SKU: HP.C6122C

UPC: 763628961220.

Medley of familiar hymns All Things Bright and Beautiful, set to a new melody, opens this musical montage, which quickly moves into strains of the Doxology, then For the Beauty of the Earth, and Holy, Holy, Holy. The thread that hold it all together is the refrain Lord of all, to thee we raise this, our grateful hymn of praise. Easily learned, and ideal for Thanksgiving or general occasions.

Instrumental Parts: Conductor's Score, Flute, Oboe (Soprano Sax or Clarinet), Clarinet, Horn (Alto Sax or Clarinet), Piano, Violin, Cello.

SKU: CA.2729303

ISBN 9790007171797. Text language: Latin.

Antonin Dvorak's impressive Stabat Mater for soloists, chorus and orchestra is probably the best-known of the composer's sacred works. Some painful experiences - in 1875 his first daughter died, and in 1877 he lost two other children in quick succession - may have led to Dvorak's preoccupation with the suffering of the Mother of God, who stands weeping beneath the cross of her son. The music enters into the different moods of the liturgical texts with great sensitivity. Nine movements in slow to moderate tempi serve as a kind of Passion meditation, before the ecstasy of a vision of the resurrection wins the upper hand at the end of the tenth movement. With our newly-published arrangement for chamber orchestra (flute, oboe, clarinet, horn, bassoon, timpani, and strings), smaller choirs now have the opportunity of performing this work without the choir being drowned out by a large-scale symphony orchestra. The symphonic character of the work is nevertheless preserved. This scoring offers an optimal balance between transparency and orchestral sound. All vocal parts (soloists and chorus) are identical with the original version. Vocal score and choral score can be used also together with the original version, which is in preparation.

SKU: CA.5001619

ISBN 9790007139681. Key: C minor. Language: Latin/German.

Contemporary criticism saw in Rheinberger's Stabat Mater op. 16 from 1864 one of the most beautiful works of this type which the present time has to offer. Distinguished through its breadth of conception and its noble tonal effect, with its rich polyphony it reaches the masterpieces of the old Italian school. In the expressive choral movements rich-sounding homophonic passages are combined with sections worked out in strict polyphony. The sustained songlike solo pieces are of a profound expression. Score and parts available separately - see item CA.5001600.

SKU: CA.5001611

ISBN 9790007222680. Key: C minor. Language: Latin/German.

Contemporary criticism saw in Rheinberger's Stabat Mater op. 16 from 1864 one of the most beautiful works of this type which the present time has to offer. Distinguished through its breadth of conception and its noble tonal effect, with its rich polyphony it reaches the masterpieces of the old Italian school. In the expressive choral movements rich-sounding homophonic passages are combined with sections worked out in strict polyphony. The sustained songlike solo pieces are of a profound expression. Score and part available separately - see item CA.5001600.

SKU: CA.5001615

ISBN 9790007222727. Key: C minor. Language: Latin/German.

Contemporary criticism saw in Rheinberger's Stabat Mater op. 16 from 1864 one of the most beautiful works of this type which the present time has to offer. Distinguished through its breadth of conception and its noble tonal effect, with its rich polyphony it reaches the masterpieces of the old Italian school. In the expressive choral movements rich-sounding homophonic passages are combined with sections worked out in strict polyphony. The sustained songlike solo pieces are of a profound expression. Score and part available separately - see item CA.5001600.

SKU: CA.5001614

ISBN 9790007222710. Key: C minor. Language: Latin/German.

Contemporary criticism saw in Rheinberger's Stabat Mater op. 16 from 1864 one of the most beautiful works of this type which the present time has to offer. Distinguished through its breadth of conception and its noble tonal effect, with its rich polyphony it reaches the masterpieces of the old Italian school. In the expressive choral movements rich-sounding homophonic passages are combined with sections worked out in strict polyphony. The sustained songlike solo pieces are of a profound expression. Score and part available separately - see item CA.5001600.

SKU: CA.2729419

ISBN 9790007137137. Language: Latin.

The Stabat Mater is the last work composed by Giuseppe Verdi. He completed it in 1897 at the age of 84. One year later it was published with the somewhat earlier Te Deum as part of the Quattro pezzi sacri. Verdi set Mary's meditation in the face of her crucified son, a classic of Medieval Latin poetry, in an operatically expressive style for choir and large orchestra. Verdi's Stabat Mater is now published for the first time in a critical edition. Also available in the series Choir & organ. Score and parts available separately - see item CA.2729400.

SKU: CA.2729412

ISBN 9790007201173. Language: Latin.

The Stabat Mater is the last work composed by Giuseppe Verdi. He completed it in 1897 at the age of 84. One year later it was published with the somewhat earlier Te Deum as part of the Quattro pezzi sacri. Verdi set Mary's meditation in the face of her crucified son, a classic of Medieval Latin poetry, in an operatically expressive style for choir and large orchestra. Verdi's Stabat Mater is now published for the first time in a critical edition. Also available in the series Choir & organ. Score and part available separately - see item CA.2729400.

SKU: CA.2729411

ISBN 9790007201166. Language: Latin.

The Stabat Mater is the last work composed by Giuseppe Verdi. He completed it in 1897 at the age of 84. One year later it was published with the somewhat earlier Te Deum as part of the Quattro pezzi sacri. Verdi set Mary's meditation in the face of her crucified son, a classic of Medieval Latin poetry, in an operatically expressive style for choir and large orchestra. Verdi's Stabat Mater is now published for the first time in a critical edition. Also available in the series Choir & organ. Score and part available separately - see item CA.2729400.

SKU: CA.7004319

ISBN 9790007138479. Key: G minor. Language: Latin.

Schubert composed the Latin Stabat Mater, D 175, between the 4th and 6th April 1815, probably without any specific commission. The text had been appointed by Pope Benedict XIII in 1727 for use at the Feast of the Seven Sorrows of the Blessed Virgin Mary on the 15th September. Schubert set to music only the first four of the Stabat Mater's 20 verses, but each verse is repeated with a concluding coda. Score and parts available separately - see item CA.7004300.

SKU: PR.16500100F

ISBN 9781491114421. UPC: 680160669783. 9 x 12 inches.

Commissioned for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,”giving rise to the work’s title.
This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,” butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty” than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?” takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.”Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,”constantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.” This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key” of the hymn seems to shift — until the “Lord of all, toThee we praise” melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tune”heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty” with long spaces between them, but it soonchanges to a series of “Amen” cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth” contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sight”and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected.

SKU: CA.4018019

ISBN 9790007137816. Key: F major. Language: Latin/English.

Brahms's Ave Maria was composed in 1858. The widely-held opinions in the literature on Brahms - that the work has justifiably been forgotten, the part-writing is monotonous and the style and diction is ponderous - don't do justice to a truly charming piece, based on folksong-like models. Score and parts available separately - see item CA.4018000.

SKU: CA.4018012

ISBN 9790007064068. Key: F major. Language: Latin/English.

Brahms's Ave Maria was composed in 1858. The widely-held opinions in the literature on Brahms - that the work has justifiably been forgotten, the part-writing is monotonous and the style and diction is ponderous - don't do justice to a truly charming piece, based on folksong-like models. Score and part available separately - see item CA.4018000.