Clarinet, Violin, Piano SKU: SU.29020140 For Clarinet, Violin, Piano(+)
Clarinet, Violin, Piano
SKU: SU.29020140
For Clarinet, Violin,
Piano. Composed by
Reinaldo Moya. Chamber
Music, Piano Trio,
Woodwinds, Clarinet.
Score & Parts. Subito
Music Corporation
#29020140. Published by
Subito Music Corporation
(SU.29020140).
A richly
texture, ruminative work.
Glimpses of musical
memories come in and out
of focus in this
evocative piece.Clarinet,
Violin, Piano Duration:
14' Composed: 2018
Published by: Distributed
Composer.
Choral (Unison choir) SKU: HL.48023696 CME Beginning. Composed by ...(+)
Choral (Unison choir)
SKU: HL.48023696
CME Beginning.
Composed by David L.
Brunner. CME Beginning
Series. Concert. Octavo.
8 pages. Boosey & Hawkes
#M051483679. Published by
Boosey & Hawkes
(HL.48023696).
UPC:
888680096304. 6.75x10.5
inches.
David
Brunner, known for his
beautiful melodies and
wonderful accompaniments,
has set seven “tiny
unison pieces”
using haiku text. Each of
the seven is about
“seasons” and
form a set. They are
glimpses, sparse, yet
fully there, like
haiku.
String Quartet No.9 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Music Sales
String Quartet SKU: HL.14031827 Composed by Per Norgard. Music Sales Amer...(+)
String Quartet
SKU:
HL.14031827
Composed
by Per Norgard. Music
Sales America. Classical.
Score. 48 pages. Music
Sales #KP01084. Published
by Music Sales
(HL.14031827).
ISBN
9788759871089.
Danish-English.
Pre
face The three movements
of the quartet may be
perceived as three
different expressions of
an unstable core: an
inherent unrest leads to
frequent changes of
direction. The first
movement is full of
dramatic contrasts: it is
followed by a second
movement, whose basic
mood of meditative rest
is challenged by
occasional centrifugal
utbursts, while the third
movement takes the
inherent conflicts to a
higher level, contrasting
material of introspective
lyricism with excessively
pathetic moods. The final
way out is a retrograde
one, (back) into the
source: through a
constant
accelerando-diminuendo
the piece disappears into
a vanishing point. The
into the source of the
titlemay be visualized as
a reversed
fountain-action: the
broad fan-like spread of
the first movement, a
more coherent-solid
second movement, and
finally - in the third
movement - a return-run,
ever more vehemently,
like a suction into the
spring itself ... The
musical motifs are
varied: there are
traffic-situations (which
I heard!) with stomping
and machine-like rhythms
in different, but
simultaneous tempi, and
there are more abstract
upwards and downwards
half-tone-scales, with
changing accents,
creating glimpses of
melodies. INTO THE
SOURCE, String Quartet
No. 9, was composed on a
double-commission from
the Orion Quartet and the
Vertavo Quartet. The
premiere performances
took places in Santa Fe
in 2002 and in Oslo in
2003. Per Norgard.
Composed by Loreta Fin.
Orchestra. String
Orchestra. Wilfin String
Orchestra: Young String
Ensemble Series. Grade 2.
Conductor Score and
Parts. 66 pages.
Published by Alfred Music
Urtext. Composed
by Robert Schumann.
Edited by Nick
Pfefferkorn. Chamber
music; Softbound.
Partitur-Bibliothek
(Score Library). Romantic
period. Study Score. 124
pages. Breitkopf and
Haertel #PB 32032-07.
Published by Breitkopf
and Haertel
(BR.PB-32032-07).
ISBN
9790004215661. 6.5 x 9
inches.
Invaluable
Glimpses Schumann's close
collaboration with the
David quartet, together
with the valuable advice
of his friend Mendelssohn
Bartholdy, led the
composer to make
extensive changes to the
Streichquartette op. 41
before publication in
December 1842. The
present edition is hence
to be thought of as a
critical Urtext edition;
it offers in fact to
those interested, an
invaluable glimpse into
Schumann's creative
process and his striving
for the final form of his
string quartets. All the
deletions, changes, and
the original phrasing
were carefully worked out
in detail, restored, and
editorially identified in
the music text. A
detailed preface giving
the geneses of the works,
as well as pages of the
autograph score in
facsimile, complement the
edition. The parts are of
course so configured in
the reliable Breitkopf
quality that the quartets
can also be performed
today in the traditional
form. The present edition
was also used for the
Leipzig String Quartet's
2010 CD recording.
Concert Band - Grade 2 SKU: AP.49095 Composed by Scott Watson. Concert Ba...(+)
Concert Band - Grade 2
SKU: AP.49095
Composed by Scott Watson.
Concert Band; MakeMusic
Cloud; Performance Music
Ensemble. Sound
Innovations for Concert
Band. Programmatic. Score
and Part(s). 136 pages.
Duration 3:25. Alfred
Music #00-49095.
Published by Alfred Music
(AP.49095).
ISBN
9781470646004. UPC:
038081564364.
English.
Camelot
refers to an idyllic time
and place, lost to lore
and legend, but which
continues on in the
hearts, minds, and
stories of so many. When
our imagination and sense
of adventure allow it, we
return to Camelot, with
its gallant knights of
the Round Table, acts of
chivalry, and even
moments of magic! This
exciting piece by Scott
Watson---with its driving
tempo, insistent rhythms,
modal harmonies, and
glimpses of
beauty---musically
transports the listener
back to King Arthur's
Camelot. (3:25) This
title is available in
MakeMusic Cloud.
String Quartet SKU: HL.14025352 Composed by Per Norgard. Music Sales Amer...(+)
String Quartet
SKU:
HL.14025352
Composed
by Per Norgard. Music
Sales America. Classical.
Set of Parts. 104 pages.
Music Sales #KP01337.
Published by Music Sales
(HL.14025352).
ISBN
9788759885420.
English-Danish.
Pre
face The three movements
of the quartet may be
perceived as three
different expressions of
an unstable core: an
inherent unrest leads to
frequent changes of
direction. The first
movement is full of
dramatic contrasts: it is
followed by a second
movement, whose basic
mood of meditative rest
is challenged by
occasional centrifugal
utbursts, while the third
movement takes the
inherent conflicts to a
higher level, contrasting
material of introspective
lyricism with excessively
pathetic moods. The final
way out is a retrograde
one, (back) into the
source: through a
constant
accelerando-diminuendo
the piece disappears into
a vanishing point. The
into the source of the
titlemay be visualized as
a reversed
fountain-action: the
broad fan-like spread of
the first movement, a
more coherent-solid
second movement, and
finally - in the third
movement - a return-run,
ever more vehemently,
like a suction into the
spring itself ... The
musical motifs are
varied: there are
traffic-situations (which
I heard!) with stomping
and machine-like rhythms
in different, but
simultaneous tempi, and
there are more abstract
upwards and downwards
half-tone-scales, with
changing accents,
creating glimpses of
melodies. INTO THE
SOURCE, String Quartet
No. 9, was composed on a
double-commission from
the Orion Quartet and the
Vertavo Quartet. The
premiere performances
took places in Santa Fe
in 2002 and in Oslo in
2003. Per Norgard.
Voyage for String Quartet Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Theodore Presser Co.
Chamber Music String Quartet SKU: PR.14440572S Composed by Ellen Taaffe Z...(+)
Chamber Music String
Quartet
SKU:
PR.14440572S
Composed
by Ellen Taaffe Zwilich.
Sws. Premiere: South
Mountain Concerts,
Pittsfield, MA; Saint
Lawrence String Quartet.
Contemporary. Full score.
With Standard notation.
Composed 2012. 16 pages.
Duration 12 minutes.
Theodore Presser Company
#144-40572S. Published by
Theodore Presser Company
(PR.14440572S).
ISBN
9781598066029. UPC:
680160617685. 9x12
inches.
When the
family heirs to the
legendary Galimir String
Quartet (three sisters
and a brother) gathered
to commemorate the
centenary birth years of
these famed performers,
they chose Ellen Taaffe
Zwilich to commission for
this honor. The composer,
who has also worked
professionally as a
violinist, responded with
a one-movement odyssey
entitled Voyage,
cross-breeding her own
characteristic style with
glimpses of Viennese
waltzes and other Galimir
flavor. There is a sweet,
sad lyricism to this
work, a hectic
discord..., some wailing
and moaning, these moods
alternating with dancing
klezmer rhythms of Jewish
wedding music that take
over and make things
right in the end.
(Stanley Fefferman,
BachTrack.com).
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pa...(+)
Orchestra Piano
SKU:
PR.11641861SP
Composed by William
Kraft. Part. 35 pages.
Duration 21 minutes.
Theodore Presser Company
#116-41861SP. Published
by Theodore Presser
Company (PR.11641861SP).
UPC:
680160685202.
What?
! - my composer
colleagues said - A
concerto for the piano?
It's a 19th century
instrument! Admittedly we
are in an age when
originally created
timbres and/or
musico-technological
formulations are often
the modus operandi of a
piece. Actually, this
Concerto began about two
years ago when, during
one of my creative jogs,
the sound of the
uppermost register of the
piano mingled with wind
chimes penetrated my
inner ear. The challenge
and fascination of
exploring and developing
this idea into an
orchestral situation
determined that some day
soon I would be writing a
work for piano and
orchestra. So it was a
very happy coincidence
when Mona Golabek phoned
to tell me she would like
discuss the Ford
Foundation commission.
After covering areas of
aesthetics and
compositional styles, we
found that we had a good
working rapport, and she
asked if I would accept
the commission. The
answer was obvious. Then
began the intensive
thought process on the
stylistic essence and
organization of the work.
Along with this went a
renewed study of
idiomatic writing for the
piano, of the kind
Stravinsky undertook with
the violin when he began
his Violin Concerto. By a
stroke of great fortune,
the day in February 1972
that I received official
notice from the Ford
Foundation of the
commission, I also
received a letter from
the Guggenheim Foundation
informing me I had been
awarded my second
fellowship. With the good
graces of Zubin Mehta and
Ernest Fleischmann,
masters of my destiny as
a member of the Los
Angeles Philharmonic, I
was relieved of my
orchestral duties during
the Hollywood Bowl
season. Thus I was able
to go to Europe to work
and to view the latest
trends in music
concentrating in London
(the current musical
melting pot and showcase
par excellence), Oslo,
Norway, for the Festival
of Scandinavian Music
called Nordic Days, and
Warsaw, Poland, for its
prestigious Autumn
Festival. Over half the
Concerto was completed in
that summer and most of
the rest during the 72-73
season with the final
touches put on during a
month as Resident Scholar
at the Rockefeller
Foundation's Villa
Serbelloni in Bellagio,
Italy. So much for the
external and
environmental influences,
except perhaps to mention
the birds of Sussex in
the first movement, the
bells of Arhus (Denmark)
in the second movement
and the bells of Bellagio
at the end of the
Concerto. Primary in the
conception was the
personality of Miss
Golabek: she is a
wonderfully vital and
dynamic person and a real
virtuoso. Therefore, the
soloist in the Concerto
is truly the protagonist;
it is she (for once we
can do away with the
generic he) who unfolds
the character and intent
of the piece. The first
section is constructed in
the manner of a
recitative - completely
unmeasured - with letters
and numbers by which the
conductor signals the
orchestra for its
participation. This
allows the soloist the
freedom to interpret the
patterns and control the
flow and development of
the music. The Concerto
is actually in one
continuous movement but
with three large
divisions of sufficiently
contrasting character to
be called movements in
themselves. The first
'movement' is based on a
few timbral elements: 1)
a cluster of very low
pitches which at the
beginning are practically
inaudibly depressed, and
sustained silently by the
sostenuto pedal, which
causes sympathetic
vibrating pitches to ring
when strong notes are
struck; 2) a single
powerful note indicated
by a black note-head with
a line through it
indicating the strongest
possible sforzando; 3)
short figures of various
colors sometimes ominous,
sometimes as splashes of
light or as elements of
transition; 4) trills and
tremolos which are the
actual controlling
organic thread starting
as single axial tremolos
and gradually expanding
to trills of increasingly
larger and more powerful
scope. The 'movement'
begins in quiescent
repose but unceasingly
grows in energy and
tension as the stretching
of a string or rubber
band. When it can no
longer be restrained, it
bursts into the next
section. The second
'movement,' propelled by
the released tension, is
a brilliant virtuosic
display, which begins
with a long solo of wispy
percussion, later joined
in duet with the piano.
Not to be ignored, the
orchestra takes over
shooting the material
throughout all its
sections like a small
agile bird deftly
maneuvering through
nothing but air, while
the piano counterposes
moments of lyricism. The
orchestra reaches a
climax, thrusting us into
the third 'movement'
which begins with a
cadenza-like section for
the piano. This moves
gently into an expressive
section (expressive is
not a negative term to
me) in which duets are
formed with various
instruments. There are
fleeting glimpses of
remembrances past, as a
fragmented
recapitulation. One
glimpse is hazily
expressed by strings and
percussion in a moment of
simultaneous contrasting
levels of activity, a
technique of which I have
been fond and have
utilized in various
fixed-free relationships,
particularly in my
Percussion Concerto,
Contextures and Games:
Collage No. 1. The second
half of the third
'movement; is a large
coda - akin to those in
Beethoven - which brings
about another display of
virtuosity, this time
gutsy and driving,
raising the Concerto to a
final climax, the soloist
completing the fragmented
recapitulation concept as
well as the work with the
single-note sforzando and
low cluster from the very
opening of the first
movement.
String Quartet (2vl,va,vc) SKU: BR.EB-32032 Urtext. Composed by Ro...(+)
String Quartet
(2vl,va,vc)
SKU:
BR.EB-32032
Urtext. Composed
by Robert Schumann.
Edited by Nick
Pfefferkorn. Chamber
music; Folder. Edition
Breitkopf. Romantic
period. Set of parts. 140
pages. Breitkopf and
Haertel #EB 32032.
Published by Breitkopf
and Haertel
(BR.EB-32032).
ISBN
9790004186343. 9 x 12
inches.
Invaluable
Glimpses Schumann's close
collaboration with the
David quartet, together
with the valuable advice
of his friend Mendelssohn
Bartholdy, led the
composer to make
extensive changes to the
Streichquartette op. 41
before publication in
December 1842. The
present edition is hence
to be thought of as a
critical Urtext edition;
it offers in fact to
those interested, an
invaluable glimpse into
Schumann's creative
process and his striving
for the final form of his
string quartets. All the
deletions, changes, and
the original phrasing
were carefully worked out
in detail, restored, and
editorially identified in
the music text. A
detailed preface giving
the geneses of the works,
as well as pages of the
autograph score in
facsimile, complement the
edition. The parts are of
course so configured in
the reliable Breitkopf
quality that the quartets
can also be performed
today in the traditional
form. The present edition
was also used for the
Leipzig String Quartet's
2010 CD recording.
Orchestra; Piano (Score) SKU: HL.48025216 Piano and Orchestra Score(+)
Orchestra; Piano (Score)
SKU: HL.48025216
Piano and Orchestra
Score. Composed by
Leokadiya Kashperova.
Boosey & Hawkes
Scores/Books. Classical.
Softcover. 116 pages.
Boosey & Hawkes
#M060140273. Published by
Boosey & Hawkes
(HL.48025216).
ISBN
9781784548124. UPC:
196288133445.
9.0x12.0x0.371
inches.
Leokadiya
Kashperova
(1872–1940),
hitherto consigned to a
footnote in musical
history as
StravinskyÂ’s piano
teacher, is undergoing
rediscovery. A double
graduate of the St
Petersburg Conservatoire,
she emerged as a virtuoso
pianist and composer in
the romantic tradition.
She was associated with
some of the great
musicians of her day,
including Balakirev and
Auer. She performed in
both Germany and the UK
in the 1900s, but her
career petered out after
1920. The Piano Concerto
(1900) is Kashperova's
earliest surviving
orchestral work, and it
was premiered by the
composer the following
year in Moscow and St
Petersburg, bringing her
much wider recognition
and paving the way for an
international career.
Cast in three movements
and in a Romantic idiom,
pianistic virtuosity is
often channelled into the
pianistÂ’s left hand,
which is required to
negotiate widely-spaced
'extreme' arpeggios
– awkwardly
angular when adagio,
fiendishly technical when
molto allegro.
Kashperova's orchestral
colours are achieved by
felicitous solos for the
woodwind, horns and
brass. Noteworthy, too,
are unexpected glimpses
of chamber music when, in
the last movement for
example, the piano
combines fleetingly with
solo violin and solo
cello in passages.
TheconcertoÂ’s quick
music (Molto allegro and
Allegro con anima)
admirably portrays the
vivacious personality of
their composer, described
in 1906 as offering those
around her 'an abundance
of joy, excitement and
fun'. The central
movement, by contrast, is
a tender Adagio which
offers the listener a gem
of musical poetry.
By Ottorino Respighi (1879-1936). For solo piano. Dover Edition. Impressionistic...(+)
By Ottorino Respighi
(1879-1936). For solo
piano. Dover Edition.
Impressionistic,
Classical Period and
Italian. Collection.
Standard notation,
fingerings and
introductory text (does
not include words to the
songs). 63 pages.
Published by Dover
Publications
I Seek a Faith Chorale SATB - Facile Hampton Roads Music Group
SATB chorus - early intermediate SKU: XC.HRMG1835.2 Composed by Lindsey V...(+)
SATB chorus - early
intermediate
SKU:
XC.HRMG1835.2
Composed by Lindsey
Vachel and Michael John
Trotta. Michael John
Trotta. Octavo. Hampton
Roads Music Group LLC
#HRMG1835.2. Published by
Hampton Roads Music Group
LLC (XC.HRMG1835.2).
The grass has
dried up and the flower
has fallen... but you
last forever. Therefore,
I seek a faith that sets
it right. The poignant
text from Vachel Lindsey
sets up the idea of
relying on faith amid the
darkness. Movement 2 from
Light Shines in the
Darkness establishes a
dark tone with glimpses
of forward certainty.
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.
Composed by Christian Mason. World premiere: Paris, Cite de la musique, Januar...(+)
Composed by Christian
Mason.
World premiere: Paris,
Cite
de la musique, January
14,
2020. Breitkopf and
Haertel
#EB 9377. Published by
Breitkopf and Haertel
Discovery Level 2.
Composed by Audrey
Snyder. Arranged by
Audrey Snyder. Discovery
Choral. Concert,
Festival, Young Choir,
Youth Choir. CD only.
Published by Hal Leonard
(HL.8552153).
UPC:
884088326777. 5x5.5
inches.
Cascading
vocal lines capture the
awe and wonder we feel
when glimpsing a majestic
sunset in this sonorous
concert work for SSA.
Well-crafted for younger
ensembles, it offers
opportunities to develop
tone quality, phrase
shaping and intonation.
Available separately:
SSA, VoiceTrax CD.
Duration: ca. 2:10.
Mixed choir SKU: FG.55011-455-5 Composed by Matthew Whittall. Score. Fenn...(+)
Mixed choir
SKU:
FG.55011-455-5
Composed by Matthew
Whittall. Score. Fennica
Gehrman #55011-455-5.
Published by Fennica
Gehrman (FG.55011-455-5).
ISBN
9790550114555.
This
cycle of carols, to the
poetry of Christina
Rossetti, was assembled
piecemeal over a number
of years, gradually
acquiring a larger
dramatic and harmonic
arch shape as new
settings were added. I
was particularly
attracted to Rossetti's
conflation of the dark,
fallow winter landscape
with that of the soul
waiting for salvation.
The cycle traces the long
nights of watchfulness
before Christmas, with
the great event
constantly deferred, only
glimpsed periodically in
different visions before
the music turns inward
again to contemplation.
The opening carol
embodies this spirit,
with passages of diffuse,
roving harmony
interspersed with
meditative, lyrical
pedals, calling out the
night watch and dreaming
of a far-off summer of
the spirit. Earth Grown
Old is a kind of double
carol, setting two
complete poems, their
lines at first presented
separately as a still,
expectant chorale and a
jubilant dance, then
progressively interwoven
toward a fervent climax
before once again
receding into quiet. In
the bleak mid-winter,
which sets a highly
compressed version of
Rossetti's original poem,
presents an enfeebled
landscape frozen in time,
in dire need of
deliverance. A gentle
melody weaves its way
through static drones,
broken by an angels'
chorus announcing the joy
to come. Love Came Down
at Christmas ends the
waiting, with its gently
falling, overlapping
lines building to a final
revelation, the mystery
of Christmas at last made
real.
Choral (SATB) SKU: HL.48024723 Four Carols for Advent. Composed by...(+)
Choral (SATB)
SKU:
HL.48024723
Four
Carols for Advent.
Composed by Matthew
Whittall. Boosey & Hawkes
Sacred Choral. Christmas
Sacred, Christmas/Advent
Sacred, Classical.
Octavo. Fennica Gehrman
#M550114555. Published by
Fennica Gehrman
(HL.48024723).
UPC:
888680955663.
This
cycle of carols to
Christina Rossetti's
poems traces the long
nights of watchfulness
before Christmas, with
the great event
constantly deferred, only
glimpsed periodically in
different visions before
the music turns inward
again to contemplation.
The carols can be
performed separately, but
they work the best as a
cycle.