SKU: HL.49044198
ISBN 9790001192897. 9.0x11.75x0.07 inches. German.
The fact that Hermann Schroeder ranks among the most important composers of Catholic church music in the 20th century shows especially in the simple church music form of the choral setting, e. g. in his setting of the sacred song Unuberwindlich starker Held, Sankt Michael. With his own typical archaic tonal language, Schroeder creates an a cappella choral setting (SATB) in which the dignity and the admiration of the heroic deeds of the Archangel Michael find their musical expression in a very compact form. The underlying melody (GL 924) dates from 1623. The author of the text of the Song of Michael is the German hymn writer Friedrich Spee. A very charming choral setting that can be easily mastered by any church choir; its five verses have to be sung alternately by the choir and the congregation. Apart from the a cappella choral setting, the practical congregational edition also contains a chorale prelude and the organ chorale which can, of course, be used as accompaniment for the congregation, but also for the choral setting.
SKU: LO.70-2433S
ISBN 9780787778217.
This volume’s title is also the name of the centerpiece triptych in this collection of thrilling works by Angela Kraft Cross. The other pieces include a fantasy inspired by archangels, a Christmas fantasy on “Adeste fideles,†an elegiac “fanfare,†and a piece inspired by the vision of healing waters. Kraft Cross’s pieces are becoming frequent recital selections, and the ones in this volume likewise offer possibilities for concerts or as special service voluntaries.
SKU: HL.49033297
ISBN 9790001137751. UPC: 884088070496. 9.0x12.0x0.158 inches.
Though the work bearing this title is a portrait of childhood, it is a childhood quite different from the purely gameplaying and dreamlike childhood that is customarily represented. The childhood described here is carrying the seed, in all its purity, of all positive and negative qualities to be found the fully-grown men: a childhood both angelic and diabolical, and indeed very close to Henry James' The Turn of the Screw which was the direct inspiration for this monodrama.Its growth follows the innumerable sudden changes, turns and contrasts of the unsophisticated spirit. There is hardly any development at all, as each idea gives birth to the next or rejects the previons one, being object to every impulse, every tempest, every flux, every fear and delight. After a dreamlike introduction, in which two simple melodies stand out, comes a sudden awakening, Allegro, stamped all over with lavish and forever regenerating dynamism. A sudden halt leads a kind of outburst from the most simple folklore is singing, in regular, repeated notes. Again the question mark leads us to another melody, Tranquillo, of a sweet tempo, but brilliantly decorated with counter-point, its cursive traits leading this time to a kind of roguish march (Vigoroso).Yet soon there emerges a melancholic chant, Largo, in the Cromorne's timbre, and then, in the highest register of the Trumpet there reappears like a metamorphosed memory, the theme of the second movement. Passing other episodes, we come to Tempo giusto, insistent and glorious, interrupted by other passionate figures, cut off by unsettling silent moments and taken up again in always accelerating volleys.
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