SKU: GI.G-7797CD

UPC: 785147779728. English, Latin.

The cornerstone of your choral library Compiled from GIA's best sellers and newer gems, each volume in the CHORAL ESSENTIALS series highlights a particular season and includes pieces in a variety of styles, voicings, and instrumentation.     Invaluable as a planning tool…       …affordable enough to purchase copies for your entire choir!   Included in this edition: G-3064 Pentecost Psalm - Richard Proulx G-3915 Send Down the Fire - Marty Haugen G-4433 That Easter Day - Burton Bumgarner G-5133 Concertato on Go to the World! - Ralph Vaughan Williams, arranged James Chepponis G-5272 Come, Holy Spirit - Christopher Tye, edited William Tortolano G-5420 Alleluia, Christ Is Risen - Carol Browning G-5576 Two Songs for Easter: Surrexit Christus and Jubilate, Servite - Taizé Community G-5630 Let in Joy This Easter Day - Peter Niedmann G-5650 Neither Death nor Life - Marty Haugen G-6139 Psalm and Gospel Acclamation for Easter: This Is the Day - Stephen Pishner G-6266 Easter Days - Alice Parker G-6665 Concertato on Christ Is the World's Redeemer - John Ferguson G-6951 Rise to Sing! The Light Is Breaking - William P. Rowan, arranged Carlton R. Young G-6952 Go Out - Ian Callanan G-7307 This Is the Day - Chris de Silva  .

SKU: AY.VCP3145PM

ISBN 9790543576087.

The work consists of three movements in which there is a continuous presence of the notes B, A, C and H. In an open way, or sounding at the same time (which creates a strong dissonance of four semitones) the four notes are the composing excuse of the whole work. The first movement is a memory of a non-stop life, that turns frenetic and almost painful. It is a quick movement, with no breaks or relief and even hasty some times. It is a memory of the restless life of Bach. A barrage of music with neither pauses nor rests. The second movement is a chant and a moan to his death. With the harpsichord tempo of a funeral march, the movement is ruled by the sound of the cello that, in occasions, tries to raise its sound to the highs, in a praise attitude but also as a sort of reproach for not reaching it. The last movement, prestissimo, is the continuous repetition of a sequence of seven bars. They will keep on repeating until the exhausted end from the dynamics of p p p until f f f. This is to exploit the different levels of dynamics that music gives us. At the same time we remember that musicians of the baroque only used as musical and stylistic form passing directly from forte to piano, skipping the medium levels. What Bach never did is used in this movement to the extreme.