SSATB choir, [SATB/SATB],
8 instruments ad lib.,
basso continuo
SKU:
CA.1002711
Chorale
concert. Composed by
Michael Praetorius.
Edited by Uwe Wolf. This
edition: urtext.
Stuttgart Urtext Edition.
Halleluja, Christ Ist
Erstanden. Sacred
concertos, Sacred vocal
music, Praise and thanks.
Single Part, Viola 1. 4
pages. Duration 8
minutes. Carus Verlag #CV
10.027/11. Published by
Carus Verlag
(CA.1002711).
ISBN
9790007189327. Text
language:
German.
The
collection Polyhymnia
Caduceatrix & Panegyrica
of 1619 is rightly
regarded as the high
point in Michael
Praetorius's output. It
combines Solennische
Friedt- und
Frewden-Concert: which
Praetorius as a
travelling musician had
composed largely for
festive occasions - he
writes of Kayser: Konig:
Chur: vnd Furstlichen
zusammen Kunfften - and
also for furnehme
Capellen vnd Kirchen. In
these chorale concerti
the highly modern,
Italian style and the
Protestant chorale
combine and form a
symbiosis which showed
the way forward for the
history of German music.
The chorale settings draw
on influences from
Venetian polychoral
music, use ritornelli and
employ obbligato
instruments in a way
which is beyond compare,
even in contemporary
Italy. Here we see a
quite different side of
the master from the
composer of Es ist ein
Ros entsprungen. And
above all, Praetorius
always remains a
practical musician who
ensures that these
breathtaking choral
concerti can also be
effectively performed
with smaller forces,
sometimes considerably
reduced ones. Praetorius
gives the verses of the
well-known Easter hymn
Christ ist erstanden to
the concertists (soloists
or small choir), who can
perform these in
alternating scorings. At
the beginning, between
the verses, and at the
end, a magnificent
Halleluja occurs as a
ritornello, which can be
performed by up to 5
choirs - ad lib, of
course. Score and part
available separately -
see item CA.1002700.
Chamber Music Piano, Voice SKU: PR.111402110 For Voice and Piano. ...(+)
Chamber Music Piano,
Voice
SKU:
PR.111402110
For
Voice and Piano.
Composed by Samuel Adler.
Ecclesiastes; Chapter 3,
verses 14-22.
Contemporary. Performance
Score. With Standard
notation. Composed 2004.
10 pages. Theodore
Presser Company
#111-40211. Published by
Theodore Presser Company
(PR.111402110).
Cantata
for the 1st Sunday in
Advent. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Paul Horn.
This edition: Paperbound.
Coppenrath series, Hymns
by Martin Luther: Nun
komm, der Heiden Heiland.
German title: Nun Komm
Der Heiden Heiland Ii.
Sacred vocal music,
Cantatas, Advent,
Christmas. Study score.
Composed 1724. BWV 62. 56
pages. Duration 23
minutes. Carus Verlag #CV
31.062/07. Published by
Carus Verlag
(CA.3106207).
ISBN
9790007043599. Key: B
minor. Language:
German/English. Text:
Luther, Martin. Text:
Martin
Luther.
Bach's
second cantata starting
with the text Come now,
God's chosen saviour (II)
BWV 62 was first
performed in 1724 on the
1st Advent Sunday (which,
at that time, was the
only Advent Sunday with
church music in Leipzig)
and belongs to the annual
cycle of chorale
cantatas. As was usual
for chorale cantatas, the
unknown librettist used
the first and last verses
of Martin Luther's hymn
verbatim for the opening
chorus and the concluding
chorale but adapted the
texts of the inner
verses. After two
contrasting arias - the
one dance-like, the
second almost heroic - an
almost enraptured
accompagnato (Wir ehren
diese Herrlichtkeit, und
nahen nun zu deiner
Krippen), in which the
soprano and contralto
mostly sing in parallel
thirds and sixths, leads
to a simple concluding
chorale. Score available
separately - see item
CA.3106200.
Cantata
for the 2nd Sunday afer
Trinity / Reformation
Day. Composed by
Johann Sebastian Bach.
Edited by Ulrich
Leisinger. Arranged by
Paul Horn. German title:
Die Himmel erzahlen die
Ehre Gottes. Sacred vocal
music, Cantatas, Psalms,
German. Choral Score.
Composed 1723. BWV 76. 12
pages. Duration 35
minutes. Carus Verlag #CV
31.076/05. Published by
Carus Verlag
(CA.3107605).
ISBN
9790007044916. Key: C
major / a minor.
Language:
German/English.
The
cantata Die Himmel
erzahlen die Ehre Gottes
(The heavens are telling
of God in glory) BWV 76
by Johann Sebastian Bach
was written for the 2nd
Sunday after Trinity,
which fell on 6 June 1723
in the year it was first
performed. This ambitious
two-part work was the
second cantata which Bach
wrote after taking up the
position of Kantor of St.
Thomas's in Leipzig.
Bach's aim was evidently
to demonstrate a
particularly wide range
of musical forms in both
the arias and the
recitatives in this
cantata. The opening
chorus is based on verses
2 and 4 of Psalm 19, with
verse 4 structured as a
choral fugue. Both parts
of the cantata end with a
chorale movement with
different verses from the
Lutheran hymn Es woll uns
Gott genadig sein. The
text refers loosely to
the epistle reading from
the 1st letter of St
John, but deals more with
general thoughts about
the temptations of the
Christian which can be
overcome through love.
Bach also performed the
first part of the cantata
later with minor
revisions, but evidently
no alterations to the
text, on Reformation Day
in Leipzig. Score
available separately -
see item CA.3107600.
SSATB choir, [SATB/SATB],
8 instruments ad lib.,
basso continuo
SKU:
CA.1002709
Chorale
concert. Composed by
Michael Praetorius.
Edited by Uwe Wolf. This
edition: urtext. 1x
10.027/31 trombone 1, 1x
10.027/32 2 trombones, 1x
10.027/33 trombone 3, 1x
10.027/34 trombone 4.
Stuttgart Urtext Edition.
Halleluja, Christ Ist
Erstanden. Sacred
concertos, Sacred vocal
music, Praise and thanks.
Set of Orchestra Parts.
Duration 8 minutes. Carus
Verlag #CV 10.027/09.
Published by Carus Verlag
(CA.1002709).
ISBN
9790007189310. Text
language:
German.
The
collection Polyhymnia
Caduceatrix & Panegyrica
of 1619 is rightly
regarded as the high
point in Michael
Praetorius's output. It
combines Solennische
Friedt- und
Frewden-Concert: which
Praetorius as a
travelling musician had
composed largely for
festive occasions - he
writes of Kayser: Konig:
Chur: vnd Furstlichen
zusammen Kunfften - and
also for furnehme
Capellen vnd Kirchen. In
these chorale concerti
the highly modern,
Italian style and the
Protestant chorale
combine and form a
symbiosis which showed
the way forward for the
history of German music.
The chorale settings draw
on influences from
Venetian polychoral
music, use ritornelli and
employ obbligato
instruments in a way
which is beyond compare,
even in contemporary
Italy. Here we see a
quite different side of
the master from the
composer of Es ist ein
Ros entsprungen. And
above all, Praetorius
always remains a
practical musician who
ensures that these
breathtaking choral
concerti can also be
effectively performed
with smaller forces,
sometimes considerably
reduced ones. Praetorius
gives the verses of the
well-known Easter hymn
Christ ist erstanden to
the concertists (soloists
or small choir), who can
perform these in
alternating scorings. At
the beginning, between
the verses, and at the
end, a magnificent
Halleluja occurs as a
ritornello, which can be
performed by up to 5
choirs - ad lib, of
course. Score and parts
available separately -
see item CA.1002700.
ATT(Bar)B verses, SATB
choir and organ/string
orchestra (SATB) - easy
SKU:
OU.9780193952973
Composed by Pelham
Humfrey. Edited by
Watkins Shaw. Sacred
choral - mixed voices.
Church Music Society
Publications. Sacred,
Choral Leaflet. Vocal
score. Duration 6'.
Oxford University Press
#9780193952973. Published
by Oxford University
Press (OU.9780193952973).
ISBN
9780193952973.
ATT(
Bar)B verses, SATB choir,
and organ or string
orchestra. Orchestral
material is available on
hire from the
publisher.
Cantata
for the 2nd Sunday afer
Trinity / Reformation
Day. Composed by
Johann Sebastian Bach.
Edited by Ulrich
Leisinger. Arranged by
Paul Horn. This edition:
Paperbound. German title:
Die Himmel erzahlen die
Ehre Gottes. Sacred vocal
music, Cantatas, Psalms,
German. Study score.
Composed 1723. BWV 76. 72
pages. Duration 35
minutes. Carus Verlag #CV
31.076/07. Published by
Carus Verlag
(CA.3107607).
ISBN
9790007044923. Key: C
major / a minor.
Language:
German/English.
The
cantata Die Himmel
erzahlen die Ehre Gottes
(The heavens are telling
of God in glory) BWV 76
by Johann Sebastian Bach
was written for the 2nd
Sunday after Trinity,
which fell on 6 June 1723
in the year it was first
performed. This ambitious
two-part work was the
second cantata which Bach
wrote after taking up the
position of Kantor of St.
Thomas's in Leipzig.
Bach's aim was evidently
to demonstrate a
particularly wide range
of musical forms in both
the arias and the
recitatives in this
cantata. The opening
chorus is based on verses
2 and 4 of Psalm 19, with
verse 4 structured as a
choral fugue. Both parts
of the cantata end with a
chorale movement with
different verses from the
Lutheran hymn Es woll uns
Gott genadig sein. The
text refers loosely to
the epistle reading from
the 1st letter of St
John, but deals more with
general thoughts about
the temptations of the
Christian which can be
overcome through love.
Bach also performed the
first part of the cantata
later with minor
revisions, but evidently
no alterations to the
text, on Reformation Day
in Leipzig. Score
available separately -
see item CA.3107600.
Composed
by Marten Jansson.
Stapled. Choral score. 11
pages. Baerenreiter
Verlag #BA08528_00.
Published by Baerenreiter
Verlag (BA.BA08528).
ISBN 9790006568888. 27
x 19 cm inches. Text
Language: Latin. Text:
Silvestri, Charles
Anthony.
“Sti
llae†was composed
for the
“Jugendkonzertchor
der Chorakademie
Dortmund†who won
first prize in the
“Mårten Jansson
Choral Competitionâ€
in 2018. The American
poet Charles Anthony
Silvestri wrote the
lyrics.
The poem
is divided in four short
clear Latin verses
resembling the form of
medieval poetry. The
first three verses offer
short glimpses of
Mary’s life with
Jesus described through
different kinds of drops
–
Stillae: Drops of
water – when she
bathes her tiny
son Drops of tears
– when she cries
while pondering his fate,
and finally Drops of
blood – that fall
on her face from the
cross
The music
and lyrics paint this
transition from happiness
to worry and deepest
grief, concluding in a
final verse; a still
prayer to Mary to take
our drops, our prayers,
and offer them to
Jesus.
Composed by Evelyn
Brokish, OSF. Pentecost
Vigil, Pentecost,
Pentecost A, Pentecost B,
Pentecost C. Choral.
Sacred. Octavo. 8 pages.
GIA Publications #6854.
Published by GIA
Publications (GI.G-6854).
UPC: 785147685401.
English. Text by Edwin
Hatch.
This refrain
and verses are in a
chantlike free meter.
Though scored for SATB
voices, it can be sung
unison or two-part with
accompaniment, and the
assembly may sing the
refrain. The two-part
verses can be sung by any
combination of two
voices. For Pentecost or
any occasion that calls
for invoking the Holy
Spirit. Keyboard and
assembly parts are
optional
For Pentecost
or any occasion that
calls for invoking the
Holy Spirit.
SSATB choir, [SATB/SATB],
8 instruments ad lib.,
basso continuo
SKU:
CA.1002719
Chorale
concert. Composed by
Michael Praetorius.
Edited by Uwe Wolf. This
edition: urtext.
Stuttgart Urtext Edition.
Halleluja, Christ Ist
Erstanden. Sacred
concertos, Sacred vocal
music, Praise and thanks.
Set of Orchestra Parts.
Duration 8 minutes. Carus
Verlag #CV 10.027/19.
Published by Carus Verlag
(CA.1002719).
ISBN
9790007181413. Text
language:
German.
The
collection Polyhymnia
Caduceatrix & Panegyrica
of 1619 is rightly
regarded as the high
point in Michael
Praetorius's output. It
combines Solennische
Friedt- und
Frewden-Concert: which
Praetorius as a
travelling musician had
composed largely for
festive occasions - he
writes of Kayser: Konig:
Chur: vnd Furstlichen
zusammen Kunfften - and
also for furnehme
Capellen vnd Kirchen. In
these chorale concerti
the highly modern,
Italian style and the
Protestant chorale
combine and form a
symbiosis which showed
the way forward for the
history of German music.
The chorale settings draw
on influences from
Venetian polychoral
music, use ritornelli and
employ obbligato
instruments in a way
which is beyond compare,
even in contemporary
Italy. Here we see a
quite different side of
the master from the
composer of Es ist ein
Ros entsprungen. And
above all, Praetorius
always remains a
practical musician who
ensures that these
breathtaking choral
concerti can also be
effectively performed
with smaller forces,
sometimes considerably
reduced ones. Praetorius
gives the verses of the
well-known Easter hymn
Christ ist erstanden to
the concertists (soloists
or small choir), who can
perform these in
alternating scorings. At
the beginning, between
the verses, and at the
end, a magnificent
Halleluja occurs as a
ritornello, which can be
performed by up to 5
choirs - ad lib, of
course. Score and parts
available separately -
see item CA.1002700.
By Liam Lawton. Arranged by John; Flute: Daigle Mccann. For Voices: SATB, cantor...(+)
By Liam Lawton. Arranged
by John; Flute: Daigle
Mccann. For Voices: SATB,
cantor, assembly.
Instruments: C
instrument, string
quartet (2 violins,
viola, cello)
(instruments optional).
Keyboard accompaniment.
Celebration Series
Sacred. Level: easy. 4
pages. Published by GIA
Publications.
Cantata
for the 2nd Sunday afer
Trinity / Reformation
Day. Composed by
Johann Sebastian Bach.
Edited by Ulrich
Leisinger. Arranged by
Paul Horn. German title:
Die Himmel erzahlen die
Ehre Gottes. Sacred vocal
music, Cantatas, Psalms,
German. Single Part,
Violin 1. Composed 1723.
BWV 76. 12 pages.
Duration 35 minutes.
Carus Verlag #CV
31.076/11. Published by
Carus Verlag
(CA.3107611).
ISBN
9790007044947. Key: C
major / a minor.
Language:
German/English.
The
cantata Die Himmel
erzahlen die Ehre Gottes
(The heavens are telling
of God in glory) BWV 76
by Johann Sebastian Bach
was written for the 2nd
Sunday after Trinity,
which fell on 6 June 1723
in the year it was first
performed. This ambitious
two-part work was the
second cantata which Bach
wrote after taking up the
position of Kantor of St.
Thomas's in Leipzig.
Bach's aim was evidently
to demonstrate a
particularly wide range
of musical forms in both
the arias and the
recitatives in this
cantata. The opening
chorus is based on verses
2 and 4 of Psalm 19, with
verse 4 structured as a
choral fugue. Both parts
of the cantata end with a
chorale movement with
different verses from the
Lutheran hymn Es woll uns
Gott genadig sein. The
text refers loosely to
the epistle reading from
the 1st letter of St
John, but deals more with
general thoughts about
the temptations of the
Christian which can be
overcome through love.
Bach also performed the
first part of the cantata
later with minor
revisions, but evidently
no alterations to the
text, on Reformation Day
in Leipzig. Score and
part available separately
- see item
CA.3107600.
Take and Eat Chorale SATB - Facile GIA Publications
By Michael Joncas. For Voices: SATB. Instruments: Flute, oboe, string quintet (2...(+)
By Michael Joncas. For
Voices: SATB.
Instruments: Flute, oboe,
string quintet (2
violins, viola, cello,
bass) (instruments
optional). Organ. Chamber
Music Sacred. Level:
easy. 2 pages. Published
by GIA Publications.
SATB choir, assembly, organ accompaniment, trumpet 1 in B-flat, trumpet 2 in B-f...(+)
SATB choir, assembly,
organ accompaniment,
trumpet 1 in B-flat,
trumpet 2 in B-flat,
trumpet 1 in C, trumpet 2
in C, trombone 1,
trombone 2, horn in f,
timpani - Early
intermediate
SKU:
GI.G-7138
Composed by
Jan Michael Joncas.
Morning Prayer
Benedictus. Choral.
Sacred. Octavo. 16 pages.
GIA Publications #7138.
Published by GIA
Publications (GI.G-7138).
UPC: 785147713807.
English. Text Source:
Blessed be the God of
Israel, based on Luke
1:68–79, alt. Text
by James Quinn.
Scripture: Luke
1:68–79.
Qui
nn's words and Joncas'
music combine to give
voice to the prophecy of
Zechariah. This 5-verse
paraphrase of the
canticle contains two
melodies-one for the odd
verses, one for the even
verses. The third verse
is an effective, a
cappella SATB
setting.
SKU: WD.080689705120 Composed by John E. Coates. Modern Christian: Sacred...(+)
SKU:
WD.080689705120
Composed by John E.
Coates. Modern Christian:
Sacred. Accompaniment CD
(split). Word Music
#080689705120. Published
by Word Music
(WD.080689705120).
UPC:
080689705120.
In
the past twenty years,
worship styles in many
churches have
transformed, emphasizing
a personal worship that
strives for intimacy with
the Father. This renewal
led some ministries,
perhaps unintentionally,
to abandon the great
hymns of our faith in
favor of newly composed
worship songs. Other
ministries, in an effort
to create a balanced
worship style, mixed the
new with the old,
sometimes with results
that only amplified the
differences between the
two. Hymns for Praise &
Worship bridges the
stylistic gap between
modern-day worship songs
and the hymns of our
Christian heritage. A
select advisory board of
active music ministers,
Word Music staff and key
choral arrangers were
assembled to pinpoint
fifty-six hymns from the
vast array of hymnody,
not only for their
musical quality, but for
the messages that they
bring to worshippers
today. Veteran choral
arrangers John E. Coates
and Travis Cottrell have
been creating new
settings of hymns for
their own congregations
for years. Their
experience as worship
leaders brought not only
musicality, but also
congregational and choral
pragmatism to each new
arrangement in Hymns for
Praise & Worship. With
all of the same editions
and features as the Songs
for Praise & Worship
series, this collection
is designed to work
hand-in-hand with
existing resources for
worship. Various
stylistic changes make
these settings flow
easily, appeal to the
modern ear, and correlate
with the styles of
contemporary praise &
worship songs. Throughout
this book you will
encounter variations from
traditional time
signatures, intuitive
syncopated rhythms, and
substituted chords and
harmonies. Even the few
hymns with more
traditional settings are
treated in a manner that
takes the congregation on
a journey through the
verses, sometimes in a
more through-composed
manner, and usually
culminating in a
climactic conclusion.
Each of the changes was
not implemented
arbitrarily, but with the
goal of making the
timeless messages of each
hymn leap from the page
in new and exciting ways.
Two added features of
Hymns for Praise &
Worship are the
demonstration and
accompaniment recordings.
While the songs in the
collection are well
known, the new
arrangements are not. The
staff of Word Music felt
that it was vital to
provide audible resources
to teach and lead worship
to best communicate the
desires of the arrangers.
All of the core editions
(Choir/Worship Team,
Worship Planner, Keyboard
Edition, Guitar Edition)
reflect the verses and
voicings used on the
recordings.
Composed
by Nicholas Palmer.
Advent, Advent 4 Year C,
Advent 4 Year B, Advent 3
Year A, Advent 3 Year B.
Sacred. Octavo. With
guitar chord names. 8
pages. GIA Publications
#005871. Published by GIA
Publications
(GI.G-005871).
UPC:
641151058719.
Nick
Palmer has composed a
straightforward yet lush
four-part refrain
skillfully complemented
by harmonically inventive
verses. This setting
captures the essence of
the Advent season with
verses set in the
parallel minor. Cantors
will look forward to
singing and expressing
the elegant lines based
on Mary‚ hymn of
praise.
SSATB choir, [SATB/SATB],
8 instruments ad lib.,
basso continuo
SKU:
CA.1002714
Chorale
concert. Composed by
Michael Praetorius.
Edited by Uwe Wolf. This
edition: urtext.
Stuttgart Urtext Edition.
Halleluja, Christ Ist
Erstanden. Sacred
concertos, Sacred vocal
music, Praise and thanks.
Single Part, Viola 4. 4
pages. Duration 8
minutes. Carus Verlag #CV
10.027/14. Published by
Carus Verlag
(CA.1002714).
ISBN
9790007189358. Text
language:
German.
The
collection Polyhymnia
Caduceatrix & Panegyrica
of 1619 is rightly
regarded as the high
point in Michael
Praetorius's output. It
combines Solennische
Friedt- und
Frewden-Concert: which
Praetorius as a
travelling musician had
composed largely for
festive occasions - he
writes of Kayser: Konig:
Chur: vnd Furstlichen
zusammen Kunfften - and
also for furnehme
Capellen vnd Kirchen. In
these chorale concerti
the highly modern,
Italian style and the
Protestant chorale
combine and form a
symbiosis which showed
the way forward for the
history of German music.
The chorale settings draw
on influences from
Venetian polychoral
music, use ritornelli and
employ obbligato
instruments in a way
which is beyond compare,
even in contemporary
Italy. Here we see a
quite different side of
the master from the
composer of Es ist ein
Ros entsprungen. And
above all, Praetorius
always remains a
practical musician who
ensures that these
breathtaking choral
concerti can also be
effectively performed
with smaller forces,
sometimes considerably
reduced ones. Praetorius
gives the verses of the
well-known Easter hymn
Christ ist erstanden to
the concertists (soloists
or small choir), who can
perform these in
alternating scorings. At
the beginning, between
the verses, and at the
end, a magnificent
Halleluja occurs as a
ritornello, which can be
performed by up to 5
choirs - ad lib, of
course. Score and part
available separately -
see item CA.1002700.
Christmas Time is
Here. Composed by
Finnish Carol. Arranged
by Daniel Miner. 12
pages. Duration 3
minutes, 20 seconds. Carl
Fischer Music #CM9720.
Published by Carl Fischer
Music (CF.CM9720).
ISBN 9781491160992.
UPC: 680160919598. Key: E
minor. Finnish, English.
Finnish Carol with
additional words by Dan
Miner.
Accompanied
by piano and oboe, this
traditional carol offers
treble choirs an
opportunity to explore
the beauty of traditional
Finnish music. This
arrangement offers each
voice part the
opportunity to lead as
well as harmonize the
melody throughout the
verses. Care should be
taken to ensure the
melody is properly
balanced through the
harmonization in each
verse. Tenutos are marked
throughout to help choirs
discover the simplistic
beauty of this carol.
Marked pitches should be
stressed, but not
accented. To further aid
in the flow of the
melodic line, I suggest a
slight crescendo in each
measure from beat 4 over
the bar-line into beat 1
(as in m. 16-17) unless
otherwise marked. An
English paraphrase is
offered in addition to
the original Finnish text
to make this song
accessible to choirs of
all abilities. It is my
sincere hope that through
this arrangement, choirs
and audiences will fall
in love with this
simplistically beautiful
carol! Finnish
Pronunciation Guide
Finnish is written
phonetically with every
letter sounding. This
includes both vowels in a
diphthong. Consonants
sound as English
consonants. Phonetic
Vowel/IPA Pronunciations
a = ah / [a] e = ey / [e]
i = eeh / [i] o = oh /
[o] u = ooh / [u] j is
pronounced as an English
y y is pronounced as a
German u a is pronounced
as in the English word
that with a mix of eh
sound There is a
recording of the Finnish
pronunciation by the
arranger which can be
found at
www.carlfischer.com/cm972
0 About the arranger
Dan Miner is an
Assistant Choir Director
at Atascocita High School
in the metropolitan area
of Houston, TX and has
taught choral music at
both the junior high and
high school levels in
both Arizona and Texas.
He holds degrees in music
education and piano
performance from Michigan
State University. In
addition to composing,
outside of the classroom
Dan is an active
accompanist for
community, school,
sacred, and TMEA Region
choirs. He also serves as
Organist/Music Associate
at Clear Lake United
Methodist
Church. Accompanied by
piano and oboe, this
traditional carol offers
treble choirs an
opportunity to explore
the beauty of traditional
Finnish music. This
arrangement offers each
voice part the
opportunity to lead as
well as harmonize the
melody throughout the
verses. Care should be
taken to ensure the
melody is properly
balanced through the
harmonization in each
verse.Tenutos are marked
throughout to help choirs
discover the simplistic
beauty of this carol.
Marked pitches should be
stressed, but not
accented. To further aid
in the flow of the
melodic line, I suggest a
slight crescendo in each
measure from beat 4 over
the bar-line into beat 1
(as in m. 16-17) unless
otherwise marked.An
English paraphrase is
offered in addition to
the original Finnish text
to make this song
accessible to choirs of
all abilities.It is my
sincere hope that through
this arrangement, choirs
and audiences will fall
in love with this
simplistically beautiful
carol!Finnish
Pronunciation
GuideFinnish is written
phonetically with every
letter sounding. This
includes both vowels in a
diphthong. Consonants
sound as English
consonants.Phonetic
Vowel/IPA Pronunciationsa
= ah / [a]e = ey / [e]i =
eeh / [i]o = oh / [o]u =
ooh / [u]j is pronounced
as an English yy is
pronounced as a German
üä is pronounced as
in the English word
“that†with a
mix of “ehâ€
soundThere is a recording
of the Finnish
pronunciation by the
arranger which can be
found at
www.carlfischer.com/cm972
0About the
arranger Dan Miner is
an Assistant Choir
Director at Atascocita
High School in the
metropolitan area of
Houston, TX and has
taught choral music at
both the junior high and
high school levels in
both Arizona and Texas.
He holds degrees in music
education and piano
performance from Michigan
State University.In
addition to composing,
outside of the classroom
Dan is an active
accompanist for
community, school,
sacred, and TMEA Region
choirs. He also serves as
Organist/Music Associate
at Clear Lake United
Methodist Church.
SATB Choir and Organ SKU: HL.14035285 Composed by Peter Warlock. Music Sa...(+)
SATB Choir and Organ
SKU: HL.14035285
Composed by Peter
Warlock. Music Sales
America. Classical.
Choral Score. Music Sales
#NOV310462. Published by
Music Sales
(HL.14035285).
The
Five Lesser Joys of
Mary begins with
a conventional Nativity
scene - the ox and the
ass for warmth, the star,
the Wise Men - to verses
attributed by
Warlock to one
Daniel Lawrence Kelleher,
editor of Christmas
Carols (No. 18 in the
second series of Augustan
Books of English Poetry)
where the anonymous
verses were published.
The fourth stanza
recounts Jesus
'Confounding the doctors,
the poor little Child,'
while the fifth carries
us to Calvary and a
singularly lame
conclusion as Mary 'Saw
Jesus droop over and lie
very still, She thought
of the good times they
had long ago When He'd
droop in her arms and
she'd
singhusheenlo.'
Str
ophically composed, with
small variations,
Warlock's tenderness
seems generic.
Arranged by Michael Burkhardt. For congregation, SATB choir and organ, with ...(+)
Arranged by Michael
Burkhardt.
For congregation, SATB
choir
and organ, with optional
brass
quintet and timpani.
Moderately easy. Score
and
reproducible parts.
Published
by MorningStar Music
Publishers