SKU: SU.26180030
These Last Gifts, for a cappella chorus, is a setting of Robert Fitzgerald’s translation of an elegiac poem by the Latin poet Gaius Valerius Catullus (84-54 BC). The poem spoke powerfully to me as it addresses the premature death of a brother, something I experienced myself. It was on a journey to Bithynia, what is today a part of northwestern Turkey, that Catullus visited the grave of his brother and wrote this lament. The work was premiered by the Harmonium Choral Society of Morristown, New Jersey, Anne Matlack, Artistic Director. SATB Chorus, a cappella Duration: 5'30 Composed: 2015 Published by: Distributed Composer Minimum order quantity: 8 copies. To order quantities fewer than 8.
SKU: SU.80101144
This work is a hymn-anthem based on an original tune by the composer. Lush and moody harmonies throughout amplify the text by Catherine Winkworth. 8 pages Published by: Zimbel Press.
SKU: PR.362034170
UPC: 680160496143. 6.875 x 10.5 inches. Key: Ab major. English. Text: Walt Whitman. Walt Whitman.
Commissioned for the Ithaca College Annual Choral Festival, Dan Welcher has created a beautiful collection of three Walt Whitman poems (I Celebrate Myself, I Am He That Walks, and There Is That in Me), set for SATB voices. They are serious, yet flow easily, and will be very useful for college choirs. For advanced and college choirs.
SKU: PR.362033420
UPC: 680160059379. Text: Walt Whitman. Walt Whitman.
SKU: LO.10-5228L
ISBN 9780787763879.
Known for her creativity at the keyboard, Marianne Kim showcases her talent for choral music with this anthem of conviction. With a lovely original melody that pairs nicely with the Alas, and Did My Savior Bleed text and a refrain that emphasizes our response to Christ’s sacrifice, this piece is perfect for Lenten or Holy Week services.
SKU: 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 dayâ€) 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…â€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?
SKU: CF.CM9549
ISBN 9781491150818. UPC: 680160908318. 6.875 x 10.5 inches.
Make Space for Life to Live by Michael John Trotta offers captivating, expansive melodies interwoven with a piano accompaniment that makes subtle allusions to the main theme. Its mesmerizing text resonates with the singer and the audience. Appropriate for concert or festival use throughout the year, this piece is also available for SA voices (CM9274), TB Voices (CM9283) and SAB voices (CM9289).Editor's NoteAbout the WorkMake Space for Life to Live features expansive, yet accessible vocal lines perfect for choirs of all abilities and sizes. It offers compelling melodies and singable vocal lines interwoven with a piano accompaniment that makes subtle allusions to the main theme.About the TextThe text for this work was written while on an extended seashore retreat several years ago. It was the product of many long walks looking out into the vastness of the sea. It was a time in my life that was immediately preceded by great personal loss and turmoil. It was in that silence and space I was able to reconnect to that still, small voice within that reminded me that I was merely a part of something much bigger than myself. The text that was hewn from that experience is a reflection on the importance of allowing space in my daily life to experience the simple joys that every moment has to offer.Optional NarrationRegardless of race or creed the abundance that is found in the reality of the present moment is augmented by regular exposure to the arts. The capricious nature of time in the age of immediacy is that it is entirely flexible. Experience suggests that exposure to natural beauty, such as watching a sunrise unravel over the sea or a cloud formation sweep through a mountain range, allows an individual to feel part of something greater than themselves. Music has the ability to take time and slow it down, revealing to the participant their part in the whole. Taking part in choral music, whether as an audience member, singer, conductor or composer is an opportunity to slow down time long enough to allow the beauty of life to catch up with you.
SKU: AP.50747
UPC: 038081580616. English.
I can buy myself flowers, I can hold my own hand. This Miley Cyrus dance-pop tune broke Spotify's record with over 100 million plays in its very first week, catapulting the funky track to the top of the Billboard Hot 100. With an empowering message of self-reliance, this streaming sensation is sure to strike a chord. Three no-fuss voicings, a small combo SoundPax, and a disco-toned SoundTrax complete the bouquet.
About Alfred Pop Choral Series
The Alfred Pop Series features outstanding arrangements of songs from the popular music genre. These publications provide exciting, contemporary, and educationally-sound arrangements for singers of all ages, from elementary through high school, to college and adult choirs.
SKU: GI.G-8815
UPC: 785147881506. English, Latin. Text Source: Romans 11:29, Latin Vulgate. Scripture: Romans 11:29.
I composed this setting in my last weeks of study at Westminster Choir College. The Latin text (Sine paenitentia enim sunt dona et vocatio Dei) translates roughly to “Truly, without regret are the gifts and callings of God.†This piece serves not only as an outward affirmation for all to embrace and use their God-given talents, but also as an inward mantra for myself, as I move into an uncertain period in my life after completing my undergraduate studies. Many of the colors and textures found within this piece were influenced by my experience singing with the Westminster Williamson Voices for two years. While the “sine paenitentia†text may allow shades of doubt to creep in, all uncertainty and fear is dispelled upon singing “sunt dona et vocatio Dei.†—Cortlandt Matthews Here is an amazing performance by The Westminster Williamson Voices at the Choral Insititute at Oxford. Ryan Manni, Conductor.
SKU: PR.312419280
ISBN 9781491137925. UPC: 680160692613.
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?
SKU: BA.BA08524
ISBN 9790006564194. 27 x 19 cm inches. Text Language: Swedish, English. Text: Kerstin Dillmar.
“Triptyk†(“Triptychâ€) and “MörkblÃ¥ tillit†(“Dark Blue Trustâ€) have been written by hospital chaplain/author Kerstin Dillmar.In her work she often meets people who walk in the shadow of death and her dealings and thoughts about this are a central part of her writing. This is most clearly seen in “MörkblÃ¥ tillit†whose key message is to trust that we will be safe and secure after passing away in sleep. Jansson’s intention with the music was to enhance this feeling of comforting trust without taking away the seriousness of the subject. “Triptyk†on the other hand describes a journey within a person in three stages which moves from despair, “God, my God why have I forsaken myself?â€, through to hope and faith that God is within.The music depicts these stages, starting with a dark-searching tonality, then describing the simple beauty of trust through to a joyful expectation of hope and ending with a strong conviction.
SKU: GH.CG-6103
ISBN 9790070039291. A4 inches. Text: Dag Hammarskjold.
For solokvartett, dubbel blandad kor och orgel.
SKU: CF.CM9787
ISBN 9781491164587. UPC: 680160923496. Key: D major. English. Original.
The text for the first voicing (SSA) of this piece came to me in the fall of 2020 while teaching at Crosby High School in Crosby, Texas. My students, though enthusiastic to be back in Choir, were struggling to cope with the civil unrest around them, in addition to the pandemic. When considering how I could help them navigate this time, I realized that they were in need of some sort of consistency, of feeling grounded in themselves. As we focused on building of community and citizenship, this text and tune came to mind, each phrase highlighting an element of personal and community wellness.I lead with my spirit keeping love in the circle around me. (Social)Expressing my spirit (Occupational)Loving what I can see and cannot see, I'll take care of the vessel I am in (Physical)I love with me that's under the skin (Emotional)Taking care of my mind (Intellectual)Envisioning the me I want to be (Spiritual)I had the honor of collaborating with composer/educator Saleel Menon to create the beautiful piano accompaniment and SATB setting.Who I Want To Be opens with a solo functioning as a mantra throughout the tune. As the piece continues, voices join in unison and harmony to emphasize the intent.When the repeats in mm. 48–51 occur, invite students to share some of their own mantras and affirmations, or feel free to borrow from the words my students in the Crosby HS choir inspired me to write:Allow yourself graceI am persistentI am fragile, not brokenYou are worthyI am worthyI know that your success is not my demise!The only validation I need is my ownI believe in myselfI see youIt’s okay to not be okayBreatheI love and I am lovedPrepare yourself for not only a powerful performance, but a rewarding experience and conversations with your students.THIS is the piece you want stuck in your students’ heads!~CRM.
SKU: CA.4068891
Language: Latin.
With its tonal language of subjective avowal, the first of Beethoven's two masses opens up new worlds of expression for the liturgical texts of the Mass which are expressly modern and point towards the future. Not to be considered a preliminary work to the Missa solemnis, it is an entirely independent work which set standards for the further development of settings of the Mass in the 19th century. Its newness, of which the composer himself was fully aware (I do not speak gladly of my Mass, or of myself, but I do believe that I have treated the text in a manner in which only few have treated it.), paves a way to an hitherto unknown, contemporary avenue to faith which today is still current. Carus presents this important work of church music history in a new critical edition by the Beethoven expert Ernst Herttrich. Score available separately - see item CA.4068800.
SKU: CA.4068892
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