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.49001155
ISBN 9790001010412.
SKU: HL.49000980
ISBN 9790001005289. 7.5x10.75x0.028 inches.
SKU: HL.48022628
A peaceful carol telling the Christmas story of the angels' visit to the shepherds. The simple but still jazz-inspired harmonies, unison sections and attractive melodies make this a very approachable but effective carol.
SKU: CA.5040840
ISBN 9790007081850. Key: F major. Language: German/English.
Score available separately - see item CA.5040800.
SKU: PL.0620
Scripture Reference: Luke 2:6-14 * ancient Latin text with a 19th century translation as well * Christmas carol of intensity, yet with a gentle lilt * demanding yet rewarding vocal writing with a high tessitura * like the Gregorian chant, modal with a slightly modern flavor * occasional six-part writing adds brilliance and depth * slower pace demands good breath control and stamina.
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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