By Redman, Beth and Matt. Arranged by Jack Schrader. (SATB). Scripture Referenc...(+)
By Redman, Beth and Matt.
Arranged by Jack
Schrader. (SATB).
Scripture References:
Nehemiah 9:5 -- Job 1:21
-- Psalm 34:1-3. Name of
Jesus, Praise and
Worship, Rock'n'Roll,
Worshiping, Contemporary
and Sacred. Print Music
Single (SATB). 8 pages.
Published by Hope
Publishing Company.
Jesus! Chorale SATB SATB, Piano Lorenz Publishing Company
Composed by Mary McDonald. Choral, cantatas. Eastertide, Holy Week. Choral scor...(+)
Composed by Mary
McDonald. Choral,
cantatas. Eastertide,
Holy Week. Choral score.
Lorenz Publishing Company
#55/1188L. Published by
Lorenz Publishing Company
(LO.55-1188L).
Choral SATB Choir and Piano SKU: PR.312418800 No. 4 from Second April<...(+)
Choral SATB Choir and
Piano
SKU:
PR.312418800
No. 4
from Second April.
Composed by Eric Ewazen.
Octavo. Performance
Score. Theodore Presser
Company #312-41880.
Published by Theodore
Presser Company
(PR.312418800).
ISBN
9781491138151. UPC:
680160640225. Second
April, by Edna St.
Vincent
Millay.
Second
April for S.A.T.B. Chorus
and Piano is a
four-movement set, based
on the poetry of Edna St.
Vincent Millay. Ewazen
has long been enamored
with her poetry's
wonderfully vivid and
descriptive imagery of
nature and emotions, and
its powerful and profound
meaning. The final
movement, INTO THE GOLDEN
VESSEL OF GREAT SONG is
an appassionato call to
overcome! The poem
exhorts us to “sing
out” with hope,
determination, and
strength. The music
contrasts turmoil and
times of strife with a
return to championing the
idea of simply
overcoming, going forward
with hope and
determination, with the
closing music in major,
resonant and strong.
. SECOND APRIL for
S.A.T.B. Chorus and Piano
is a four-movement set,
based on the poetry of
Edna St. Vincent Millay.
I have long been enamored
with the poetry of Millay
for its wonderfully vivid
and descriptive imagery,
and its often powerful
and profound meaning.
Millay’s descriptions
of nature, and of
feelings and emotions,
have always spoken to me.
SECOND APRIL consists of
four of her poems, each
with a distinctive mood,
message, and emotional
feel. They are vivid,
powerful, and beautiful,
inspiring me to capture
these descriptions of the
various scenes she
portrays. Song of a
Second April uses music
to underlie strong
feelings, passions, and
the tragedies of life.
The poem itself is
dramatic, detailing a
time of personal strife
and tragedy, perhaps the
end of a relationship or
even the end of a life.
The music is intense,
fast, in a minor key, and
with rapid, spinning
notes creating a feeling
of powerful, relentless
emotions. Melodies,
motives, and gestures are
tossed between the
voices, increasing the
feelings of intensity and
even desperation. Little
by little, the music
almost dies away, getting
quieter and quieter,
creating a feeling of
resignation, but with a
Picardy Third in the
final chord – maybe a
bit of hope! Mariposa
is a celebration of
nature, wandering through
a field with white and
blue butterflies
appearing almost
wondrously. But there’s
also a profound feeling
of poignancy, noting that
as one relishes such a
beautiful, magical sight,
they should embrace the
experience – the
fleeting, transient
nature of such a perfect
vision and of life
itself. The music
portrays the flying of
the butterflies: gentle,
beautiful, with rich
chords and arpeggios, but
stepping back, as the
fleeting nature of life
is the reality, with
gentle, but sombre chords
interspersed with the
magical flight of the
Mariposa.Alms is a fast
rondo, intense, bold, and
always dance-like. It is
about both tragedy and
resilience. This music is
also in minor, yet with
moments of playfulness,
as a recollection of
happy times or moments
takes over. This seesaw
between emotions is heard
throughout the movement,
as the music continues to
“dance.” And with
Millay’s summing up of
“reality being what it
is,” the piece ends
with strength, boldness,
and finality. Into the
Golden Vessel of Great
Song is an appassionato
call to overcome! The
poem exhorts us to
“sing out” with hope,
determination, and
strength. The music is
full of bright and
lilting energy; but as
the turmoil and times of
strife people can
sometimes feel or
experience, the music
becomes intense,
dramatic, in a minor key,
and with changing
rhythms. BUT, there is a
return to championing the
idea of simply
overcoming, going forward
with hope and
determination, and the
music is in major,
resonant and strong.
.
Composed by J. Rosamond Johnson. Arranged by Heather Sorenson. Shawnee Sacred....(+)
Composed by J. Rosamond
Johnson. Arranged by
Heather
Sorenson. Shawnee Sacred.
Concert, General Worship,
Sacred. Octavo. 12 pages.
Duration 285 seconds.
Published by Shawnee
Press
The Spirit Of Christmas (Sights and Sounds of the Season). By Phil Barfoot and L...(+)
The Spirit Of Christmas
(Sights and Sounds of the
Season). By Phil Barfoot
and Lari Goss. Arranged
by Lari Goss. For SATB
choir. Collection. Modern
Christian, Christmas.
Choral Book. Published by
Word Music
Ligne De Mélodie, Paroles et Accords [Fake Book] - Intermédiaire Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics, chord n...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics, chord
names and guitar chord
chart. Gospel and
worship. Series: Hal
Leonard Fake Books. 295
pages. 9x12 inches.
Published by Hal Leonard.
Choral SATB chorus - early intermediate SKU: XC.1904011 Composed by Pinkz...(+)
Choral SATB chorus -
early intermediate
SKU: XC.1904011
Composed by Pinkzebra.
Arranged by Pinkzebra.
Octavo. Pinkzebra
#1904011. Published by
Pinkzebra (XC.1904011).
9 x 12 inches.
A
beautiful and uplifting
original song that
depicts the sights,
sounds, and sentimental
moments of the Christmas
season. Warm textures and
flowing melodies are
woven together to create
a sweet moment for your
singers and audience at
your holiday concert.
Perform with the
accompaniment MP3 or full
orchestration, and help
your students rehearse
with the part-dominant
MP3 practice tracks -
available in a multi-user
bundle to share with your
whole choir.
Composed by Matthew Emery. Arranged by Vladimir Slujka. This edition: Saddle ...(+)
Composed by Matthew
Emery.
Arranged by Vladimir
Slujka.
This edition: Saddle
stitching. Sheet music.
Pavane Choral. A
Cappella,
Concert. Octavo. 1547. 8
pages. Pavane Publishing
#P1547. Published by
Pavane
Publishing
SKU: BR.EB-9387 Composed by Christian Mason. Edition Breitkopf. New music...(+)
SKU: BR.EB-9387
Composed by Christian
Mason. Edition Breitkopf.
New music (post-2000);
Music post-1945. Set of
parts. Composed 2019.
Duration 20'. Breitkopf
and Haertel #EB 9387.
Published by Breitkopf
and Haertel (BR.EB-9387).
ISBN 9790004188576. 0
x 0
inches.
Commissione
d by the Kolner
Philharmonie (KolnMusik)
for the non bthvn projekt
2020 and the Cite de la
musique / Philharmonie de
Paris Dedicated to
Arditti Quartet Each
movement of this quartet
explores a single state,
its lights and its
shadows. Each movement,
you could say, is a
moment . And these
moments could last for
more or less time without
compromising their
essential nature. The
processes could be
extended or compressed,
repeated or reversed, but
the core ideas - if they
are ideas, but maybe they
are simply experiences? -
are what they are.
Despite this, the precise
sequence of movements
matters a great deal.
Heard together they do
articulate some kind of
linear narrative, maybe
even a metaphorical
journey (albeit a
circular one where the
arrival might, who knows,
prove to be a new
departure). One situation
gives way to another and
instrumental
relationships within the
quartet vary, but
ultimately the
imaginative impulse
behind the piece
preferences states of
unity. Whether or not
this unity is expressed
texturally - sometimes
literal unisons pervade,
but not always - there is
generally a sense that
even seemingly diverse
aspects relate to a
fundamental condition of
concord: a conscious
limitation in the pitch
structure to spectral
emanations of the root
notes E-flat and C. At
the opening this is
unambiguously audible in
the perpetual alternation
of these two notes in the
low cello register. Later
the two spectra are woven
into a micro-tonal
'double-spectral-mode'
(derived from the first
24 partials of the C and
E-flat fundamentals),
which defines the subtle
melodic inflection of the
second movement, and the
never-quite-chromatic
ascending scales of the
third. For now this feels
like a rich source of
melodic possibility, so
far only just glimpsed...
And why the insistence on
E-flat? Probably by way
of historical anecdote.
Apparently Karl Holz (a
member of the
Schuppanzigh Quartet)
said to Beethoven: We
performed your Quartet in
E-flat Op. 127 in his
[Weber's] honour; he
found the Adagio too
long; but I told him:
Beethoven also has a
longer feeling and a
longer imagination than
anyone standing or not
standing today. - Since
then, even Linke (another
member of the quartet)
can no longer stand him:
we cannot forgive him for
this. Listening again to
Op. 127, in light of
these comments, I was
struck by the opening
moment: the unfolding of
an E-flat 7th chord over
the course of a few bars.
Every time I hear it I
find myself wishing that
Beethoven would have
lingered longer there,
without resolution or
progression, just
enjoying that sonority.
And maybe - why not? -
tune the 7th naturally.
And what would it be to
stretch that moment into
an entire piece? What
would Weber think of
that?! In the end I was
not so extreme in my
self-limitation, and
other concerns took over,
but it was from these
thoughts that the
composition process
began... Lastly, about
the title: it comes from
a book called 'The Clock
of the Long Now' by
Stewart Brand, published
at the turn of the
millennium. It's about
the creation of a
thousand-year clock to
embody the aspiration to
thinking in terms of
longer time-spans than
are presently habitual.
If the music of Beethoven
embodied a 'longer'
feeling and imagination
than some of his
contemporaries were able
to appreciate, what is
our relation to time now?
Longer or shorter? Maybe
it depends who you ask...
It's probably more
extreme in both
directions: attention
spans might be
diminishing in the
digital world, but
conversely there is an
awareness of distant
pasts and potential
futures which would have
been inconceivable at the
time of Beethoven. In any
case, the interesting
thing is to ponder how
societal conditions,
assumptions and
expectations might -
whether consciously or
unconsciously - influence
the time of art, for
listeners and creators
alike. And what if time
is running out?
(Christian
Mason)
World
premiere: Paris, Cite de
la musique, January 14,
2020.
Transfiguration Hymn Chorale SATB SATB divisi, A Cappella [Octavo] Lorenz Publishing Company
Composed by Larry Shackley. For SATB choir (divisi, a cappella), Solo voice. Te ...(+)
Composed by Larry
Shackley. For SATB choir
(divisi, a cappella),
Solo voice. Te Deum
Choral Series. Sacred
Anthem, Transfiguration.
Octavo. Published by
Lorenz Publishing Company
Heaven Bound Chorale SATB SATB [Octavo] Hope Publishing Company
By Vicki Courtney and Bert Stratton. For SATB choir. Choral music. General, Assu...(+)
By Vicki Courtney and
Bert Stratton. For SATB
choir. Choral music.
General, Assurance, Death
and Beyond,
Encouragement, Eternal
Life, Promise, Saints.
Choral octavo. 12 pages.
Published by Hope
Publishing Company
SATB choir, piano SKU: LO.65-2127L Composed by Mary McDonald. Arranged by...(+)
SATB choir, piano
SKU:
LO.65-2127L
Composed
by Mary McDonald.
Arranged by Ed Hogan.
Choral, cantatas.
Christmas. SATB with
performance CD. Lorenz
Publishing Company
#65/2127L. Published by
Lorenz Publishing Company
(LO.65-2127L).
ISBN
9780787789985.
Ever
y Christmas, we celebrate
the birth of a Child.
With this breathtaking
work, legendary composer
Mary McDonald invites us
to truly remember what is
at the heart of
Christmas: this Child,
this King, this Savior
who was sent to earth to
redeem the world. THIS is
Christmas. In this
cantata, Mary tells the
story of Christmas
through familiar carols,
inspired original
melodies, and thoughtful
narration. Enhanced with
an optional orchestration
by Ed Hogan, the work,
available for SATB and
SAB choirs, may also be
accompanied by piano
only. The duration is
roughly 35 minutes, and
audio tracks and other
rehearsal aids are
available in both
physical and digital
editions. This year, may
we all take a few moments
to reflect on the reason
we celebrate, for this is
great news: This Is
Christmas!
