned poets (SSA (or T) B ( or T) B)
Silver Swan, The (SSA (or T) B (or T) B)
Trust not too much fair youth (SST (or A) TB)
What is our life? (SAA (or T) TB)
Yet if that age (SS (or A) T (or A) TB).

SATB choir, assembly, organ accompaniment, 2 trumpets in B-flat, 2 trombones, timpani, cymbal

SKU: GI.G-008623

Composed by Ralph Vaughan Williams. Arranged by Steven R. Janco. Easter, OT 5 Year B, OT 29 Year A, OT 8 Year B, OT 28 Year A, OT 26 Year B, OT 23 Year B, OT 21 Year A, OT 20 Year A, easter 4 Year C, OT 11 Year A. Sacred. Octavo. 24 pages. GIA Publications #008623. Published by GIA Publications (GI.G-008623).

UPC: 641151086231. Text by Herman G. Stuempfle, Jr.

This fine piece couples the stately tune SINE NOMINE with a new text. This text, commissioned for the sesquicentennial year of the Archdiocese of Chicago, speaks eloquently of the nature of the church and its mission. The setting was first used for the Archdiocese's Liturgy by the Lake celebrated in Chicago's Grant Park in August of 1994. This setting is suitable for festive celebrations: Chrism Masses, ordinations or commisionings, parish anniversaries, church or altar dedications, diocesan celebrations, etc. Since the tune is traditionally coupled with William Walsham How's For All the Saints, six verses of that hymn have been provided throughout the score as an alternate text.

SATB choir with divisi, organ, handbells, oboe and brass quartet - Medium

SKU: PL.0529

Composed by Brian William Luckner. Cathedral. Choral, Christmas. Octavo. Paraclete Press #0529. Published by Paraclete Press (PL.0529).

* Introit for Christmas Eve or for a service of Advent Lessons and Carols * familiar Latin antiphon interspersed with English verses * seamlessly interwoven vocal and instrumental lines * glorious ending

Brian Luckner's anthem, Dominus dixit ad me (SSATB, handbells, oboe, brass quartet, organ... is plucked straight out of the Gregorain chant repertory, and manages to do it in a somewhat less diaphanous manner than some other chant-based pieces have done. The Introit for Chirstmas Midnight Mass is here qouted in toto, cast in a fluid but rhythmic framework. Starting rather mysteriously at the outset, oboe and handbells are effectively brought into the fabric of the piece. This work carefully submits to the antiphon/psalm verse/antiphon Introit form and is thus entirely liturgical by intent. At the return of the antiphon, the score becomes much more expansive, and only the outline of the chant is suggested. The oboe wisely doubles the first soprano part, as it ascends to two high B-flats. In my mind's ear, I hear a very capable choir singing this piece, preparatory to the opening hymn/carol. While it captures the very quiet side of the mystery of Verbum caro factus est, it nicely prepares us for the joys of festive clangor that are sure to follow. Cue up Hymn 87, please! - Monte Mason AAM Journal October 18, 2005.