SKU: CN.S11260
Geoffrey Brand's arrangement of Berlioz's Shepherds' Farewell form L'Enfance du Christ is restrained, delicate, and contemplative. In this arrangement for small wind orchestra, the instruments are called upon to display their softer persuasive sounds in order to retain the sensitive nature of this tender music.L'Enfance du Christ (The Childhood of Christ), written between 1850 and 1854, is the nearest that Berlioz got to writing an oratorio. It is in three parts; he called it a 'sacred trilogy.' Throughout, the music is restrained, delicate, and contemplative. In its original version, The Shepherds' Farewell is scored for chorus accompanied by two oboes, two clarinets, and strings. With these selected colors, Berlioz achieves a masterpiece of delicacy and serenity. In this arrangement for small wind orchestra without chorus, the wind instruments are called upon to display their softer persuasive sounds in order to retain the sensitive nature of this tender music. This arrangement may be used with chorus utilizing the original chorus parts. The key is one half tone lower than the original setting.
SKU: CL.012-4114-75
Shadowplay is a descriptive, impressionistic work inspired by an early morning walk along the beach of the composer's home in Vancouver, Canada. The music reflects the play of light and shadow with the rising of the sun through the trees. It begins calmly, with the sunrise as the light melts the shadows. The piece develops with the sounds and sights of nature; seagulls floating in the air and the crashing of the waves. Shadow becomes light ; light becomes shadow. The music ebbs and flows as the sun rises higher on the horizon. Shadowplay features a variety of tonal colors and textures, orchestration which is sometimes haunting and transparent, sometimes rich and lush, yet always evocative. After a dramatic build, the music subsides, with all of the melodies interweaving like a tapestry of light and dark and ending as it began, with emotional sensitivity. Features, lyrical solos by soprano saxophone, flute and flugelhorn. An ideal piece for concert or festival use to display sensitivity and dynamics.
SKU: CF.CPS234
ISBN 9781491156346. UPC: 680160914883. 9 x 12 inches.
Mercury - the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst's major orchestral suite The Planets that Mercury utilizes such light and swift themes. There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst's orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13-20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work. One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience. Rehearsal Notes and Suggestions As stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!.Mercury – the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst’s major orchestral suite The Planets that Mercury utilizes such light and swift themes.There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst’s orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13–20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work.One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience.Rehearsal Notes and SuggestionsAs stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!
SKU: XC.HRMG2211
UPC: 785147109051.
Now for low voice, elegant simplicity is the hallmark of this shimmering setting of a favorite text: Set me as a seal upon your heart ... for love is as strong as death. Straightforward rhythms, careful management of vocal range, and a judicious use of close cluster harmonies put this work well within the reach of many singers. A perfect choice for singers looking to establish a more mature sound and musical sensitivity. Elegant simplicity is the hallmark of this shimmering setting of a favorite text: Set me as a seal upon your heart ... for love is as strong as death. Straightforward rhythms, careful management of vocal range, and a judicious use of close cluster harmonies put this work well within the reach of many singers. A perfect choice for singers looking to establish a more mature sound and musical sensitivity.
SKU: CN.R10104
This beautiful song reflects the tranquillity of the French countryside. Dr. Kevin Thompson is a leading British authority on bands and his sensitive score is ideal for smaller groups, providing training for phrasing and ensemble playing.This beautiful song reflects the tranquillity of the French countryside. Dr. Kevin Thompson is a leading British authority on bands and his sensitive score is ideal for smaller groups, providing training for phrasing and ensemble playing. Professor Kevin Thompson is Principal and Chief Executive of Dartington College of Arts, a University Sector institution dedicated to the performance arts.After undergraduate studies at the Royal Northern College of Music, he gained masters and subsequently doctoral degrees at the University of London. He began his career as a professional trumpet player, conductor, composer and teacher. He was the architect of University of Salford's degree in band musicianship, launched in 1987 and the first of its kind. From 1988 - 1993 he was Principal of Birmingham Conservatoire and during this time was elected to a personal professorship and subsequently a Deanship chair.On his arrival at Dartington, he was made an honorary Professor by the University of Plymouth. In 1992 he gained a Winston Churchill Fellowship to study the Great American Music Schools: Juilliard, Curtis, Eastman, Indiana. Other awards include those of the British Association for American Studies and the British Council for the Royal Danish Academy of Music. He is a Freeman of the City of London. His publications include a book on brass and wind bands published by Cambridge University, many articles in Times Newspaper and other leading British and American journals. The book on wind and brass bands became a key text in many college and university reading lists and was read extensively throughout the English speaking world, particularly in North America and the Pacific Rim. He is joint editor, with Dr Gordon Cox of the new eleven volume series on brass playing and teaching and author of two of the volumes.
SKU: PL.0408IP
Bruce Saylor is well-known for his exceptional sacred music and particularly his large-scale anthems. Blessing is a sensitive mixture of texts from the Scriptures and Jasper Keith, Jr. The anthem is scored for choir, trumpets, trombones, timpani and organ. It demands a great deal of sensitivity on the part of all the musicians and is especially gratifying for the exciting results that ensue. A quiet, rather sinuous line from the organ opens the work and is slowly transformed into more rhythmic and fiery figurations. A march-like section commences at the text, Hast thou not known? This subsides into more lyrical turns from the choir and organ and eventually a return to the opening music. The work concludes with an exuberant Amen from all forces. This is a real tour-de-force and should find its way into performances by large church and college choirs.
SKU: CL.SCM-1131-01
This sensitive ensemble ballad is one of Thad’s most beautiful compsitions. Skillfully re-score in a lower key while keeping the original lines allowing students to experience this masterpiece. A great teaching piece for control, intonation, and balancing full ensemble chords. All of these items are fully notated and will expose your young musicians to the sensitive side of Thad's writing. Classic! Optional SATB vocal part included.
SKU: CF.CM9736
ISBN 9781491161166. UPC: 680160919758. Key: Bb major. English.
Stephen Collins Foster lived from 1826 to 1864, until only age 37. He was extremely prolific, with numerous songs that have lasted to this day. I first had the idea to arrange Beautiful Dreamer for SATB choirs a cappella, after hearing Kristen Chenoweth in concert. She ended her concert, in a 1,600 seat hall, with Beautiful Dreamer, an a cappella solo, with no microphone. Given the beautiful melody, text and Ms. Chenoweth's voice, one could have heard a pin drop in the audience. Her performance concluded to thunderous applause and a standing ovation. The power of music. Throughout this arrangement, the harmonies support the beautiful melody and text (rather than get in its' way). Opportunities abound for vocal parts to be showcased as well as an optional solo/duet at the beginning. Sing freely, with pure vowels, crisp diction and sensitivity, allowing the text to prevail by giving special attention to stressed and unstressed syllables and words. I hope you enjoy singing this arrangement in rehearsal and performance to the delight of your audience. Tell the story through song because that's what we should always do when performing choral music. Russell Robinson, Arranger .Stephen Collins Foster lived from 1826 to 1864, until only age 37. He was extremely prolific, with numerous songs that have lasted to this day. I first had the idea to arrange Beautiful Dreamer for SATB choirs a cappella, after hearing Kristen Chenoweth in concert. She ended her concert, in a 1,600 seat hall, with Beautiful Dreamer, an a cappella solo, with no microphone. Given the beautiful melody, text and Ms. Chenoweth’s voice, one could have heard a pin drop in the audience. Her performance concluded to thunderous applause and a standing ovation. The power of music.Throughout this arrangement, the harmonies support the “beautiful†melody and text (rather than get in its' way). Opportunities abound for vocal parts to be showcased as well as an optional solo/duet at the beginning.Sing freely, with pure vowels, crisp diction and sensitivity, allowing the text to prevail by giving special attention to stressed and unstressed syllables and words.I hope you enjoy singing this arrangement in rehearsal and performance to the delight of your audience. Tell the story through song because that’s what we should always do when performing choral music.Russell Robinson, Arranger .
SKU: HL.1117964
UPC: 847986002129. 7.0x10.25x4.25 inches.
Please note: although we don't keep stock on hand, this item will drop ship direct from the manufacturer at the time of your order. Two switchable sound characteristics, AIR and FLAT. The 140 AIR has two sound characteristics, AIR and FLAT. AIR delivers an open, sparkling character which is the right choice if you need great sound without spending time on post-production. FLAT provides a linear frequency response for âÂÂas-it-isâ reproduction of drums, strings, acoustic guitars, and choirs. It is perfect if you aim for realistic sonic images. The best stereo matching you can get. LEWITT has one of the most precise matching processes in the industry. The difference between the two mics of a stereo pair is inaudible. How come? The frequency response and sensitivity of every single microphone is measured. A measurement system controls the polarization voltage of the capsule to adjust the sensitivity, so it is the same for all LCT 140 AIR. Then, an algorithm compares the measured frequency response of each microphone and finds the perfect pairs. Excellent transient response and full flexibility on all instruments Transients are the DNA of your instrument's sound. To retain the natural musicality of your instruments, the LCT 140 AIR delivers an excellent transient response. To be prepared for all eventualities, the LCT 140 AIR has a low-cut and a PAD. You won't break a sweat with loud sources, nor will you have to deal with low-frequency noise when you don't want to. The LCT 140 AIR is great for: Acoustic Guitar Drums Strings Choirs Piano Ukulele Durable and light aluminum housing The LCT 140 AIR is very durable yet lightweight thanks to its CNC'ed aluminum housing. Positioning and setup become easy tasks. What's in the box? The 140 AIR Stereo Pair comes with two snap-in mic clips, a transport bag with two pockets, and two windscreens.
SKU: HL.3710137
UPC: 697643109230. 20.0x20.0x0.053 inches.
One of the world's most referred and legendary cymbal lines in history. Renowned and loved for its fine, pure, soft, delicate musical tone that requires precise playing. Alloy: CuSn20, also known as “Traditional Bronze†or “602 Bronze†Applications: Low to medium loud settings, especially well-suited for recording, live; jazz, fusion, blues, moderate pop and rock, country folk, acoustic music Sound: Warm, silvery, mellow, cool, light, fine, precise and controlled; Cymbals with clarity and retro vintage character combined with a velvety, sensitive, very responsive feel. Size: 20-inches Weight: medium Volume: very low to medium Stick Sound: soft, woody, shimmering Intensity: very controlled Sustain: medium-short Sound character: Warm, mellow, crystal-like. Medium range, fairly clean mix. Very balanced and controlled feel. A pearly, woody stick sound paired with a silvery wash. A very sensitive cymbal perfectly suited for soft playing at lower volume level and studio application.
SKU: HL.1117972
UPC: 847986001498. 9.75x11.0x8.0 inches.
Please note: although we don't keep stock on hand, this item will drop ship direct from the manufacturer at the time of your order. The swiss army knife of microphoness The award-winning LCT 640 TS is an incredibly flexible multipattern microphone. It works as a traditional multi-pattern microphone, a stereo microphone, and a mic that can change the polar pattern after the fact. Its full, crisp, yet well-balanced sound works perfectly well on any source - vocals and instruments. Adjust the polar pattern after the fact By recording with the Dual Output Mode on a stereo track, you can create any polar pattern in the mix with the POLARIZER plugin - even after recording. Perfectly-in-phase stereo recording, with a single mic You can produce perfectly in-phase stereo recordings by using a single LCT 640 TS in Dual Output Mode. Just point the mic sideways to the source and adapt the stereo width in the mix. The same sensitivity in every microphone Every single LCT 640 TS undergoes a series of measurements followed by adjustment of polarization voltage to achieve the same sensitivity in every microphone. With this Perfect Match technology, you can use any two LCT 640 TS as a stereo pair. Fully fledged for the daily studio routine The LCT 640 TS offers three low-cut and attenuation settings, plus a clipping indicator that lets you easily see if the microphone clips. What's in the box? The LCT 640 TS comes in a nearly indestructible mil-spec transport case with a shock mount, windscreen, cushioned mic bag, magnetic pop filter, and an adapter cable for the Dual Output mode.
SKU: CF.CPS234F
ISBN 9781491156353. UPC: 680160914890. 9 x 12 inches.
SKU: P2.30116
Invisible Orthodoxy features extremes of density and space: the densities give way to the space. Ideally this piece will be performed in a small to medium sized recital hall where the performer can play acoustically (no microphone on the clarinet) and the playback will need to be in stereo. The timing of the tape and the solo part are very flexible in terms of how they should line up with each other for any given performance. The soloist should rehearse with the recording and establish their own timeline, similar to the one that is provided as an example, but ideally the soloist will build in a good amount of flexibility to their own version of the timeline. The core idea here is don't panic. Audiences are very sensitive to the tension within a performer, and this piece is meant to prioritize the calm, solid core of the performer's attitude and personality, i.e. the performer is calm and in control, both when playing very dense, rapid material and when leaving large gaps of space for the recording and the ambience of the performance space to speak louder than the solo for extended periods. IF you are getting ahead of the recording when practicing with it, just add more space between phrases and statements, particularly in movements II, IV, and V. Specifically, when exiting and re-entering the stage area in movement IV, do not run, rush or hurry. There is plenty of time built into the tape part for you to get back to the stage, even if you went up to a balcony (which is recommended when possible) to play your half-clarinet part. note that you should slowly move between several locations to play these ad lib. statements, and slowly return to the stage during or after the truck sond. Optimally you would have a dress rehearsal in the performance space, rehearsing with the feel of the space and timing within it so you can rehearse not hurrying. Again in mvt. V, leave plenty of space and really take some expressive freedoms in terms of the timing of the solo. You should actually be feeling the energy field of your heart during this movement; audiences are also sensitive to that, so make yourself vast and humble.
SKU: PL.0408
SKU: CL.SCM-1131-00
SKU: HL.14017278
Tristia is a song-cycle to words by Osip Mandelstam, one of the founding members of the so-called Acmeist school of Russian poetry - a movement which has much in common with both Symbolism and Imagism. As a Jewish dissident who had survived the Russian Revolution of 1917 and fallen foul of the subsequent Soviet regime, Mandelstam found it increasingly difficult to get either recognition or employment. In 1934 he was arrested for having written a satirical poem about Stalin. He perished four years later in a labour camp. Though he died in complete obscurity - nobody seems to know for certain the exact time or place of his death - his memory was kept alive by the courage and devotion of his wife Nadezhda whose book, Hope against Hope, is a moving chronicle of their last few years together. The five poems which make up the cycle are taken from the collection published in 1922 under the title, Tristia, a reference to the work of the same name by the exiled Latin poet, Ovid. The poems are set in English, but even in translation they convey the essence of Mandelstam's highly personal, associative style. As such they express the reactions of an alienated, sensitive and classically-educated outsider to the turbulent events he had so recently lived through. The five poems which make up the cycle are taken from the collection published in 1922 under the title, Tristia, a reference to the work of the same name by the exiled Latin poet, Ovid. The poems are set in English, but even in translation they convey the essence of Mandelstam's highly personal, associative style. As such they express the reactions of an alienated, sensitive and classically-educated outsider to the turbulent events he had so recently lived through.
SKU: HL.1117960
ISBN 9781705180907. UPC: 847986002051. 6.75x10.0x4.0 inches.
Please note: although we don't keep stock on hand, this item will drop ship direct from the manufacturer at the time of your order. Well-balanced sound with pleasant high-end. The LCT 040 MATCH stereo pair provides professionally refined sound right from the moment you hit the “record†button. The tailored small diaphragm condenser capsule with its well-balanced frequency response gets you professional results in no time. About the matching process. LEWITT measures the frequency response and sensitivity of all their mics. The measurement system controls the polarization voltage of the capsule to adjust the sensitivity, so it is the same for all LCT 040 MATCH. An algorithm compares all measured frequency responses and puts together the perfect pairs for flawless stereo recordings. Easy drum recordings. Transients are the DNA of your instrument's sound. To retain the natural musicality of your instruments, the LCT 040 MATCH delivers an excellent transient response. You will get a punchy and precise reproduction of your drum kit's unique sound. Made for acoustic guitar recordings With its fast transient response, the LCT 040 MATCH makes your acoustic guitar sound more crisp and defined than ever. What you get is a mic for guitar recordings with fast attack and a sound that cuts through the mix. What's in the box? The LCT 040 MATCH stereo pair comes with two snap-in mic clips, two windscreens, and a transport bag with two compartments.
SKU: HL.1117961
ISBN 9781705180914. UPC: 847986002075. 6.5x6.5x4.0 inches.
Please note: although we don't keep stock on hand, this item will drop ship direct from the manufacturer at the time of your order. Well-balanced sound with pleasant high-end. The LCT 040 MATCH stereo pair provides professionally refined sound right from the moment you hit the “record†button. The tailored small diaphragm condenser capsule with its well-balanced frequency response gets you professional results in no time. About the matching process. LEWITT measures the frequency response and sensitivity of all their mics. The measurement system controls the polarization voltage of the capsule to adjust the sensitivity, so it is the same for all LCT 040 MATCH. An algorithm compares all measured frequency responses and puts together the perfect pairs for flawless stereo recordings. Easy drum recordings. Transients are the DNA of your instrument's sound. To retain the natural musicality of your instruments, the LCT 040 MATCH delivers an excellent transient response. You will get a punchy and precise reproduction of your drum kit's unique sound. Made for acoustic guitar recordings. With its fast transient response, the LCT 040 MATCH makes your acoustic guitar sound more crisp and defined than ever. What you get is a mic for guitar recordings with fast attack and a sound that cuts through the mix. What's in the box? The LCT 040 MATCH stereo pair comes with two snap-in mic clips, two windscreens, and a transport bag with two compartments.
SKU: PL.0408FS
SKU: HL.1269589
UPC: 196288160793. I Peter 1:15-16, John 10:30, Revelation 4:8.
A delicate tone poem expressing the mystery of the sacred Trinity, this profound lyric provides a deeper understanding of the holiness of God. Set with refined sensitivity, the anthem moves gently with grace, murmuring textures, and word-sensitive melodic contours.
SKU: HL.49046295
ISBN 9781540069962. UPC: 888680976590.
In her poem Latvija, Anna Rancane paints metamorphosed images describing the suffering and backward wounds of the Latvian people through war and occupation. Peteris Vasks sensitively put this text into music and congenially created a second level full of sensitive sounds. Instrumentation: soprano, flute (alto flute), bells and piano.
SKU: BT.EMBZ14837
Hungarian-English-German-French.
This is a sequel to the highly successful Child Prodigy Composers volume. In this second volume, the majority of the pieces are works recommended for pupils in the upper music school classes, and indeed some can be used successfully in secondary level teaching as well. Here too, most of the compositions were written before the age of 14 - it is amazing what highly developed piano technique some of these young composers already possessed at the age of 13 or 14!In addition to Muzio Clementi's A flat Major Sonata, the Allemandes by Carl Maria von Weber, Schubert's surprisingly mature C minor fantasia, the prodigiously talented Clara Schumann's two polonaises, Mussorgsky'sbrilliant polka, a sensitive waltz by Scriabin and Borodin's showy (but not difficult) four-hand polka, this volume also contains works by a Hungarian composer: the hitherto unpublished mazurkas by Ern Dohnányi, written around ages 11-12. This is a sequel to the highly successful publication entitled Child Prodigy Composers (EMBZ14773). In this second volume the majority of the pieces are works recommended for pupils in the upper music school classes, and indeed some can be used successfully in secondary level teaching as well. Here too, most of the compositions were written before the age of 14 - it is amazing what a highly developed piano technique some of these young composers already possessed at the age of 13 or 14! In addition to Muzio Clementi's A flat major sonata, the Allemandes by Carl Maria von Weber, Schubert's surprisingly mature C minor fantasia, the prodigiously talentedClara Schumann's two polonaises, Mussorgsky's brilliant polka, a sensitive waltz by Scriabin and Borodin's showy (but not difficult) four-hand polka, this volume also contains works by a Hungarian composer: the hitherto unpublished mazurkas by Ern Dohnányi, written at the age of 11 and 12. Dies ist die Fortsetzung der Erfolgsausgabe Wunderkinder als Komponisten (EMBZ14773). In diesem zweiten Band sind mehrheitlich Werke für die höheren Klassen der Musikschulen vertreten, manche Stücke können auch in der Mittelstufe eingesetzt werden. Bemerkenswert ist, dass ein Großteil der Werke mit unter 14 komponiert wurden. Verblüffend, über welche Klaviertechnik ein Teil der dreizehn-vierzehnjährigen Komponisten schon verfügten!Neben der Sonate in As-Dur von Muzio Clementi, den Allemanden von Carl Maria von Weber, der überraschend reifen Phantasie in c-Moll von Schubert, den beiden entzückenden Polonaisen von Clara Schumann, der brillanten Polka von Mussorgsky,dem sensiblen Walzer von Skrjabin und der effektvollen, aber nicht allzu schwierigen Polka für vier Hände von Borodin, erscheinen auch in diesem Band Werke eines ungarischen Komponisten - die Erstveröffentlichungen der im Alter von elf und zwölf Jahren entstandenen Masurken und Scherzandi von Ern Dohnányi.
SKU: PL.9626
Joel Martinson's setting of the evening canticles balances a rare sensitivity to the text with an exuberant use of voices and organ. The Magnificat opens with sopranos alone supported by a gently undulating accompaniment. The flow of the text is sustained throughout by the use of mixed meters. He hath shown strength with his arm, is set in a rapid, syncopated style which returns for the Glory be to the Father section. The Nunc Dimittis begins lyrically and quietly in all parts and gradually builds to a strong conclusion as the harmony and texture increase in intensity. Mr. Martinson's combination of rhythmic drive and sensitively changing harmonies create a fresh and vital setting of these beloved words for the service of Evensong.
SKU: CF.CM9635
ISBN 9781491157077. UPC: 680160915637. 6.875 x 10.5 inches. Key: E major. English, English. Abram Joseph Ryan (1838-1886).
Victor Johnson captures the mystery and nuance of the bittersweet poem, Wake Me a Song, by American poet, Abram Joseph Ryan. Nuance, text, and Johnson's rich harmonies paired with intertwining textures make this a noteworthy addition to any program. Also available for SATB Voices (CM9561).About the Author Abram Joseph Ryan was born Matthew Abraham Ryan on February 5, 1838 in Hagerstown, Maryland. As a young man, Ryan and his family moved west St. Louis, Missouri, where he was educated at the Christian Brothers School. He studied for the priesthood at Niagra University in New York State and was ordained a priest in the Vincentian order on November 1, 1856. He taught theology, first at Niagra university and then at the diocesan seminary in Cape Girardeau, Missouri, until the beginning of the war between the states. Father Ryan enlisted in the army on September 1, 1862, and served as a chaplain throughout the conflict, carrying the wounded to safety and performing last rites on the battlefield. His first piece of poetry was inspired by the death of a younger brother while serving in the army. After the war, he established a weekly literary magazine in which most of his poetry was published. He also put out several volumes of poetry, including Father Ryan's Poems and A Crown for Our Queen. Father Ryan died on April 22, 1886 at a Franciscan monastery in Louisville, Kentucky. About the Song Wake Me A Song is an inspired and sensitive setting of the 19th-century poem by Abram Joseph Ryan. It features sweeping melodic lines, rich harmonies, and a flowingly beautiful accompaniment. To master a performance of this selection, singers must perform very expressively, paying close attention to such musical aspects as phrase shaping, the rise and fall of the melodic line, blending and proper intonation between sections. One strategy that could be used to ensure proper phrasing is the idea of Painting the Phrase. The singer should make a motion as if they have a paintbrush in their hand and paint the melodic line and phrase shape as if they are painting with a nice, flowing brush stroke. One could think about painting a rainbow or an arch to show the rise and fall of the line and/or phrase. The director can also show this gesture while conducting to reinforce this concept.About the AuthorAbram Joseph Ryan was born Matthew Abraham Ryan on February 5, 1838 in Hagerstown, Maryland. As a young man, Ryan and his family moved west St. Louis, Missouri, where he was educated at the Christian Brothers School. He studied for the priesthood at Niagra University in New York State and was ordained a priest in the Vincentian order on November 1, 1856. He taught theology, first at Niagra university and then at the diocesan seminary in Cape Girardeau, Missouri, until the beginning of the war between the states.Father Ryan enlisted in the army on September 1, 1862, and served as a chaplain throughout the conflict, carrying the wounded to safety and performing last rites on the battlefield. His first piece of poetry was inspired by the death of a younger brother while serving in the army. After the war, he established a weekly literary magazine in which most of his poetry was published. He also put out several volumes of poetry, including Father Ryan's Poems and A Crown for Our Queen. Father Ryan died on April 22, 1886 at a Franciscan monastery in Louisville, Kentucky.About the SongWake Me A Song is an inspired and sensitive setting of the 19th-century poem by Abram Joseph Ryan. It features sweeping melodic lines, rich harmonies, and a flowingly beautiful accompaniment.To master a performance of this selection, singers must perform very expressively, paying close attention to such musical aspects as phrase shaping, the rise and fall of the melodic line, blending and proper intonation between sections.One strategy that could be used to ensure proper phrasing is the idea of “Painting the Phrase.†The singer should make a motion as if they have a paintbrush in their hand and “paint†the melodic line and phrase shape as if they are painting with a nice, flowing brush stroke. One could think about painting a rainbow or an arch to show the rise and fall of the line and/or phrase. The director can also show this gesture while conducting to reinforce this concept.
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