Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe
SKU:
CF.WF229
15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229).
Composed by Bernd Franke.
Full Scores. Edition
Peters. Score. 52 pages.
Duration 00:20:00.
Edition Peters
#98-EP14445. Published by
Edition Peters
(PE.EP14445).
ISBN
9790014135041. 297 x 420
mm inches.
German.
ARKA
stammt aus dem
Sanskrit und bedeutet so
viel wie Strahl, Blitz,
Sonne, Licht, aber auch
Lied, Feuer und Hymnus,
und entwickelt in meiner
Vorstellung sehr viele
unterschiedliche
Assoziationsfelder. In
ARKA stecken
auch die Worter arc
(beten) und ka (Wasser),
und es kann auch
ubersetzt werden mit:
,,Das Wasser stromt aus
dem heraus, der mehr
weiss.
Mein neues
Werk fur Pipa, Oboe,
Pauke, Schlagzeug und
Orchester entstand im
Auftrag der
Kammerakademie Neuss und
auf Anregung des Oboisten
Christian Wetzel. Es
entstanden drei Rituale
mit zum Teil szenischen
Elementen fur die
Solisten und das
Orchester.
Inspirationsquelle in
der Vorbeschaftigung
waren zwei Quellen und
Bucher. Das Daodejing von
Laozi in der
hervorragenden
Neuubersetzung von Viktor
Kalinke, eine der
wichtigsten Quellen
chinesischen Denkens und
der Philosophie dieser
grossen Kulturtradition
und die chinesische
Tradition der
5-Elementelehre und der
Wandlungsphasen. Als
zweites Buch hat mich
,,Die Glut von Roberto
Calasso inspiriert, ein
Buch uber die indischen
Veden in Verbindung mit
den Ursprungen des
Buddhismus und den damit
verbunden Ritualen.
In den letzten 20
Jahren habe ich mich
intensiv mit
ostasiatischer Musik,
Kunst und Philosophie
beschaftigt und habe das
auch durch langere
Studienreisen und
kompositorische Projekte
vertiefen konnen. U.a.
wurde 2012 mein Chorwerk
PRAN in Kolkata in Indien
uraufgefuhrt
(Goethe-Institut),
ebenfalls 2012 ,,in
between VI fur Sho und
Sheng in Tokyo und 2013
,,Mirror and Circle fur
Pipa, Cello und
chinesisches Orchester in
Taipeh/Taiwan
(Auftragswerk der
taiwanesischen
Regierung). Mit der
chinesischen
Pipa-Virtuosin Ya Dong
arbeite ich seit 2000
zusammen und habe fur sie
mehrfach komponiert
(Urauffuhrungen u.a. in
Hannover/EXPO 2000,
Rottweil 2001, Taipeh
2013, Magdeburg 2016).
Auch mit Christian Wetzel
arbeite ich seit uber 20
Jahren zusammen und habe
ebenfalls haufig fur ihn
komponiert (UA u.a. in
Bonn 1999, Hannover/EXPO
2000, Rottweil 2001,
Darmstadt 2004 und
etliche weitere
Projekte).
Jedes
dieser drei Rituale hat
eine Lange von ca. 6-7
Minuten und stellt
unterschiedliche
Qualitaten und
Besonderheiten der beiden
Soloinstrumente heraus,
immer in Verbindung mit
der Interaktion zwischen
Soli und Orchester. Die
Besetzung war fur mich
ausserst reizvoll, da
beide Instrumente in
dieser Kombination noch
nie so erklungen sind.
Die Pipa ist ein ungemein
modernes und
ungewohnliches
Instrument, reich an
Farben und vor allem an
perkussiven Effekten. Das
Tonmaterial wurde zum
grossten Teil aus den
Namen der beiden Solisten
gewonnen und ergibt
interessanter zwei
gespiegelte
Viertonmotive. In der
asiatischen Kultur
spielen der Spiegel und
der Kreis eine wichtige
Rolle, und so werden die
Tone, Rhythmen und Formen
eingewoben in diese drei
Rituale, welche am Ende
des dritten Satzes wieder
kreisformig an den Anfang
des ersten Rituals
anknupfen. Ein von den
Streichern und der Pauke
erzeugtes Gerausch,
verbunden mit dem
Rhythmus der grossen
Trommel, welcher einen
Herzschlag symbolisieren
soll. Die drei Untertitel
der Rituale Himmel, Erde
und (atmospharischer)
Raum spielen im vedischen
und chinesischen Denken
eine grosse Rolle und war
fur mich beim Komponieren
ebenfalls eine sehr
starke
Inspirationsquelle. In
vielen meiner
Kompositionen gibt es
Raumeffekte, Annaherungen
an das Publikum, das
Verschieben von
Perspektiven, die
Dekonstruktion und das
Hinterfragen der ublichen
Konzertsituation, so u.a
in meinem Beuys-Zyklus
oder in den Zyklen ,,CUT
und ,,in between.
In ARKA geht
es mir besonders um die
Interaktion zwischen
westlichem und ostlichem
Denken, um das
gegenseitige Durchdringen
dieser auf den ersten
Blick so
unterschiedlichen Denk-
und Lebensweisen, um eine
Verschmelzung scheinbarer
Gegensatze - um
Annaherung!
Bernd
Franke. Leipzig,
11.10.2019
W01476|C|Y
0.0000 Sheet Music
_x000D_ 9780193556799 Y
23.50 X556799 357665
9780193556799 MISC C 1
432 8030 0.00 Oxford Solo
Songs: Christmas 14 songs
with piano PAPER 14
9780193556799 A-B CAROLS
CHRISTMAS MISC
MISCELLANEOUS OXFORD
PIANO SOLO SONGS SONGS:
VOICE WITH AB 00:00:0 Low
voice & piano Low voice
book + downloadable
backing tracks 311x232 72
NEW NONE 29/07/2021 P
355580 9780193556799
Young: A babe is
born
Rutter:
Angels' Carol
McDowall: Before the
paling of the stars
Rutter:
Candlelight Carol
Rutter: I sing
of a maiden
Chilcott: Mid-winter
Todd: My Lord
has Come
Bullard: Scots Nativity
Quartel: Snow
Angel
Todd:
Softly
Chilcott: Sweet was the
song
Chilcott:
The Shepherd's Carol
Quartel: This
endris night
McGlade: What child is
this?
for
low voice and piano
This beautiful
collection of 14 songs
for low voice offers
Christmas settings by
some of Oxford's
best-loved composers.
Suitable for solo singers
and unison choirs alike,
each song is presented
with piano accompaniment,
and high-quality,
downloadable backing
tracks are included on a
companion website. With a
wonderful selection of
pieces, including
favourites such as Bob
Chilcott's 'The
Shepherd's Carol' and
John Rutter's
'Candlelight Carol', this
is the perfect collection
for use in carol services
and Christmas concerts or
for enjoying at home.
Also available in a
volume for high voice and
piano.
14
songs for solo
voice
Well-loved
composers, including John
Rutter and Bob
Chilcott
Wide
selection of Christmas
texts
Accessible
accompaniments
Includes backing tracks
downloadable from a
Companion
Website
Available in volumes for
high and low
voice
MISC|AU|Y
0.0000 Paperback _x000D_
EP73308R Y 0.00 73308R
P73308R 1 ORCHA 8000 0.00
Hover A (LARGE) BEAMISH
EP73308R GP:ORCHESTRAL
HOVER ONLY RENTAL SALLY
WORKS NONE ORCHA P 303000
EP73308R 0.0000 Sheet
Music _x000D_ EP14437A Y
22.95 14437A P14437A
FRANKE, BERND C
9790014137199 52A1 8000
0.00 AGNI A 9790014137199
AGNI BASS BERND CLARINET
EP14437A FRANKE
PHOTOPRINTS W01476
English / German 00:12:0
Instrumental Score 232 x
303 mm Bass clarinet 20
DETNT NEW PR43 23/04/2021
P 303006
AGNI is the
Hindu god of fire; the
elemental and
transformative force
inherent in
everything:
Every
flame, every fire, every
light, every warmth is
AGNI.
AGNI is
omnipresent, establishing
everything and ending
everything.
AGNI is
often depicted with seven
tongues which represent
different aspects of his
being.
These
include: creating,
sustaining, cleansing,
purifying, priestly,
martial, devastating,
destructive, and
consuming.
Derived
from Franke's concerto of
the same name, this solo
work for bass clarinet
compositionally traces
the transformative
processes initiated by
the divine fire. The solo
takes seven pieces from
the concerto, presenting
vivid character pieces
exploring the creative
possibilities and wide
tonal range offered by
the bass
clarinet.
This
version of AGNI
for bass clarinet solo
was premiered on 4
December 2020 in Leipzig
by Volker Hemken, the
principal bass
clarinetist of the
Gewandhausorchester
Leipzig. EP14437a
convinces with its
excellent and clear
notation, making the
piece a new standard for
bass clarinet.
W01476|C|Y 0.0000 Sheet
Music _x000D_ EP68686 Y
165.00 68686 P68686 LEWIS
C 9790300761299 97 8000
0.00 Ikons A
9790300761299
CONTEMPORARY ENSEMBLE
EP68686 GEORGE IKONS
LEWIS PHOTOPRINTS SMALL
W06652 English 00:14:0
Conductor Score & Parts
303 x 232 mm Fl (A-fl in
F).Cl.Bsn
(Cbsn).Tbn.Perc.Vln.Vlc.C
b 132 NEW PR43 USTNT
21/04/2021 P 303006
Ikons,
commissioned by the
Vancouver Cultural
Olympiad 2010, exists in
two forms. This 14-minute
acoustic version,
premiered by the Turning
Point Ensemble, calls for
an octet of live
musicians to execute
complex rhythms and
quarter-tone
harmonies.
The
interactive, electronic
version, created with
visual artist Eric
Metcalfe and designed to
be presented separately,
incorporates samples from
this acoustic version
into a sculptural
environment of seven
pyramidal structures that
respond sonically to the
viewer.
W06652|C|Y
0.0000 Sheet Music
_x000D_ EP73531 Y 31.95
73531 P73531 PANUFNIK,
ROXANNA C 9790577020976
61 8000 0.00 Sonnets
without Words A
9790577020976 EP73531
HORN PANUFNIK PHOTOPRINTS
PIANO ROXANNA SHAKESPEARE
SONNETS W03578 WILLIAM
WITHOUT WORDS English
Score & Instrumental
Parts 232 x 303 mm Horn
and piano 28 NEW PR43
UKTNT 21/04/2021 P 303006
Roxanna Panufnik's
Sonnets without
Words is a
contemporary piece for
Horn in F and piano.
Written for horn player
Ben Goldscheider,
Panufnik has reimagined
the lyrical vocal lines
from three of her
previous settings of
Shakespeare's sonnets
(Mine eye, Music to
hear and Sweet
Love Remember'd for
voice and piano) into a
purely instrumental
work.
Score and
horn
part.
Contempo
rary work for Horn in F
and
piano
Settings of
Sheakespeare's Sonnets 8,
24 & 29 in instrumental
form
W03578|C|Y
W06737|LY|N 0.0000 Sheet
Music _x000D_ EP73571 Y
15.95 73571 P73571
MCNEFF, STEPHEN C
9790577021317 20 8000
0.00 Trig for Solo Cello
A 9790577021317 (SOLO)
CELLO EP73571 MCNEFF
PHOTOPRINTS SOLO STEPHEN
TRIG W03150 English
00:07:0 Instrumental
Score 232 x 303 mm Solo
Violoncello 8 NEW PR43
UKTNT 21/04/2021 P 303006
Stephen McNeff's
Trig is a short
7-minute contemporary
work for solo cello,
written to celebrate the
bicentennial of the Royal
Academy of Music in 2022
and in memorium cellist
Mike Edwards
1948-2010.
Trig
was premiered by
Henry Hargreaves on 19
March 2021, livestreamed
from the Royal Academy of
Music.
Contemp
orary piece for solo
cello
Written for
the Royal Academy of
Music's
bicentennial
W03150|C|Y 0.0000 Sheet
Music _x000D_ EP14528 Y
34.95 14528 P14528
SAUNDERS, REBECCA C
9790014136796 3 8000 0.00
to an utterance - study A
9790014136796 (SOLO) AN
EP14528 PHOTOPRINTS PIANO
REBECCA SAUNDERS STUDY TO
UTTERANCE W04191 English
Instrumental Score 420 x
297 mm Piano Solo 16
DETNT NEW PR43 21/04/2021
P 303006
to an
utterance - study
was commissioned by
Klangforum Wien for the
premiere commercial audio
recording on a portrait
CD in 2020 and first
performed by Joonas
Ahonen at the Berlin
Philharmonie on 4th
September 2020 at the
Musikfest Berlin.
W04191|C|Y 0.0000 Sheet
Music _x000D_ EP71880 Y
75.00 71880 P71880
PANUFNIK, ROXANNA C
9790577008332 82 8000
0.00 Spirit Moves for
Brass Quintet A
9790577008332 BRASS
ENSEMBLE EP71880 MOVES
PANUFNIK PHOTOPRINTS
QUINTET ROXANNA SPIRIT
W03578 English 00:15:0
Score & Instrumental
Parts 232 x 303 mm
Trumpet 1 in B flat
(doubling Piccolo
Trumpet), Trumpet 2 in B
flat (doubling Flugel
Horn), Horn in F,
Trombone, Tuba 84 NEW
PR43 UKTNT 21/04/2021 P
303006
Roxanna
Panufnik's Spirit
Moves, for brass
quintet, was commissioned
by the Fine Arts Brass
Ensemble. This 15-minute
piece is scored for two
trumpets in Bb (one
doubling piccolo trumpet
and the other doubling
flugel horn), horn in F,
trombone and tuba. This
brass quintet is so
called because the outer
movements are highly
spirited and the
central one is
spiritual.
This product consists of
score and parts.
W03578|C|Y 0.0000 Sheet
Music _x000D_ EP73585 Y
4.00 73585 P73585 369282
WILLIAMS, RODERICK C
9790577021591 1 151 8000
0.00 Eriskay Love Lilt A
9790577021591 (SECULAR)
CHORAL EP73585 ERISKAY
HALSTAN-USA LILT LOVE
RODERICK TRADITIONAL
W05152 WILLIAMS WORKS
English 00:03:0 190 x 272
mm SATB (divisi) and
piano 16 NEW PR30 UKTNT
20/05/2021 P 377788
A
gently flowing 3-minute
arrangement by Roderick
Williams for SATB (with
divisi) with piano
accompaniment that
captures the beauty of
this famous traditional
Hebridean love song. The
song text uses both old
dialect and English, each
verse ending with the
words, 'Sad am I without
thee'.
Commiss
ioned by The Sixteen
choir and recorded on
their 2021 album
'Goodnight
Beloved'
Roderick
Williams is a
composer/arranger and
also a world-renowned
baritone
The
arrangement is described
by Williams as 'having a
little nod to Ravel and
Grieg'
W05152|C|Y W04819|LY|N
0.0000 Sheet Music
_x000D_ 9780193556782 Y
23.50 X556782 357665
9780193556782 MISC C 1
432 8030 0.00 Oxford Solo
Songs: Christmas 14 songs
with piano PAPER 14
9780193556782 A-B CAROLS
CHRISTMAS MISC
MISCELLANEOUS OXFORD
PIANO SOLO SONGS SONGS:
VOICE WITH AB 00:00:0
High voice & piano High
voice book + downloadable
backing tracks 311x232 72
NEW NONE 29/07/2021 P
355580 9780193556782
Young: A babe is
born
Rutter:
Angels' Carol
McDowall: Before the
paling of the stars
Rutter:
Candlelight Carol
Rutter: I sing
of a maiden
Chilcott: Mid-winter
Todd: My Lord
has Come
Bullard: Scots Nativity
Quartel: Snow
Angel
Todd:
Softly
Chilcott: Sweet was the
song
Chilcott:
The Shepherd's Carol
Quartel: This
endris night
McGlade: What child is
this?
for
high voice and piano
This beautiful
collection of 14 songs
for high voice offers
Christmas settings by
some of Oxford's
best-loved composers.
Suitable for solo singers
and unison choirs alike,
each song is presented
with piano accompaniment,
and high-quality,
downloadable backing
tracks are included on a
companion website. With a
wonderful selection of
pieces, including
favourites such as Bob
Chilcott's 'The
Shepherd's Carol' and
John Rutter's
'Candlelight Carol', this
is the perfect collection
for use in carol services
and Christmas concerts or
for enjoying at home.
Also available in a
volume for low voice and
piano.
14
songs for solo high
voice
Well-loved
composers, including John
Rutter and Bob
Chilcott
Wide
selection of sacred and
secular Christmas
texts
Accessible
accompaniments
Includes backing tracks
downloadable from a
Companion
Website
Available in volumes for
high and low solo
voice
MISC|AU|Y
0.0000 Paperback _x000D_
9780193559066 Y 4.25
X559066 357665
9780193559066 YOUNG C 1
444 8030 0.00 O splendour
of God's glory bright
PAPER 9780193559066
BRIGHT CHORAL GLORY GOD'S
MIXED OF OXFORD SACRED
SPLENDOUR TOBY VOICES
W06576 YOUNG C 00:03:30
SATB & organ Vocal score
254x178 SATB 20 NONE P
355580 9780193559066
for SATB and organ
This energetic
setting of words by St
Ambrose of Milan is a
real showstopper. With
pop-influences and a
sparkling organ part,
Young effortlessly fuses
modern and traditional
sound worlds, while
changes in key and metre
build up to an
invigorating finish.
Perfect for accomplished
choirs looking for
something different.
W06576|C|Y 0.0000
Paperback _x000D_
9780193554399 Y 2.60
X554399 357665
9780193554399 LASSUS,
ORLANDO DE C 1 445 8030
0.00 Oculus non vidit
PAPER 9780193554399
CHORAL DE KEANE LASSUS
MARK NON OCULUS ORLANDO
OXFORD SACRED UPPER VIDIT
VOICES W02750 B 00:01:30
SA unaccompanied Vocal
score 254x178 Upper
Voices - 3 parts or more
4 NONE 10/06/2021 P
355580 9780193554399
for SA unaccompanied
This simple, charming
two-part motet features
long melismatic phrases
that reflect the text (1
Corinthians 2: 9), such
as the rising melodic
line over three bars on
the word 'ascended'
(ascendit).
W02750|C|Y
W06960|E|N 0.0000
Paperback _x000D_
9780193954298 Y 3.35
X954298 357665
9780193954298 TALLIS,
THOMAS C 1 448 8030 0.00
Honor, virtus et potestas
PAPER 9780193954298
CANTICLES DUNKLEY ET
HONOR OXFORD POTESTAS
SALLY SERVICES TALLIS
THOMAS VIRTUS W04705 C
00:06:0 SAATB
unaccompanied Vocal score
MSER00020 SATB 12 NONE
28/05/2021 P 355580
9780193954298
for
SAATB unaccompanied.
This glorious musical
depiction of the honour,
strength, power and
authority of the Holy
Trinity by Thomas Tallis
is the third issue in the
CMS's series of great
English Responds from the
16th century, edited by
Sally Dunkley. Scored for
SAATB, it can be
performed either as a
motet or as a full
Responsory with plainsong
alternating with
polyphony.
W04705|C|Y
W01184|E|N 0.0000
Paperback _x000D_ EP73527
Y 6.95 73527 P73527
BEAMISH, SALLY C
9790577020891 50 8000
0.00 The Parting Glass A
9790577020891 (SOLO)
BEAMISH CLARINET EP73527
GLASS PARTING PHOTOPRINTS
SALLY W00306 English
Score 232 x 303 mm
Clarinet 4 NEW PR43 UKTNT
12/12/2020 P 303006
Based on a traditional
Scottish/Irish 'farewell'
song, this short piece is
one of six works written
to express my love of
Scotland. After living
there for nearly half my
life, and raising a
family, I moved back to
England in 2018, and
remarried in 2019.
Of course, there were
many different emotions
attached to the move
south: especially the joy
and excitement of new
beginnings, and
reconnection with friends
from my youth.
But this piece
expresses the wrench I
experienced after a last
family meal in Glasgow,
and the realisation of
all I was about to leave
behind.
I have
taken the melody of the
original song, and
expanded it, exploring
the detail of its
patterns, so that it
becomes a timeless
meditation.
The
six pieces in the
'farewell' series are for
6 violas, string quintet,
string quartet, trio,
violin and clarinet duo,
and solo clarinet.
The Parting Glass
was composed in 2020
during the coronavirus
lockdown, which
intensified the feeling
of separation from my
Scottish family, as well
as from other musicians.
It was
commissioned by Vittorio
Ceccanti for the
ContempoArtEnsemble.
W00306|C|Y 0.0000 Sheet
Music _x000D_ EP73516 Y
6.95 73516 P73516
BEAMISH, SALLY C
9790577020747 20 8000
0.00 Maple A
9790577020747 (SOLO)
BEAMISH CELLO EP73516
MAPLE PHOTOPRINTS SALLY
W00306 English 00:06:0
Score 232 x 303 mm
Contemporary cello solo 8
NEW PR43 UKTNT 12/12/2020
P 303006 Seed; Spinning
Seed; Roots, shoots;
Leaves ; Flowers; Tree ;
Autumn ; Cello
Maple arose
from a commission to
write a work for solo
cello, to be performed
alongside readings from
artist John Newling's
collection of letters
entitled 'Dear Nature'; a
poetic manifestation of
our relationship with the
natural world.
The
piece is in eight short
sections, to be
interspersed with
readings of groups of the
poems. It may also be
performed as a single
movement. It begins with
a seed - the seed of a
maple tree, as it hangs
on the mature tree, ready
to drop. The seeds are
like propellers,
sometimes travelling more
than a mile before
landing on the ground.
Maple follows
the growth of the tree to
maturity - which in
reality would take at
least a hundred years.
'Roots, shoots' grows
downwards and upwards
from a pedal note, and
the dance-like 'Flowers'
is followed by the
stately 'Tree', and then
the warm, cascading
'Autumn'. Maple is very
often the wood of choice
for the back of a
stringed instrument, and
the last section uses
open strings to explore
the full resonance of the
cello.
The piece
starts with a 'seed' of
only five notes, which
grows into different
configurations. It is
intended to be played in
an improvisatory
style.
Maple was
co-commissioned by
Brighton Festival, Ars et
Terra Festival with SACEM
and Ditchling Arts and
Crafts Museum, to be
performed by Margarita
Balanas as part of the
Brighton Festival's 'Dear
Nature' project.
W00306|C|Y 0.0000 Sheet
Music _x000D_ EP73508 Y
39.95 73508 P73508
DILLON, JAMES C
9790577020648 3 8000 0.00
echo the angelus A
9790577020648 (SOLO)
ANGELUS DILLON ECHO
EP73508 JAMES PHOTOPRINTS
PIANO W01097 English
00:25:0 Score 232 x 303
mm Piano Solo 44 NEW PR43
UKTNT 12/01/2021 P 303006
First performed by
Noriko Kawai for
Huddersfield Contemporary
Music Festival, in a
broadcast from the Radio
Theatre, BBC Broadcasting
House, November
2020.
Full of
beautifully crafted,
delicate
tintinnabulations -
Richard Morrison, The
Times
This
product is Printed on
Demand and may take
several weeks to fulfill.
Please order from your
favorite retailer.
Boy
Soprano, Soprano, Tenor,
Flugelhorn, Mixed Chorus,
and Chamber Orchestra
Study Score. Composed
by Harald Weiss. This
edition: Paperback/Soft
Cover. Sheet music. Study
Score. Classical.
Softcover. Composed
2008/2009. 188 pages.
Duration 100'. Schott
Music #ED20619. Published
by Schott Music
(HL.49018099).
ISBN
9790001158428. UPC:
884088567347.
8.25x11.75x0.457 inches.
Latin - German.
On
letting go(Concerning the
selection of the texts)
In the selection of the
texts, I have allowed
myself to be motivated
and inspired by the
concept of 'letting go'.
This appears to me to be
one of the essential
aspects of dying, but
also of life itself. We
humans cling far too
strongly to successful
achievements, whether
they have to do with
material or ideal values,
or relationships of all
kinds. We cannot and do
not want to let go,
almost as if our life
depended on it. As we
will have to practise the
art of letting go at the
latest during our hour of
death, perhaps we could
already make a start on
this while we are still
alive. Tagore describes
this farewell with very
simple but strikingly
vivid imagery: 'I will
return the key of my
door'. I have set this
text for tenor solo. Here
I imagine, and have
correspondingly noted in
a certain passage of the
score, that the
protagonist finds himself
as though 'in an ocean'
of voices in which he is
however not drowning, but
immersing himself in
complete relaxation. The
phenomenon of letting go
is described even more
simply and tersely in
Psalm 90, verse 12: 'So
teach us to number our
days, that we may apply
our hearts unto wisdom'.
This cannot be expressed
more plainly.I have begun
the requiem with a solo
boy's voice singing the
beginning of this psalm
on a single note, the
note A. This in effect
says it all. The work
comes full circle at the
culmination with a repeat
of the psalm which
subsequently leads into a
resplendent 'lux
aeterna'. The
intermediate texts of the
Requiem which highlight
the phenomenon of letting
go in the widest spectrum
of colours originate on
the one hand from the
Latin liturgy of the
Messa da Requiem (In
Paradisum, Libera me,
Requiem aeternam, Mors
stupebit) and on the
other hand from poems by
Joseph von Eichendorff,
Hermann Hesse,
Rabindranath Tagore and
Rainer Maria Rilke.All
texts have a distinctive
positive element in
common and view death as
being an organic process
within the great system
of the universe, for
example when Hermann
Hesse writes: 'Entreiss
dich, Seele, nun der
Zeit, entreiss dich
deinen Sorgen und mache
dich zum Flug bereit in
den ersehnten Morgen'
['Tear yourself way , o
soul, from time, tear
yourself away from your
sorrows and prepare
yourself to fly away into
the long-awaited
morning'] and later: 'Und
die Seele unbewacht will
in freien Flugen
schweben, um im
Zauberkreis der Nacht
tief und tausendfach zu
leben' ['And the
unfettered soul strives
to soar in free flight to
live in the magic sphere
of the night, deep and
thousandfold']. Or Joseph
von Eichendorff whose
text evokes a distant
song in his lines: 'Und
meine Seele spannte weit
ihre Flugel aus. Flog
durch die stillen Lande,
als floge sie nach Haus'
['And my soul spread its
wings wide. Flew through
the still country as if
homeward bound.']Here a
strong romantically
tinged occidental
resonance can be detected
which is however also
accompanied by a
universal spirit going
far beyond all cultures
and religions. In the
beginning was the sound
Long before any sort of
word or meaningful phrase
was uttered by vocal
chords, sounds,
vibrations and tones
already existed. This
brings us back to the
music. Both during my
years of study and at
subsequent periods, I had
been an active
participant in the world
of contemporary music,
both as percussionist and
also as conductor and
composer. My early scores
had a somewhat
adventurous appearance,
filled with an abundance
of small black dots: no
rhythm could be too
complicated, no register
too extreme and no
harmony too dissonant. I
devoted myself intensely
to the handling of
different parameters
which in serial music
coexist in total
equality: I also studied
aleatory principles and
so-called minimal music.I
subsequently emigrated
and took up residence in
Spain from where I
embarked on numerous
travels over the years to
India, Africa and South
America. I spent repeated
periods during this time
as a resident in
non-European countries.
This meant that the
currents of contemporary
music swept past me
vaguely and at a great
distance. What I instead
absorbed during this
period were other
completely new cultures
in which I attempted to
immerse myself as
intensively as possible.I
learned foreign languages
and came into contact
with musicians of all
classes and styles who
had a different cultural
heritage than my own: I
was intoxicated with the
diversity of artistic
potential.Nevertheless,
the further I distanced
myself from my own
Western musical heritage,
the more this returned
insistently in my
consciousness.The scene
can be imagined of
sitting somewhere in the
middle of the Brazilian
jungle surrounded by the
wailing of Indians and
out of the blue being
provided with the
opportunity to hear
Beethoven's late string
quartets: this can be a
heart-wrenching
experience, akin to an
identity crisis. This
type of experience can
also be described as
cathartic. Whatever the
circumstances, my
'renewed' occupation with
the 'old' country would
not permit me to return
to the point at which I
as an audacious young
student had maltreated
the musical parameters of
so-called contemporary
music. A completely
different approach would
be necessary: an
extremely careful
approach, inching my way
gradually back into the
Western world: an
approach which would
welcome tradition back
into the fold, attempt to
unfurl the petals and
gently infuse this
tradition with a breath
of contemporary
life.Although I am aware
that I will not unleash a
revolution or scandal
with this approach, I am
nevertheless confident
as, with the musical
vocabulary of this
Requiem, I am travelling
in an orbit in which no
ballast or complex
structures will be
transported or intimated:
on the contrary, I have
attempted to form the
message of the texts in
music with the naivety of
a 'homecomer'. Harald
WeissColonia de San
PedroMarch 2009.
Composed by Basque Carol.
Arranged by Christopher
Thomas. 12 pages.
Duration 2 minutes, 37
seconds. Carl Fischer
Music #CM9734. Published
by Carl Fischer Music
(CF.CM9734).
ISBN
9781491161142. UPC:
680160919734. Key: A
minor. English. Basque
Carol.
A Basque
Carol (also known as
Gabriel's Message) holds
a special place in
Western music. The carol
originates from Basque
country around the 13th
century, based on the
Latin hymn, Angelus ad
Virginem (likely of
Franciscan origin). The
tune quickly spread
throughout Europe,
finding popularity in
Britain where it was even
referenced in Chaucer's
Canterbury Tales: Playing
so sweetly that the
chamber rang; / and
Angelus ad virginem he
sang. . .. Interestingly,
the melody we know and
love today is derived
from the original Basque
version. In my view, this
tune is a perfect example
of melody-crafting. It is
at once hauntingly
beautiful, yet warm and
joyous. Its contours are
complex, dramatic, yet
singable. I believe this
melodic accessibility is
the key to the song's
lasting popularity. I
would also attribute A
Basque Carol's continued
popularity to its elegant
translation into English
(by Sabine Baring-Gould,
who rediscovered the
original Basque tune).
Translations often risk
sounding unimaginative,
coarse, and blunt. This
translation is strikingly
different. It was graced
with an especially poetic
translation including
lines such as his wings
as drifted snow, his eyes
as flame. I am very
excited to offer a new
perspective on this
classic carol, joining
the tradition of
composers preserving and
reimagining a priceless
medieval melody. My first
goal was to create a
flowing, richly-textured,
even cinematic string
accompaniment for the
choir. This approach was
very much inspired by the
dense, string-writing
style of English composer
Ralph Vaughan Williams.
My second goal was to
make the arrangement
flexible enough to be
performed with only
choir, only strings, or
(best of all) both
ensembles combined. To
further complement this
approach, I've added an
obligato line for a solo
recorder (solo flute or
violin work just as
well). If you listen
carefully, you will hear
a quote from my other
favorite holiday carol,
Jesu Bambino. I hope you
enjoy performing A Basque
Carol. I especially hope
that you sense the
ancient magic cast into
this tune, hearing the
ineffable qualities that
have compelled us to
sustain it for nearly a
millennium. Whether
you're a choir, a string
orchestra, or a combined
ensemble, this
arrangement of A Basque
Carol will surely be a
haunting and lovely
addition to your next
holiday program!. A
Basque Carol (also known
as Gabriel’s
Message) holds a special
place in Western music.
The carol originates from
Basque country around the
13th century, based on
the Latin hymn, Angelus
ad Virginem (likely of
Franciscan origin). The
tune quickly spread
throughout Europe,
finding popularity in
Britain where it was even
referenced in
Chaucer’s
Canterbury Tales:Â
“Playing so sweetly
that the chamber rang; /
and Angelus ad virginem
he sang. .
.â€.Interestingly,
the melody we know and
love today is derived
from the original Basque
version. In my view, this
tune is a perfect example
of melody-crafting. It is
at once hauntingly
beautiful, yet warm and
joyous. Its contours are
complex, dramatic, yet
singable. I believe this
melodic accessibility is
the key to the
song’s lasting
popularity. I would also
attribute A Basque
Carol’s continued
popularity to its elegant
translation into English
(by Sabine Baring-Gould,
who rediscovered the
original Basque tune).
Translations often risk
sounding unimaginative,
coarse, and blunt. This
translation is strikingly
different. It was graced
with an especially poetic
translation including
lines such as “his
wings as drifted snow,
his eyes as
flame.â€I am very
excited to offer a new
perspective on this
classic carol, joining
the tradition of
composers preserving and
reimagining a priceless
medieval melody. My first
goal was to create a
flowing, richly-textured,
even cinematic string
accompaniment for the
choir. This approach was
very much inspired by the
dense, string-writing
style of English composer
Ralph Vaughan Williams.
My second goal was to
make the arrangement
flexible enough to be
performed with only
choir, only strings, or
(best of all) both
ensembles combined. To
further complement this
approach, I’ve
added an obligato line
for a solo recorder (solo
flute or violin work just
as well). If you listen
carefully, you will hear
a quote from my other
favorite holiday carol,
Jesu Bambino.I hope you
enjoy performing A Basque
Carol. I especially hope
that you sense the
ancient magic cast into
this tune, hearing the
ineffable qualities that
have compelled us to
sustain it for nearly a
millennium. Whether
you’re a choir, a
string orchestra, or a
combined ensemble, this
arrangement of A Basque
Carol will surely be a
haunting and lovely
addition to your next
holiday program!
By Claudio Monteverdi (1567 - 1643). For Brass Quintet and Organ. Brass Ensemble...(+)
By Claudio Monteverdi
(1567 - 1643). For Brass
Quintet and Organ. Brass
Ensemble - Quintet.
Renaissance. Level:
Medium-Difficult.
Duration 00:02:00.
Published by Eighth Note
Publications.
Choral SSA choir SKU: CF.CM9580 Composed by Richard Rasch. Arranged by Ri...(+)
Choral SSA choir
SKU:
CF.CM9580
Composed by
Richard Rasch. Arranged
by Richard Rasch. Fold.
Performance Score. 4
pages. Duration 2
minutes, 42 seconds. Carl
Fischer Music #CM9580.
Published by Carl Fischer
Music (CF.CM9580).
ISBN 9781491154021.
UPC: 680160912520. 6.875
x 10.5 inches. Key: D
mixolydian. English,
Latin. 15th Century
Medieval Carol.
The
text of this poem is from
the Trinity Carol Roll,
an English manuscript
housed at the Wren
Library of Trinity
College, Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written. The Latin
phrases come from
different parts of the
Advent/Christmas
liturgies; a sequence
called
Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and
the shepherds response in
the gospel of Luke 2:15,
Transeamus.
Latin phrase translation
source Alleluia Alleluia
Laetabundus Res miranda A
thing to be wondered at
Laetabundus Pari forma of
equal form Laetabundus
Gaudeamus Let us rejoice!
Gaudeamus Transeamus Let
us go Luke 2:15 The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and beauty.
The music in this setting
mimics the petals of a
rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic twists.
Word painting is employed
in several places but
none are as important as
the dramatic climax in
the fourth verse where
the shepherds along with
all the angels in heaven
proclaim Gloria in
excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compassthe distance
between the highest and
lowest noteis at its
widest. The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol. The text of
this poem is from the
Trinity Carol Roll, an
English manuscript housed
at the Wren Library of
Trinity College,
Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written. The Latin
phrases come from
different parts of the
Advent/Christmas
liturgies; a sequence
called
Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and
the shepherdas response
in the gospel of Luke
2:15,
Transeamus.
Latin phraseA translation
source Alleluia Alleluia
Laetabundus Res miranda A
thing to be wondered at
Laetabundus Pari forma of
equal form Laetabundus
Gaudeamus Let us rejoice!
Gaudeamus Transeamus Let
us go Luke 2:15 The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and beauty.
The music in this setting
mimics the petals of a
rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic twists.
Word painting is employed
in several places but
none are as important as
the dramatic climax in
the fourth verse where
the shepherds along with
all the angels in heaven
proclaim Gloria in
excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compassathe distance
between the highest and
lowest noteais at its
widest. The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol. The text of
this poem is from the
Trinity Carol Roll, an
English manuscript housed
at the Wren Library of
Trinity College,
Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written. The Latin
phrases come from
different parts of the
Advent/Christmas
liturgies; a sequence
called
Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and
the shepherd's response
in the gospel of Luke
2:15,
Transeamus.
Latin phrase translation
source Alleluia Alleluia
Laetabundus Res miranda A
thing to be wondered at
Laetabundus Pari forma of
equal form Laetabundus
Gaudeamus Let us rejoice!
Gaudeamus Transeamus Let
us go Luke 2:15 The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and beauty.
The music in this setting
mimics the petals of a
rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic twists.
Word painting is employed
in several places but
none are as important as
the dramatic climax in
the fourth verse where
the shepherds along with
all the angels in heaven
proclaim Gloria in
excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compass--the distance
between the highest and
lowest note--is at its
widest. The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol. The text of
this poem is from the
Trinity Carol Roll, an
English manuscript housed
at the Wren Library of
Trinity College,
Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written. The Latin
phrases come from
different parts of the
Advent/Christmas
liturgies; a sequence
called Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and the
shepherd's response in
the gospel of Luke 2:15,
Transeamus. Latin phrase
translation source
Alleluia Alleluia
Laetabundus Res miranda A
thing to be wondered at
Laetabundus Pares forma
of equal form Laetabundus
Gaudeamus Let us rejoice!
Gaudeamus Transeamus Let
us go Luke 2:15 The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and beauty.
The music in this setting
mimics the petals of a
rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic twists.
Word painting is employed
in several places but
none are as important as
the dramatic climax in
the fourth verse where
the shepherds along with
all the angels in heaven
proclaim Gloria in
excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compass--the distance
between the highest and
lowest note--is at its
widest. The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol. The text of
this poem is from the
Trinity Carol Roll, an
English manuscript housed
at the Wren Library of
Trinity College,
Cambridge. It is
originally in the Norfolk
dialect of Middle English
but has been modernized
for use in this setting.
Also, it's macaronic,
meaning it combines words
from two languages, the
other being Latin which
was in use by the church
when this carol was
written.The Latin phrases
come from different parts
of the Advent/Christmas
liturgies; a sequence
called Laetabundus, the
title of an Introit
antiphon called
Gaudeamus, and the
shepherd’s
response in the gospel of
Luke 2:15,
Transeamus.Latin
phrase translation
sourceAlleluia Alleluia
LaetabundusRes miranda A
thing to be wondered at
LaetabundusPares forma of
equal form
LaetabundusGaudeamus Let
us rejoice!
GaudeamusTranseamus Let
us go Luke 2:15The poet
compares the Virgin Mary
to a rose. She has a
special place among all
women in being chosen as
the mother of Jesus, and
likewise the rose has a
special place among all
flowers surpassing them
in complexity and
beauty.The music in this
setting mimics the petals
of a rose as it blooms.
Imagine the petals
unfurling over time as
does the music which
starts in unison for each
verse and expands outward
into two and three vocal
lines with increasingly
complex harmonic
twists.Word painting is
employed in several
places but none are as
important as the dramatic
climax in the fourth
verse where the shepherds
along with all the angels
in heaven proclaim Gloria
in excelsis Deo (Glory to
God on high). What a
sound that must be! On
these words the music
reaches it loudest point
as the sopranos rise to
their highest note and
the compass—the
distance between the
highest and lowest
note—is at its
widest.The setting is
brought to a close as the
five Latin phrases that
finished each verse are
repeated as a coda and
musically summarize the
five verses of the
carol.
By Allen Pote. Arranged by Robert Delgado. For SATB choir (a cappella). Main Key...(+)
By Allen Pote. Arranged
by Robert Delgado. For
SATB choir (a cappella).
Main Key: D Major.
Sacred. Difficulty:
Medium (Adult). Octavo.
12 pages. Duration 3
minutes 57 seconds.
Published by Hinshaw
Music Inc.
Choral (Listening CD) SKU: HL.1711067 A Chorale and Fugue in the Baroq...(+)
Choral (Listening CD)
SKU: HL.1711067
A Chorale and Fugue in
the Baroque
Tradition. Composed
by Mark Hayes. Choral.
Concert, Unity.
Softcover. Published by
Hal Leonard (HL.1711067).
UPC: 196288220381.
5.0x5.0x0.15
inches.
If you
enjoy singing Baroque
music and value the
importance of kindness,
courage and compassion,
this new 30 minute
through-composed work by
Mark Hayes for chorus,
soprano and tenor
soloists and orchestra is
for you. Drawing from the
writings of ancient and
contemporary authors, the
original text of
“Kindness,” written
by Hayes, seeks to answer
the question, “How then
shall we live, especially
in a world that seems so
dysfunctional?” The
answer: live with
kindness, courage and
compassion. When we are
joined as one in our
pursuit of these values,
we can make a lasting
impact. To quote Margaret
Mead, “Never
underestimate the ability
of a small group of
committed individuals to
change the world.”
“Kindness” is set in
the Baroque tradition and
features an original
chorale tune with three
separate texts, a fugue,
both conventional and
retrograde,
recitative-like sections
for the soprano and tenor
soloists and extensive
instrumental interludes.
As a nod to Baroque
masters such as Johann
Sebastian Bach and George
Frideric Handel, Hayes
included passages
imitating “Jesu, Joy of
Man's Desiring” and
“Hallelujah Chorus.”
This work is perfect for
high school and college
choirs as well as
community and church
choirs. The text is
intentionally not sacred,
rather universal in its
appeal. Imagine how the
music and message of this
work could join a
community together in the
pursuit of kindness,
courage and compassion.
It's what the world
needs.. now. For the
Demonstration and Part
Dominant Tracks: Audio is
accessed online using the
unique code generated
upon purchase and can be
streamed or downloaded.
The audio files include
PLAYBACK+, a
multi-functional audio
player that allows you to
slow down audio without
changing pitch, set loop
points, change keys, and
pan left or right.
HL01471383: Demonstration
HL01471384: Part Dominant
Tracks.
Choral SATB choir SKU: CF.CM9700 Composed by Hungarian Folk. Arranged by ...(+)
Choral SATB choir
SKU:
CF.CM9700
Composed by
Hungarian Folk. Arranged
by Stacy Garrop. 20
pages. Duration 4:44.
Carl Fischer Music
#CM9700. Published by
Carl Fischer Music
(CF.CM9700).
ISBN
9781491160008. UPC:
680160918607. Key: A
minor. Hungarian.
Hungarian Folk.
In
2014, Chanticleer
commissioned me to make a
new arrangement of the
Hungarian-Romani folk
song Jarba, Mare Jarba
for their 2014 touring
program. Passed down
orally through the Romani
communities, this
beautiful folk song, with
text in a language called
Beas (beh-osh), speaks of
a deep longing to visit
one's homeland, a place
where the singer can
never return. Chanticleer
consists of twelve men
whose vocal ranges span
from low bass to high
soprano, equivalent to
the range of a mixed
choir of women and men. I
composed slow sections of
original material to
represent the singers'
longing to return home;
these are interspersed
with the folk song's
traditional fast
sections. The
incorporated shouts and
calls in the score are
typically found in the
performance of Central
European folk songs. I
hope you enjoy singing
this new version of
Jarba, Mare Jarba that
contains all of the vigor
and excitement of the
Chanticleer version.
PERFORMANCE NOTES All
spoken sounds (indicated
by x noteheads) should be
performed by individuals.
Feel free to elaborate
with more sounds of your
own in the tradition of
Eastern European folk
music. If the piece is
memorized, feel free to
experiment with clapping
on the off-beats of m. 93
to the end. TEXT
Transliteration Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat, Jarba, mare jarba
mas duce a casa, da nu
pot ca am jurat. Mare
jarba, verde jarba nu me
pot duce a casa. Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat. O mers mama de pe
sat, O lasat coliba
goala, Infrunzitu,
ingurzitu da plina de
saracie, da plina de
saracie. Mare jarba,
verde jarba nu me pot
duce a casa. Jarba, mare
jarba mas duce a casa, da
nu pot ca am jurat.
Translation Green grass,
tall grass, I would like
to go home, but I cannot,
because I have sworn not
to. Tall grass, green
grass - oh, that I cannot
go home! My mother has
left the village; she
left the hut empty,
Adorned with leaves but
full of poverty. Tall
grass, green grass - oh,
that I cannot go home!
Tall grass, green grass -
I would like to go home.
but I cannot, because I
have sworn not to. Stacy
Garrop's music is
centered on dramatic and
lyrical storytelling. The
sharing of stories is a
defining element of our
humanity; we strive to
share with others the
experiences and concepts
that we find compelling.
She shares stories by
taking audiences on sonic
journeys - some simple
and beautiful, while
others are complicated
and dark - depending on
the needs and dramatic
shape of the story.
Garrop served as the
first Emerging Opera
Composer of Chicago Opera
Theater's Vanguard
Program. She also held a
3-year
composer-in-residence
position with the
Champaign-Urbana Symphony
Orchestra, funded by New
Music USA and the League
of American Orchestras.
She has received numerous
awards and grants
including an Arts and
Letters Award in Music
from the American Academy
of Arts and Letters,
Fromm Music Foundation
Grant, Barlow Prize, and
three Barlow Endowment
commissions, along with
prizes from competitions
sponsored by the Detroit
Symphony Orchestra, Civic
Orchestra of Chicago,
Omaha Symphony, New
England Philharmonic,
Boston Choral Ensemble,
Utah Arts Festival, and
Pittsburgh New Music
Ensemble. She is a
Cedille Records artist;
her works are
commercially available on
more than ten additional
labels. Her catalog
covers a wide range, with
works for orchestra,
opera, oratorio, wind
ensemble, choir, art
song, various sized
chamber ensembles, and
works for solo
instruments. Notable
commissions include My
Dearest Ruth for soprano
and piano with text by
Martin Ginsburg, the
husband of the late
Supreme Court Justice
Ruth Bader Ginsburg, The
Transformation of Jane
Doe for Chicago Opera
Theater, The Battle for
the Ballot for the
Cabrillo Festival
Orchestra, Goddess
Triptych for the St.
Louis Symphony Orchestra,
Glorious Mahalia for the
Kronos Quartet, Give Me
Hunger for Chanticleer,
Rites for the Afterlife
for the Akropolis and
Calefax Reed Quintets,
and Terra Nostra: an
oratorio about our
planet, commissioned by
the San Francisco Choral
Society and Piedmont East
Bay Children's Chorus.
Garrop previously served
as composer-in-residence
with the Albany Symphony
and Skaneateles Festival,
and as well as on faculty
of the Fresh Inc Festival
(2012-2017). She taught
composition and
orchestration full-time
at Roosevelt University
2000-2016) before leaving
to launch her freelance
career. She earned
degrees in music
composition at the
University of
Michigan-Ann Arbor
(B.M.), University of
Chicago (M.A.), and
Indiana
University-Bloomington
(D.M.). In 2014,
Chanticleer commissioned
me to make a new
arrangement of the
Hungarian-Romani folk
song Jarba, Mare Jarba
for their 2014 touring
program. Passed down
orally through the Romani
communities, this
beautiful folk song, with
text in a language called
Beas (beh-osh), speaks of
a deep longing to visit
one’s homeland, a
place where the singer
can never return.
Chanticleer consists of
twelve men whose vocal
ranges span from low bass
to high soprano,
equivalent to the range
of a mixed choir of women
and men. I composed slow
sections of original
material to represent the
singers’ longing
to return home; these are
interspersed with the
folk song’s
traditional fast
sections. The
incorporated shouts and
calls in the score are
typically found in the
performance of Central
European folk songs. I
hope you enjoy singing
this new version of
Jarba, Mare Jarba that
contains all of the vigor
and excitement of the
Chanticleer
version.PERFORMANCE
NOTESAll spoken sounds
(indicated by x
noteheads) should be
performed by individuals.
Feel free to elaborate
with more sounds of your
own in the tradition of
Eastern European folk
music.If the piece is
memorized, feel free to
experiment with clapping
on the off-beats of m. 93
to the
end.TEXTTransliterationJa
rba, mare jarba mas duce
a casa, da nu pot ca am
jurat, Jarba, mare jarba
mas duce a casa, da nu
pot ca am jurat. Mare
jarba, verde jarba nu me
pot duce a casa.Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat.O mers mama de pe
sat, O lasat coliba
goala,Infrunzitu,
ingurzitu da plina de
saracie, da plina de
saracie. Mare jarba,
verde jarba nu me pot
duce a casa.Jarba, mare
jarba mas duce a casa, da
nu pot ca am
jurat.TranslationGreen
grass, tall grass, I
would like to go home,
but I cannot, because I
have sworn not to.Tall
grass, green grass
– oh, that I
cannot go home!My mother
has left the village; she
left the hut empty,
Adorned with leaves but
full of poverty.Tall
grass, green grass
– oh, that I
cannot go home! Tall
grass, green grass
– I would like to
go home.but I cannot,
because I have sworn not
to.Stacy Garrop’s
music is centered on
dramatic and lyrical
storytelling. The sharing
of stories is a defining
element of our humanity;
we strive to share with
others the experiences
and concepts that we find
compelling. She shares
stories by taking
audiences on sonic
journeys – some
simple and beautiful,
while others are
complicated and dark
– depending on the
needs and dramatic shape
of the story.Garrop
served as the first
Emerging Opera Composer
of Chicago Opera
Theater’s Vanguard
Program. She also held a
3-year
composer-in-residence
position with the
Champaign-Urbana Symphony
Orchestra, funded by New
Music USA and the League
of American Orchestras.
She has received
numerous awards and
grants including an
Arts and Letters Award in
Music from the American
Academy of Arts and
Letters, Fromm Music
Foundation Grant, Barlow
Prize, and three Barlow
Endowment commissions,
along with prizes from
competitions sponsored by
the Detroit Symphony
Orchestra, Civic
Orchestra of Chicago,
Omaha Symphony, New
England Philharmonic,
Boston Choral Ensemble,
Utah Arts Festival, and
Pittsburgh New Music
Ensemble. She is a
Cedille Records artist;
her works are
commercially available on
more than ten additional
labels.Her catalog covers
a wide range, with works
for orchestra, opera,
oratorio, wind ensemble,
choir, art song, various
sized chamber ensembles,
and works for solo
instruments. Notable
commissions include My
Dearest Ruth for
soprano and piano with
text by Martin Ginsburg,
the husband of the late
Supreme Court Justice
Ruth Bader
Ginsburg, The
Transformation of Jane
Doe for Chicago Opera
Theater, The Battle for
the Ballot for the
Cabrillo Festival
Orchestra, Goddess
Triptych for the St.
Louis Symphony Orchestra,
Glorious Mahalia for
the Kronos Quartet, Give
Me Hunger for
Chanticleer, Rites for
the Afterlife for the
Akropolis and Calefax
Reed Quintets,
and Terra
Nostra:Â an oratorio
about our planet,
commissioned by the San
Francisco Choral Society
and Piedmont East Bay
Children’s
Chorus.Garrop previously
served as
composer-in-residence
with the Albany Symphony
and Skaneateles Festival,
and as well as on faculty
of the Fresh Inc Festival
(2012-2017). She taught
composition and
orchestration full-time
at Roosevelt University
2000-2016) before leaving
to launch her freelance
career. She earned
degrees in music
composition at the
University of
Michigan-Ann Arbor
(B.M.), University of
Chicago (M.A.), and
Indiana
University-Bloomington
(D.M.).ÂÂ.
Magnificat in C Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre [Vocal Score] Carus Verlag
By Franz Schubert. Edited by Reiser, Salome. For Soli SATB, SATB Choir, 2 Oboes,...(+)
By Franz Schubert. Edited
by Reiser, Salome. For
Soli SATB, SATB Choir, 2
Oboes, 2 Bassoons, 2
Trumpets, Timpani, 2
Violins, Viola,
Cello/Contrabass, Organ.
D 486. Full score
available separately -
see item CA.7005300.
Magnificat; Stuttgart
Urtext editions; Use
during church year:
Advent, Christmas.
Piano/Vocal score.
Language: Latin. Composed
1815. 24 pages. Duration
9 min. Published by Carus
Verlag (German import).
Choral SSA Choir and Piano SKU: CF.CM9575 Born on a Fishing Boat. ...(+)
Choral SSA Choir and
Piano
SKU:
CF.CM9575
Born on
a Fishing Boat.
Composed by Braeden
Ayres. Fold. Performance
Score. 8 pages. Duration
2 minutes, 51 seconds.
Carl Fischer Music
#CM9575. Published by
Carl Fischer Music
(CF.CM9575).
ISBN
9781491153970. UPC:
680160912476. 6.875 x
10.5 inches. Key: F
minor. English. Mei-Li
Medvar.
Original.
Vocal Score. By Benjamin Britten. Arranged by Arthur Oldham. (Vocal Score). Boo...(+)
Vocal Score. By Benjamin
Britten. Arranged by
Arthur Oldham. (Vocal
Score). Boosey and Hawkes
Large Choral. Book only.
Size 7.25x10.25 inches.
88 pages. Published by
Boosey and Hawkes.
Nordanvind Orchestre d'harmonie - Intermédiaire/avancé Carl Fischer
Band concert band - Grade 4.5 SKU: CF.SPS71 Composed by Carl Strommen. Se...(+)
Band concert band - Grade
4.5
SKU: CF.SPS71
Composed by Carl
Strommen. Set of Score
and Parts. With Standard
notation.
2+16+4+8+8+8+4+4+2+4+4+4+
4+6+6+6+4+4+4+4+6+6+6+6+4
+8+3+2+12+2+4+28 pages.
Duration 6 minutes, 26
seconds. Carl Fischer
Music #SPS71. Published
by Carl Fischer Music
(CF.SPS71).
ISBN
9781491143544. UPC:
680160901043. Key: G
minor.
Nordanvind
is a tour de force
symphonic rhapsody that
is built on three
Scandinavian folk songs.
Composer Carl Strommen
has composed these
Viking-influenced
melodies into a concert
setting that brings out
all of the history of the
Scandinavian people. The
piece is at times bold
and aggressive, at other
times beautiful. Carl
employs all of the
instrumental colors of
the concert band to
create a new work for
more advanced
ensembles. Modern
Scandinavians are
descendants of the
Vikings, an adventuresome
people who were known for
their love of the sea,
their naval prowess, and
as fierce fighters . The
Scandinavian Vikings were
warriors from Denmark,
Norway, and Sweden who
traded, raided and
settled in various parts
of Europe, Russia, the
North Atlantic islands,
and the northeastern
coast of North America
.Starting around 1850,
over one million Swedes
left their homeland for
the United States in
search of religious
freedom and open farm
land . Augustana College
was founded in 1860 by
graduates of Swedish
universities and is
located on the
Mississippi River in Rock
Island, Illinois . Home
of the
“Vikings,â€
Augustana College is the
oldest Swedish- American
institution of higher
learning in the United
States . This powerful
and lively piece takes
inspiration from Swedish
history and from Swedish
folk songs and hymns
.Havsdrake (Dragon of the
Sea)The Nordanvind or
“North Windâ€
blows a cold wind during
a journey of a group of
courageous Viking rowers
. The
“Dragon-shipâ€
or long ships designed
for raiding and war was a
sophisticated, fast ship
able to navigate in very
shallow water . To
musically portray these
magnificent seafaring
vessels, the director is
encouraged to use an
Ocean Drum (or a rain
stick) during the
introduction . Wind
players may consider
blowing air through their
instruments to suggest
the North wind . Adding
men’s voices to
accompany the haunting
low brass and percussive
“rowerâ€
sounds can be helpful in
creating the dark and
ominous portrayal of
Viking adventurers
.Slangpolska efter Byss -
KalleIn Sweden, a
“polska†is a
partner dance where the
dancers spin each other
(släng in Swedish
“to sling or
tossâ€) .
Slangpolska efter Byss -
Kalle is attributed to
Byss-Kalle, who was a
notable Swedish folk
musician, specifically a
nyckelharpa player .
Slangpolska efter Byss -
Kalle is a traditional
“polskaâ€
dance song most often
played on the Nyckelharpa
or keyed fiddle and is
commonly heard in pubs
and at festive events
throughout Sweden .
Approximately 10,000
nyckelharpa players live
in Sweden today, and the
Swedish and the American
Nyckelharpa Associations
are dedicated to this
Swedish National
instrument . The director
is encouraged to share
video and audio examples
of the nyckelharpa
playing the original
Slangpolska efter Byss -
Kalle .Tryggare Kan Ingen
Vara (Children of the
Heavenly Father)Tryggare
Kan Ingen Vara Is a
traditional Swedish
melody, possibly of
German roots, and was
believed to be arranged
as a hymn by the Swedish
hymn writer, Karolina
Wilhelmina Sandell-Berg
(1832–1903) . As a
daughter of a Swedish
Lutheran minister, she
began writing poems as a
teenager and is said to
have written over 1,700
different texts . There
are two different
accounts as to the
inspiration for this hymn
. The first story is that
Lina (as she was called)
wrote the hymn to honor
her father and to say
thank you to him for
raising her and
protecting her . A second
belief is of her
witnessing the tragic
death of her father . She
and her father were on a
boat, when a wave threw
her father overboard . It
was said that the
profound effect of
watching her father drown
is what caused Lina to
write the text to this
hymn . Although this is a
treasured song to people
of Swedish descent
everywhere, it speaks to
all people about a father
tending and nourishing
his children, and
protecting them from evil
.SPS71FThe Augustana
College Concert
BandFounded in 1874, the
Augustana Band program is
one of the oldest
continuously active
collegiate band programs
in the country . The
Concert Band is one of
two bands on campus and
was formed more than
thirty years ago . The
Concert Band attracts
students of every skill
level and from a wide
variety of majors .
Students in the ensemble
play a large part in
choosing their music for
performance, which
include works from the
standard repertoire,
orchestral
transcriptions, and the
latest compositions from
leading composers .Rick
Jaeschke began his
musical career as a
clarinet player in the
1st US Army Band . He
received a Bachelor of
Music degree from
Susquehanna University, a
Masters of Music from
James Madison University,
and a doctorate from
Columbia University in
New York . He was also
fortunate to study
conducting with Donald
Hunsburger and with
Frederick Fennell .Dr .
Jaeschke taught band and
choir at Great Mills High
School in Southern
Maryland, and for fifteen
years, he was the
district Music Supervisor
in Armonk, New York,
where he taught high
school concert and jazz
bands, beginning band,
and music technology .
During that time, the
music program flourished,
and the high school band
consistently received
Gold Medals in the New
York State Festivals, as
well as in national, and
international festivals .
As a clarinet and
saxophone player, Dr .
Jaeschke performed in the
New York metropolitan
area with the Rockland
Symphony Orchestra, the
Putnam Symphony
Orchestra, Fine Arts
Symphony Orchestra, and
served as the concert
master for the Hudson
Valley Wind Symphony .For
several years, Dr .
Jaeschke served as the
Fine Arts Coordinator for
the District 204 schools
in Naperville, IL, a
district selected as One
of the Best 100 Schools
in America for Music .
Currently, Dr . Jaeschke
is an Associate Professor
at Augustana College
where he teaches music
and music education
courses, and directs the
Concert Band . He has
served on various
educational boards, is a
National edTPA scorer,
and has presented at
state, national and
international music
conferences . He lives
with his family in
Bettendorf Iowa, and
enjoys any opportunity to
explore the open water in
his sea kayak .
Arrangement for
chamber orchestra (arr.
J. Linckelmann).
Composed by Franz
Schubert. Arranged by
Joachim Linckelmann.
Carus digital: Extra
digital products. Full
Score. D 950. 216 pages.
Duration 50 minutes.
Carus Verlag #4066050.
Published by Carus Verlag
(CA.4066050).
ISBN
9790007294533. Key: E
flat major.
Latin.
Schubertâ??
s Mass in E-flat major is
the last of his six
settings of the
Ordinarium Missae (Mass
ordinary) and also his
most important work in
this genre. The mass is
full of color and drama,
infused with the spirit
of confession. For many
choirs, it is on the wish
list of those works they
would like to sing
someday. But what happens
if you donâ??t have
enough singers, money is
tight, and your venue is
on the small side?
Here the experienced
arranger and orchestral
musician Joachim
Linckelmann has a great
solution. His version for
soloists, choir and
chamber orchestra
requires only 7 winds
rather than the original
13. The string parts,
while identical to the
original, can now also be
scaled back. The vocal
parts (soloists and
chorus) are completely
untouched by the
arrangement, so that the
vocal scores and choral
scores of the Carus
Urtext edition can also
be used for
performanceâ?¢,A
large-scale work now
arranged for smaller
choirs â?¢,13 winds
of the original version
reduced to 7
instrumentsâ?¢,Voca
l scores and choral
scores of the original
version can still be
usedâ?¢,carus plus:
The work (original
version) is available in
the app carus music, the
Choir Coach, as well as
in our Carus Choir Coach
series (audio only)..
Score available
separately - see item
CA.4066000.
Choral SATB choir, piano SKU: CF.CM9713 Composed by Jacob Narverud. 16 pa...(+)
Choral SATB choir, piano
SKU: CF.CM9713
Composed by Jacob
Narverud. 16 pages.
Duration 4:01. Carl
Fischer Music #CM9713.
Published by Carl Fischer
Music (CF.CM9713).
ISBN 9781491160084.
UPC: 680160918683. Key: G
major. English. Robert
Bode. Original.
The
piece was commissioned by
Kevin Scully, Director of
Creative Arts, for the
Port Washington School
District, New York, with
special thanks to the Ed
Foundation and HEARTS for
their unwavering support.
Performance Notes This
lighthearted piece is a
great way to bring
multiple choirs together
in harmony. It may be
sung by a single SATB
choir, though it is
intended to be performed
by multiple choirs of
varying age levels. Song
of the Sound was written
for an all-district
feeder festival piece for
combined elementary,
middle level, and high
school choirs. Here is a
suggested outline for
combining multiple
choirs: Rehearsal Letters
A to B: Elementary choir
only (two-part, Soprano,
Alto) Rehearsal Letter B:
add Middle Level Soprano,
Alto with Elementary
choir Rehearsal Letter C:
Middle Level choir only
Rehearsal Letter D: High
School choir only
Rehearsal Letter E to the
end: Everyone! Song of
the Sound: Running on the
beach, digging in the
sand, Seaweed in my toes,
bucket in my hand. When
I'm at the shore, way
above the rest, These are
all the things that I
love the best. Skipping
like a stone on the
water, diving deep in the
silvery foam, Swimming
far where the land cannot
hold us, where the
lighthouse calls us home.
Flying free above the
marshes, soaring high
above the sea, Where the
tern and cormorant and
plover call to lands we
cannot see.Come let us go
to the water, let us go
to the singing shore:
Where the gentle breezes
whisper and the mighty
breakers roar. We will
look to the shining
ocean, to the East, where
the new day dawned: We
will sing a song of the
edge of the world and the
waiting sky beyond. -Poem
by Robert Bode (Hope
Springs Retreat Center,
Ohio. August 2019) About
the Composer: Jacob
Narverud (b. 1986) is an
American composer,
arranger, and conductor.
Dr. Narverud is an active
guest Conductor/Clinician
for Choral Festivals and
All-State Choirs across
the country and is the
Founder/Artistic Director
of the Tallgrass Chamber
Choir, a professional
ensemble comprised of
musicians from across the
Great Plains. As a
sought-after composer,
Narverud has been
commissioned to write new
works for a variety of
choral ensembles and
organizations. Many of
his Editors' Choirs
compositions are
publisher Best Sellers
and are performed
worldwide by choirs of
all levels. Website:
www.jnarverud.com YouTube
& Spotify:
@jacobnarverud. The
piece was commissioned by
Kevin Scully, Director of
Creative Arts, for the
Port Washington School
District, New York, with
special thanks to the Ed
Foundation and HEARTS for
their unwavering
support.Performance
NotesThis lighthearted
piece is a great way to
bring multiple choirs
together in harmony. It
may be sung by a single
SATB choir, though it is
intended to be performed
by multiple choirs of
varying age levels. Song
of the Sound was written
for an all-district
feeder festival piece for
combined elementary,
middle level, and high
school choirs. Here is a
suggested outline for
combining multiple
choirs:Rehearsal Letters
AÂ to B: Elementary
choir only (two-part,
Soprano, Alto)Rehearsal
Letter B: add Middle
Level Soprano, Alto with
Elementary choirRehearsal
Letter C: Middle
Level choir onlyRehearsal
Letter D: High School
choir onlyRehearsal
Letter E to the end:
Everyone!Song of the
Sound:Running on the
beach, digging in the
sand,Seaweed in my toes,
bucket in my hand.When
I'm at the shore, way
above the rest,These are
all the things that I
love the
best. Skipping like a
stone on the water,
diving deep in the
silvery foam,Swimming far
where the land cannot
hold us, where the
lighthouse calls us
home.Flying free above
the marshes, soaring high
above the sea,Where the
tern and cormorant and
plover call to lands we
cannot see.Come let us go
to the water, let us go
to the singing
shore:Where the gentle
breezes whisper and the
mighty breakers roar.We
will look to the shining
ocean, to the East, where
the new day dawned:We
will sing a song of the
edge of the world and the
waiting sky beyond.-Poem
by Robert Bode (Hope
Springs Retreat Center,
Ohio. August 2019)About
the Composer:Jacob
Narverud (b. 1986) is an
American composer,
arranger, and conductor.
Dr. Narverud is an active
guest Conductor/Clinician
for Choral Festivals and
All-State Choirs across
the country and is the
Founder/Artistic Director
of the Tallgrass Chamber
Choir, a professional
ensemble comprised of
musicians from across the
Great Plains. As a
sought-after composer,
Narverud has been
commissioned to write new
works for a variety of
choral ensembles and
organizations. Many of
his Editors' Choirs
compositions are
publisher Best Sellers
and are performed
worldwide by choirs of
all levels. Website:
www.jnarverud.comÂ
YouTube & Spotify:
@jacobnarverud.
Composed by
Michael John Trotta. E.e.
cummings. Mjts.
Performance Score. With
Standard notation. 20
pages. Duration 5
minutes, 11 seconds. Carl
Fischer Music #CM9565.
Published by Carl Fischer
Music (CF.CM9565).
ISBN 9781491153611.
UPC: 680160911110. 6.75 x
10.5 inches. Key: E
minor. English. Text:
E.E. Cummings. E. e.
cummings. E.e.
cummings.
Trotta's
unique juxtaposition of
texts from the past
(Requiem?text in
the?Liber Usualis) with
the present (e.e.
cummings poem?i carry
your heart) results in a
compelling, lush
composition accessible to
mixed choirs of all
sizes. With optional oboe
and solo or small group,
i carry your heart?is
appropriate for concert,
festival, retirement or a
special tribute. It is
certain to be adored and
appreciated by all.
Highly
recommend!. This piece
incorporates the
Introit from the
Requiem in the
Liber Usualis in
the men's voices using
the text by E. E.
Cummings. The women's
voices have original
music that soars
gracefully about the
plainsong. The middle
section features the
Requiem text,
set simply in a
homophonic style. The
final section blends the
two styles into a prayer
of thanks and
remembrance. This beloved
E.E. Cummings text was
commissioned in honor and
loving memory of Dr.
Ferris Ohl (1914-2017) in
thanks for over four
decades of service to the
Heidelberg University
Music department.
Director of Choral
Activities Dr. Greg
Ramsdell sought to pay
tribute to the rich
legacy of Dr. Ohl by
having a setting of the
text that broadened the
scope of the message i
carry your heart to
include those who have
come before us and who
live on in our song.
INSERT GRAPHIC
HERE - I e mailed you on
5-14. This piece
incorporates theA
IntroitA from
theA RequiemA in
theA Liber UsualisA
in the men's voices
using the text by E. E.
Cummings. The women's
voices have original
music that soars
gracefully about the
plainsong. The middle
section features theA
RequiemA text,
set simply in a
homophonic style. The
final section blends the
two styles into a prayer
of thanks and
remembrance. This beloved
E.E. Cummings text was
commissioned in honor and
loving memory of Dr.
Ferris Ohl (1914-2017) in
thanks for over four
decades of service to the
Heidelberg University
Music department.
Director of Choral
Activities Dr. Greg
Ramsdell sought to pay
tribute to the rich
legacy of Dr. Ohl by
having a setting of the
text that broadened the
scope of the message i
carry your heart to
include those who have
come before us and who
live on in our song.
INSERT GRAPHIC
HERE - I e mailed you on
5-14. This piece
incorporates theA
IntroitA from
theA RequiemA in
theA Liber UsualisA
in the men's voices
using the text by E. E.
Cummings. The women's
voices have original
music that soars
gracefully about the
plainsong. The middle
section features theA
RequiemA text,
set simply in a
homophonic style. The
final section blends the
two styles into a prayer
of thanks and
remembrance. This beloved
E.E. Cummings text was
commissioned in honor and
loving memory of Dr.
Ferris Ohl (1914-2017) in
thanks for over four
decades of service to the
Heidelberg University
Music department.
Director of Choral
Activities Dr. Greg
Ramsdell sought to pay
tribute to the rich
legacy of Dr. Ohl by
having a setting of the
text that broadened the
scope of the message i
carry your heart to
include those who have
come before us and who
live on in our song.
INSERT GRAPHIC
HERE - I e mailed you on
5-14. This piece
incorporates the
Introit from the
Requiem in the
Liber Usualis in
the men's voices using
the text by E. E.
Cummings. The women's
voices have original
music that soars
gracefully about the
plainsong. The middle
section features the
Requiem text,
set simply in a
homophonic style. The
final section blends the
two styles into a prayer
of thanks and
remembrance. This beloved
E.E. Cummings text was
commissioned in honor and
loving memory of Dr.
Ferris Ohl (1914-2017) in
thanks for over four
decades of service to the
Heidelberg University
Music department.
Director of Choral
Activities Dr. Greg
Ramsdell sought to pay
tribute to the rich
legacy of Dr. Ohl by
having a setting of the
text that broadened the
scope of the message i
carry your heart to
include those who have
come before us and who
live on in our song.
INSERT GRAPHIC
HERE - I e mailed you on
5-14. This piece
incorporates the Introit
from the Requiem in the
Liber Usualis in the
men's voices using the
text by E. E. Cummings.
The women's voices have
original music that soars
gracefully about the
plainsong. The middle
section features the
Requiem text, set simply
in a homophonic style.
The final section blends
the two styles into a
prayer of thanks and
remembrance. This beloved
E.E. Cummings text was
commissioned in honor and
loving memory of Dr.
Ferris Ohl (1914-2017) in
thanks for over four
decades of service to the
Heidelberg University
Music department.
Director of Choral
Activities Dr. Greg
Ramsdell sought to pay
tribute to the rich
legacy of Dr. Ohl by
having a setting of the
text that broadened the
scope of the message i
carry your heart to
include those who have
come before us and who
live on in our song.
INSERT GRAPHIC
HERE - I e mailed you on
5-14. This piece
incorporates
the Introit from
the Requiem in
the Liber
Usualis in the men's
voices using the text by
E. E. Cummings. The
women's voices have
original music that soars
gracefully about the
plainsong. The middle
section features
the Requiem text,
set simply in a
homophonic style. The
final section blends the
two styles into a prayer
of thanks and
remembrance.This beloved
E.E. Cummings text was
commissioned in honor and
loving memory of Dr.
Ferris Ohl (1914-2017) in
thanks for over four
decades of service to the
Heidelberg University
Music department.Director
of Choral Activities Dr.
Greg Ramsdell sought to
pay tribute to the rich
legacy of Dr. Ohl by
having a setting of the
text that broadened the
scope of the message i
carry your heart to
include those who have
come before us and who
live on in our
song. INSERT GRAPHIC
HERE - I e mailed you on
5-14.
Arrangement for
chamber orchestra
(Linckelmann).
Composed by Ludwig van
Beethoven. Arranged by
Joachim Linckelmann.
Carus sheet music series:
Great choral works in
small scorings. Foreword
in German and English.
Sacred vocal music,
Masses, Latin. Full
Score. Op. 123. Duration
90 minutes. Carus Verlag
#CV 40.689/50. Published
by Carus Verlag
(CA.4068950).
ISBN
9790007254445. Key: D
major.
Latin.
Beethoven
described his Missa
solemnis several times as
his greatest work. Coming
from the heart, it was
intended to touch and
move audiences. Beethoven
worked long and
intensively on the
composition in order to
give what he felt was
adequate expression to
the text. In its length
and musical demands, the
Missa solemnis goes far
beyond typical liturgical
settings; for good
reason, the premiere took
place in a concert hall.
With this arrangement for
chamber orchestra (flute,
oboe, clarinet, bassoon,
horn, trumpet, trombone,
timpani and strings, plus
organ ad lib), smaller
choirs, as well as choirs
with more limited
resources of space or
finance, can now perform
this work too. However,
the symphonic character
and wide dynamic range of
the work remain. The
scoring of 7 instead of
18 winds offers an
optimal balance between
transparency and
orchestral sound. All the
vocal parts (soloists and
chorus) are identical
with the original
version, so that the
vocal score and chorus
score of that version can
be used. Major mass can
also be performed by
smaller choir Wind and
brass parts of the
original version reduced
to just seven single
instruments Vocal scores
and choral scores from
the original version can
be used. carus plus: the
work (original version)
is available in carus
music, the choir app, and
in the practice CD series
Carus Choir Coach. Score
available separately -
see item CA.4068900.
Composed by Franz
Schubert. Edited by
Salome Reiser. This
edition: urtext.
Stuttgart Urtext Edition:
Stuttgart Schubert
Edition. Violin 1.
Innovative practice aids,
Sacred vocal music,
Magnificats, Advent,
Christmas, Feasts of the
Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary, Daily hours.
Single Part, Violin 1.
Composed 1815. D 486. 8
pages. Duration 9
minutes. Carus Verlag #CV
70.053/11. Published by
Carus Verlag
(CA.7005311).
ISBN
9790007228286. Key: D
major. Language:
Latin.
With a
duration of about 10
minutes, Schubert's
Magnificat D 486 in C
major is one of the more
concise settings of the
well-known Marian
canticles, originally for
the service of Vespers.
It was composed in late
summer 1815, and is
therefore probably one of
a series of church music
works Schubert wrote in
his youth for Lichtenthal
Parish Church. The work
requires a large-scale
orchestra with strings,
woodwind, and brass. The
four-part choir contrasts
with four soloists; this
quartet sings the
peaceful middle section
of the three-section
work. For the Carus
edition Schubert's own
autograph manuscript of
his Magnificat was
consulted again for the
first time since 1888.
Until 1989 this had been
thought to be lost. This
work is now available in
carus music, the choir
app! Score and part
available separately -
see item CA.7005300.
Composed by Franz
Schubert. Edited by
Salome Reiser. This
edition: urtext.
Stuttgart Urtext Edition:
Stuttgart Schubert
Edition. Violin 2.
Innovative practice aids,
Sacred vocal music,
Magnificats, Advent,
Christmas, Feasts of the
Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary, Daily hours.
Single Part, Violin 2.
Composed 1815. D 486. 8
pages. Duration 9
minutes. Carus Verlag #CV
70.053/12. Published by
Carus Verlag
(CA.7005312).
ISBN
9790007228293. Key: D
major. Language:
Latin.
With a
duration of about 10
minutes, Schubert's
Magnificat D 486 in C
major is one of the more
concise settings of the
well-known Marian
canticles, originally for
the service of Vespers.
It was composed in late
summer 1815, and is
therefore probably one of
a series of church music
works Schubert wrote in
his youth for Lichtenthal
Parish Church. The work
requires a large-scale
orchestra with strings,
woodwind, and brass. The
four-part choir contrasts
with four soloists; this
quartet sings the
peaceful middle section
of the three-section
work. For the Carus
edition Schubert's own
autograph manuscript of
his Magnificat was
consulted again for the
first time since 1888.
Until 1989 this had been
thought to be lost. This
work is now available in
carus music, the choir
app! Score and part
available separately -
see item CA.7005300.
(20 inspirational songs for schools and communities). By Brenda Rattray. For cho...(+)
(20 inspirational songs
for schools and
communities). By Brenda
Rattray. For choir and
piano. Book; CD;
Classroom/Pre-School;
General Music and
Classroom Publications;
Other Classroom. Faber
Edition. Book and 2 CDs.
Published by Faber Music
Choral TBB choir, piano SKU: CF.CM9594 Composed by Greg Gilpin. Fold. Per...(+)
Choral TBB choir, piano
SKU: CF.CM9594
Composed by Greg Gilpin.
Fold. Performance Score.
8 pages. Duration 2
minutes, 50 seconds. Carl
Fischer Music #CM9594.
Published by Carl Fischer
Music (CF.CM9594).
ISBN 9781491154168.
UPC: 680160912667. 6.875
x 10.5 inches. Key: Bb
major. English. Alfred
Tennyson. Alfred, Lord
Tennyson
(1809-1892).
The
text of Alfred, Lord
Tennyson's There is
Sweet Music Here is
a wonderful example of
word painting. Keep this
in mind while learning to
sing the music and try to
capture the different
scenes created through
these famous words. The
first two measures of
accompaniment outline the
opening chord in the
voices. Crescendo to the
word music every time it
occurs. In mm. 710, the
vocals cascade gently
into a dissonance that
develops into a full,
rich sound. Allow the
piano to support the
unison lines in mm. 1417
as well as those that
contain three-part
singing. The piano
establishes a consistent
undulating tempo in mm.
2225, as if lulling
someone to sleep. Be
intentional with
word/syllabic stress when
singing through the
quarter notes. Maintain a
consistent tempo when
singing the eighth notes
in mm. 3336. The chord
progression helps
establish the coolness of
the mosses and ivies.
Notice the melodic
movement in mm. 3738
reflecting the craggy
ledge and hanging poppy
followed by the unison
sleep which ushers in the
return of the original
melody within the
accompaniment. Linger
with quiet, full and
supported singing during
the last three
measures. The text of
Alfred, Lord Tennyson'sA
There is Sweet Music
HereA is a wonderful
example of word painting.
Keep this in mind while
learning to sing the
music and try to capture
the different scenes
created through these
famous words. The first
two measures of
accompaniment outline the
opening chord in the
voices. Crescendo to the
word music every time it
occurs. In mm. 7a10, the
vocals cascade gently
into a dissonance that
develops into a full,
rich sound. Allow the
piano to support the
unison lines in mm. 14a17
as well as those that
contain three-part
singing. The piano
establishes a consistent
undulating tempo in mm.
22a25, as if lulling
someone to sleep. Be
intentional with
word/syllabic stress when
singing through the
quarter notes. Maintain a
consistent tempo when
singing the eighth notes
in mm. 33a36. The chord
progression helps
establish the coolness of
the mosses and ivies.
Notice the melodic
movement in mm. 37a38
reflecting the craggy
ledge and hanging poppy
followed by the unison
sleep which ushers in the
return of the original
melody within the
accompaniment. Linger
with quiet, full and
supported singing during
the last three
measures. The text of
Alfred, Lord Tennyson'sA
There is Sweet Music
HereA is a wonderful
example of word painting.
Keep this in mind while
learning to sing the
music and try to capture
the different scenes
created through these
famous words. The first
two measures of
accompaniment outline the
opening chord in the
voices. Crescendo to the
word music every time it
occurs. In mm. 7a10, the
vocals cascade gently
into a dissonance that
develops into a full,
rich sound. Allow the
piano to support the
unison lines in mm. 14a17
as well as those that
contain three-part
singing. The piano
establishes a consistent
undulating tempo in mm.
22a25, as if lulling
someone to sleep. Be
intentional with
word/syllabic stress when
singing through the
quarter notes. Maintain a
consistent tempo when
singing the eighth notes
in mm. 33a36. The chord
progression helps
establish the coolness of
the mosses and ivies.
Notice the melodic
movement in mm. 37a38
reflecting the craggy
ledge and hanging poppy
followed by the unison
sleep which ushers in the
return of the original
melody within the
accompaniment. Linger
with quiet, full and
supported singing during
the last three
measures. The text of
Alfred, Lord Tennyson's
There is Sweet Music
Here is a wonderful
example of word painting.
Keep this in mind while
learning to sing the
music and try to capture
the different scenes
created through these
famous words. The first
two measures of
accompaniment outline the
opening chord in the
voices. Crescendo to the
word music every time it
occurs. In mm. 7-10, the
vocals cascade gently
into a dissonance that
develops into a full,
rich sound. Allow the
piano to support the
unison lines in mm. 14-17
as well as those that
contain three-part
singing. The piano
establishes a consistent
undulating tempo in mm.
22-25, as if lulling
someone to sleep. Be
intentional with
word/syllabic stress when
singing through the
quarter notes. Maintain a
consistent tempo when
singing the eighth notes
in mm. 33-36. The chord
progression helps
establish the coolness of
the mosses and ivies.
Notice the melodic
movement in mm. 37-38
reflecting the craggy
ledge and hanging poppy
followed by the unison
sleep which ushers in the
return of the original
melody within the
accompaniment. Linger
with quiet, full and
supported singing during
the last three
measures. The text of
Alfred, Lord Tennyson's
There is Sweet Music Here
is a wonderful example of
word painting. Keep this
in mind while learning to
sing the music and try to
capture the different
scenes created through
these famous words. The
first two measures of
accompaniment outline the
opening chord in the
voices. Crescendo to the
word music every time it
occurs. In mm. 7-10, the
vocals cascade gently
into a dissonance that
develops into a full,
rich sound. Allow the
piano to support the
unison lines in mm. 14-17
as well as those that
contain three-part
singing. The piano
establishes a consistent
undulating tempo in mm.
22-25, as if lulling
someone to sleep. Be
intentional with
word/syllabic stress when
singing through the
quarter notes. Maintain a
consistent tempo when
singing the eighth notes
in mm. 33-36. The chord
progression helps
establish the coolness of
the mosses and ivies.
Notice the melodic
movement in mm. 37-38
reflecting the craggy
ledge and hanging poppy
followed by the unison
sleep which ushers in the
return of the original
melody within the
accompaniment. Linger
with quiet, full and
supported singing during
the last three
measures. The text of
Alfred, Lord
Tennyson's There is
Sweet Music Here is a
wonderful example of word
painting. Keep this in
mind while learning to
sing the music and try to
capture the different
scenes created through
these famous words.The
first two measures of
accompaniment outline the
opening chord in the
voices. Crescendo to the
word music every time it
occurs. In mm.
7–10, the vocals
cascade gently into a
dissonance that develops
into a full, rich sound.
Allow the piano to
support the unison lines
in mm. 14–17 as
well as those that
contain three-part
singing.The piano
establishes a consistent
undulating tempo in mm.
22–25, as if
lulling someone to sleep.
Be intentional with
word/syllabic stress when
singing through the
quarter notes.Maintain a
consistent tempo when
singing the eighth notes
in mm. 33–36. The
chord progression helps
establish the coolness of
the mosses and ivies.
Notice the melodic
movement in mm.
37–38 reflecting
the craggy ledge and
hanging poppy followed by
the unison sleep which
ushers in the return of
the original melody
within the
accompaniment.Linger with
quiet, full and supported
singing during the last
three measures.
O Antiphons Chorale SATB [Octavo] CanticaNOVA Publications
Composed by Stephen McManus. For SATB choir, a cappella. Text: Liturgy of the Ho...(+)
Composed by Stephen
McManus. For SATB choir,
a cappella. Text: Liturgy
of the Hours. Brief
settings of the seven
Magnificat antiphons for
the last days of Advent.
Advent. Octavo. Published
by CanticaNOVA
Publications
For Boy's Voices and Organ. By Benjamin Britten. (Vocal Score). Boosey and Hawk...(+)
For Boy's Voices and
Organ. By Benjamin
Britten. (Vocal Score).
Boosey and Hawkes Large
Choral. Size 9x12 inches.
14 pages. Published by
Boosey and Hawkes.