SKU: HL.49019053
ISBN 9790001175586. 8.5x11.75x0.059 inches. German.
In 1999 a Bronze Age metal disc was found near the city of Nebra (Saxony-Anhalt/Germany), showing astronomical symbols and phenomena. Dated c. 1600 years BC, the so-called “Nebra sky disk†is regarded as the world’s oldest evidence of the astronomical skills of this period and allows us deep insight into the knowledge of the heavens possessed by our ancestors. Wilfried Hiller was inspired by this artefact to compose a work for mixed chorus. Text in German.
SKU: HL.48025430
ISBN 9798350126297. UPC: 196288210825. 6.75x10.5 inches.
“Waloyo Yamoni (We Overcome the Wind)†is the grand finale to Christopher Tin's second album 'The Drop That Contained the Sea'. The lyrics are a setting of a Lango rainmaking prayer. It was commissioned by the St. Matthews Chamber Orchestra, and recorded by the Royal Philharmonic Orchestra with the Soweto Gospel Choir. New York Concert Review wrote of the Carnegie Hall premiere “The audience reacted after the final notes with the loudest and longest standing ovation I have ever heard at any concertâ€, while The York Press wrote “We Overcome The Wind was an outpouring of joy; a unanimous standing ovation evinced the sense of togetherness at the heart of this concert.â€.
SKU: HL.14011728
ISBN 9788759851890. UPC: 888680705817. 10.5x14.5 inches. Danish.
These Four Madrigals by Pelle Gudmundsen-Holmgreen are settings of texts by the Australian author, Les Murray. Two songs were originally written for the Song Company, Australia and two more from his larger work, Sound/Sight for Danish Radio Chamber Choir. All have been arranged here for six voices (SSATBarB) with texts in English and Danish. Duration 16:30.
SKU: CA.964100
ISBN 9790007143541. Text language: Latin.
The Good Friday Responsory Tenebrae factae sunt for six-part chorus was commissioned in 2012 for Peking University Student Choir and was premiered at the World Choir Games in Cincinnati, Ohio, USA conducted by Hou Xijin. It is an ambitious work with a fervent intensity. Matsushita sets the two last words of Jesus, Deus meus, ut quid me dereliquisti? [My God, why hast thou forsaken me] and Pater, in manus tuas commendo spiritum meum [Father, into thy hands I commend my spirit] as pained outcries in Stravinskyian harshness, in chords characterized by tritones, as a truly superhuman work of redemption whose Easter message of hope only appears in the last conciliatory F major chord. Although this work lies slightly beyond the upper limit of the musical and vocal technical demands of the Carus Contemporary series, it is well within the abilities of ambitious chamber choirs.
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