SATB Choir

SKU: BT.MUSM570368679

For choir and fixed media. Composed by Evis Sammoutis. Score Only. Composed 2019. 14 pages. University of York Music Press #MUSM570368679. Published by University of York Music Press (BT.MUSM570368679).

Isthmus denotes a narrow strip of land with sea on either side, forming a link between two larger ars of land. The title is a metaphor for an effort to bond artistically my experiences of living in Cyprus, my birthplace, and in the USA, my recently adopted homeland. Having lived in a small, partitioned island for my formative years and in England for eleven years, water has always had a double meaning: it has at once served as a gateway to other cultures but also as a border, a violent and absolute interruption of a continuum. While in the USA, or indeed in a now connected Europe, it is possible to travel on land for days without having to encounter a border, in the countries where I lived for most of my life, that was not possible. As an artist, this notion of establishing boundaries and consciously trying to break them is very close to me, as my music deals both with modernity but also with tradition and, similarly, with metaphor and reality. As a Cypriot, the sea, the world of antiquity, the mysteries of the oracles, the notion of borders and the pastoral are all very central to my way of thinking. In Cyprus, different layers of history are frequently superimposed on a single building that might still preserve its Roman, Byzantine, Venetian and Ottoman features in its layers of stone and architecture. Similarly, ancient ruins or the barbed wire of modern conflict often interrupt placid fields. An isthmus, therefore, can be seen to symbolize my artistic struggle to join strikingly different experiences and notions in a cohesive way. Similar to an isthmus, in this short piece, I connect these experiences with the purpose of creating a distinct and unique sonic context, connecting technology and tradition, the pastoral with the urban, the musical with the extra-musical and the abstract with the concrete. For example, the choir does not always sing in the traditional sense, but the singers imitate various natural sounds, such as water, air, crickets or birds, to create a vivid visual impression for the work. Scandinavian herding calls blend with field recordings from the seas of Cyprus and the lakes of Upstate New York, communicated within clearly defined, singular acoustic sources and spaces through wireless speakers. The text used is both onomatopoeic, articulating an imaginary language, but also literal, with a setting of the poem, “To make a prairie” by the iconic American poet Emily Dickinson and a tiny fragment from Callimachus’ “Hymn to Demeter.” Technology is used sparsely and very intentionally to articulate the expressive qualities of pastoral imagery, creating one unified synthetic timbre with the choristers’ sounds. This piece is dedicated to the wonderful singers of the Georgia Institute of Technology Chamber Choir with special thanks to Professors Hsu and Ulrich, without whose support this composition would not have been possible. Practical notes: A choir of no less than 24 singers is sought with 4 additional soloists (2 Sopranos and 2 Altos). Each singer must have their own wireless speaker, secured either in the music folder or as a strap inside their shirts. All sounds must match in volume the sound from the speakers, creating one unified timbre. The speakers should not be noticeable to the public. The four soloists are placed offstage at the beginning of the work. From 1:35’ onwards they enter the hall and take their positions, ideally at the four corners of the hall. If the hall is too large, the singers can find alternate positions, but these should always be antiphonal. The four soloists sing predominantly in the “kulning” style and the antiphonal aspect is very important to the work. There are two sound files for each section (SATB) that are triggered by each singer’s mobile device. The first occurs at the start of the piece, and the second, about a minute before the end. The sound files are able to be purchased separately, on CD, or are available directly from UYMP.

SATB choir, piano, and Spoken word, with optional violin, B- flat trumpet, and snare drum - Late Intermediate SKU: EC.1.3682 Composed by Kyle Pederson. 9/11 Service, National Songs/Patriotic. Galaxy Music Corporation #1.3682. Published by Galaxy Music Corporation

Soprano solo, SATB choir, piano, organ, and brass ensemble (Horns I and II in F, B-flat Trumpets I and II, Trombones I and II, Tuba, Piano, Organ (or digital keyboard if a tuned pipe organ is unavailable)) - Intermediate

SKU: MN.56-0119

Composed by Howard Goodall. Thanksgiving. Score. MorningStar Music Publishers #56-0119. Published by MorningStar Music Publishers (MN.56-0119).

UPC: 688670221477. English.

Unconditional Love is Howard Goodall’s heartfelt cantata of gratitude and remembrance, a poignant reflection upon the COVID-19 crisis. It seeks both to give thanks to those who sacrificed their lives in the aid of others and to offer solace to the grieving. Yet unifying each of its seven movements is a call to hope and to moving forward in a world rebuilt. The cantata commemorates the selflessness and togetherness felt by communities across the world during the pandemic, communities that offer their thanksgiving in many different ways. It is hoped that Unconditional Love’s universal messages will resonate with choirs of all kinds and in all places, for many years to come.

(A Christmas Musical). By Joel Raney. For SATB choir. This edition: Complete. Christmas, Cantata. Christmas, Sacred. Preview Pack (Score and Listening CD) - Limit 1 per customer. 84 pages. Published by Hope Publishing Company

SATB choir with piano or full orchestra

SKU: EC.RBM-114

Composed by Randol Alan Bass. 21st Century. Choral score. Randol Bass Music #RBM-114. Published by Randol Bass Music (EC.RBM-114).

English.

This choral-orchestral composition was commissioned by the Texas Master Chorale – Brad Bouley, conductor – to help celebrate their 20th anniversary of music-making in the Houston, TX area.For this special occasion, Carol Taylor – a member of the chorus – created a special poem for the use of the composer which encompasses the breadth and variety of music in the state of Texas. The composer was most grateful to have had her creative input for this project.The work is composed in a fairly free-form fashion, in keeping with the scope and varied nature of the musical references in the poem. After an extended orchestral introduction, the chorus begins a journey which vocally spans the disparate regions of the Lone Star State and the ubiquity of music along the way. During this musical journey the listener is reminded of many differing ways in which Texans share music with one another and the world – from abundant popular and folk singing to the highest levels of art music performance.The piece is scored for large orchestra (3332 4331 timp 3 perc hp stgs), and the accompaniment is available on a rental-only basis. This accompaniment is intended for orchestral performance of this paean to vocal music in the state of Texas: Texas Is Singing.( dur: 10:00 ).

Choir, a cappella (SATB, TTBB, SSAA or different combinations) - Level 3

SKU: CA.911000

Das Fussballstuck. Composed by Manfred Langer. Choirs in Movement. German title: Abseits!!! Zur Wm Einzelexemplar. Choirs in movement. Full score. Composed 2006. Duration 2 minutes. Carus Verlag #CV 09.110/00. Published by Carus Verlag (CA.911000).

ISBN 9790007160432. Language: German.

What happens to a choir when the FIFA World Cup kicks off? The composer Manfred Länger, of Vienna, has written a very inventive piece about this hot topic in which he spoofs football fever in a very compact composition. The work is suitable for all choirs (mixed choir, women's or men's choir) singers who are football fanatics and those who are football grouches. Written for the World Cup 2006 in Germany, this is still THE choral piece for every football summer!