SKU: ST.EM27

ISBN 9790220203428.

A minor canon of Norwich Cathedral, Carlton belonged also to the older generation of madrigal composers, particularly fond of the 'Byrd' or English cadence of flat versus sharp leading-notes. Although he claims to have laboured 'somewhat to imitate the Italian style', he admitted in his preface, 'I cannot forget that I am an English man.'

CONTENTS
All creatures then (SSATB)
Calm was the air (SSAT (or A) B)
Content thyself with thy estate (SAATB)
Even as the flowers do wither (SSATB)
From stately tower (SSATB)
If women can be courteous (SSATB)
Let every sharp (SSATB)
Like as the gentle heart (SSATB)
Nought is on earth (SSATB)
Nought under heaven (SSATB)
O vain desire (SSATB)
Sound saddest notes (SSATB)
So whilom learned (SSATB)
The heathen Gods for love (SA (or T) A (or T) BB)
The love of change (SSATB)
The self-same things (SS (or A) ATB)
The witless boy (SSATB)
When Flora fair (SSATB)
Who seeks to captivate (SAATB)
Who vows devotion (SSATB)
With her sweet locks (SSATB)
Ye gentle ladies (SSATB).

SKU: PL.0529

* Introit for Christmas Eve or for a service of Advent Lessons and Carols * familiar Latin antiphon interspersed with English verses * seamlessly interwoven vocal and instrumental lines * glorious ending

Brian Luckner's anthem, Dominus dixit ad me (SSATB, handbells, oboe, brass quartet, organ... is plucked straight out of the Gregorain chant repertory, and manages to do it in a somewhat less diaphanous manner than some other chant-based pieces have done. The Introit for Chirstmas Midnight Mass is here qouted in toto, cast in a fluid but rhythmic framework. Starting rather mysteriously at the outset, oboe and handbells are effectively brought into the fabric of the piece. This work carefully submits to the antiphon/psalm verse/antiphon Introit form and is thus entirely liturgical by intent. At the return of the antiphon, the score becomes much more expansive, and only the outline of the chant is suggested. The oboe wisely doubles the first soprano part, as it ascends to two high B-flats. In my mind's ear, I hear a very capable choir singing this piece, preparatory to the opening hymn/carol. While it captures the very quiet side of the mystery of Verbum caro factus est, it nicely prepares us for the joys of festive clangor that are sure to follow. Cue up Hymn 87, please! - Monte Mason AAM Journal October 18, 2005.

SKU: SU.80101419

Missa in incerto tempore (The Davison Mass) (2018) was commissioned by the Harvard Glee Club. It was premiered by the Harvard Glee Club, Cambridge, Massachusetts (Andrew Clark, Director of Choral Activities) and the All Saints' Choir of Men and Boys (Ashmont Boy Choir), Dorchester, Massachusetts; (Andrew Sheranian, Organist and Master of Choristers). The Latin title, meaning Mass in uncertain times, refers to the centuries of comfort, inspiration, and spiritual enrichment that the mass (and the musical settings for its celebration) has provided to many individuals through difficulty and uncertainty. I cannot deny that the times in which this piece was composed are the most nationally and internationally uncertain of my own life to date. That fact had a definite impact on the tone and emotional character of the piece. However, there is a universality as well, since one could readily feel that all times have a sense of uncertainty, especially since we never know exactly what the future holds. The first three movements have somewhat enigmatic endings. The end of the Agnus Dei tries to temper (but not erase) that uncertainty with a degree of optimism and fervor in a passionate plea of Dona nobis pacem. Instrumentation: SATB Chorus, Men's Chorus, and Two Organs (Opt. One Organ) Duration: 20' Composed: 2018 Published by: Zimbel Press.

SKU: KJ.8814

SATB Keyboard

This lively, somewhat Bernstein-ish feel of the beloved Psalm 84 is tender, yet spirited with simple syncopations and striking harmonies. How lovely repetitions are exquisitely highlighted with use of 7ths and 2nds. The soprano solo may be sung by the section.

SKU: MN.CH-1204A

Scripture: Psalms.

The Te Deum is a hymn of thanksgiving, and in the Liber Usualis it is the first such hymn listed. The text is a composite, with some original words and some quoted directly from the psalms. One of the most obvious stylistic factors of the prayer is that each line begins, almost without exception in the invocation part of the prayer, with some form of second-person address. This piece is designed to be performed by small or large forces. It may be performed with as few as 12 to 16 singers, 1 each of the Double Reeds and Strings, 1 Organist and 1 Percussionist. If large forces are employed, the number of instrumentalists should be increased to maintain a proportionate balance, i.e., the orchestra should never overshadow the chorus. The dynamics used by the Organist and Percussionist(s) must always be relative to the size of the ensemble as well. In this connection, for a large ensemble, use plate cymbals instead of suspended cymbal (2 percussionists will be required). At the discretion of the conductor, plate cymbals may be employed where appropriate for the somewhat smaller ensembles.

SKU: HL.365091

UPC: 840126960808. 6.75x10.5x0.029 inches. Isaiah 48:16, John 15:26.

This original Christmas offering is centered in the mystery of the Trinity. Somewhat unique for a seasonal selection, the music is traditional in style and filled with expressive hymnlike harmonies. A supportive accompaniment and an easy-to-ring handbell part build texture and depth before giving way to a stunning a cappella treatment. The anthem has an old soul that would be fully at home in a cathedral or a candlelight chapel. Graceful writing and grace-filled message!

SKU: MN.CH-1300

The famous Eugene Field poem The Duel is full of light fun and whimsy. The music, especially with the addition of a solo harmonica, is meant to maintain the essential character of the poem and bring some additional insight to the intracacies of the text with the somewhat programatic music. The tempi are consistent in character, with the faster portions the narrative, and slower portions commentary.

SKU: GI.G-7057

UPC: 785147705703. English. Text Source: Based on Psalm 130. Text by Chris de Silva. Scripture: Psalm 130.

It’s a setting of Psalm 130, composed in a funky groove, for solo singer and backup choir. A fairly extended and somewhat complex setting. Probably more ideal as a processional or closing song than a responsorial.

A setting of Psalm 130 composed in a funky groove.

SKU: CA.2729414

ISBN 9790007201197. 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.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: PL.1709

This imaginative arrangement is in German and takes the opening dotted rhythm as a possibility for development. Each of the three verses are somewhat different in texture (there is some divisi) and harmony. Advanced choirs will enjoy this new arrangement for its challenges and audiences will love its rich sound.

SKU: EC.RBM-007

English.

This arrangement represents the 5th movement of the larger work Canticles of Praise [], and has here been separated as a stand-alone anthem. The hymn tune CWM RHONDDA is utilized throughout – with the two texts appearing in the title order as the work unfolds. This setting begins and ends with a sparse, Billings-like treatment of the tune with a somewhat bare orchestration, while a more traditional 4-part rendering of the well-known hymn with richer underscoring comes forth in the center section. An optional narration exists for use with the larger work, Canticles of Praise.