Mixed Voices a cappella

SKU: BT.EMBZ14553

By Melinda Berlasz. By Sandor Veress. Hymns & Chorals. Book Only. Composed 2010. 148 pages. Editio Musica Budapest #EMBZ14553. Published by Editio Musica Budapest (BT.EMBZ14553).

English-German-Hungari an.

Volume II of the collected edition of the choral works of Veress contains seven Hungarian folksong cycles or cantatas, a choral poem in Hungarian and a choral cycle in English. In his first creative period (1929-1939), which he spent in Hungary, Sándor Veress's direct involvement in Hungarian folk music research played a decisive part: his folksong experience gained through personal collecting work found expression in his first period of composition for mixed choir. In the course of the 1960s, after his emigration, he returned on two occasions to the a cappella mixed choir genre: in 1962 he wrote a piece for mixed choir to mark the 60th birthday of the great Hungarian poet GyulaIllyés (Óda Európához - Ode to Europe, based on the poem by Illyés), and in 1967, at the request of the Australian Radio Company, he composed for the 'Adelaide Singers' chamber choir Songs of the Seasons, a seven-movement madrigal cycle making exceptional demands on the performers, to verses by the Australian poet Christopher Brennan (1870-1932).

Der zweite Band der gesammelten Ausgabe der Chorwerke von Sándor Veress umfasst sieben ungarische Volkslied-Zyklen, bzw. Kantaten, ein Chorpoem in ungarischer Sprache und einen englischen Chorzyklus. In der ersten Schaffensperiode seines Lebens (1929-1939), die er in Ungarn verbrachte, nimmt sein unmittelbarer Kontakt zur ungarischen Volksmusikforschung eine entscheidende Rolle ein: Das Volkslied-Erlebnis seiner persönlichen Sammeltätigkeit kam in der ersten Periode seiner Kompositionen für gemischten Chor unmittelbar zur Geltung. In der Emigration, während der sechziger Jahre, kehrte er noch zweimal zur Gattung gemischter Chor a cappella zurück: 1962 komponierte ereinen gemischten Chor zum 60. Geburtstag des großen ungarischen Dichters Gyula Illyés (nach einem Gedicht von Illyés) unter dem Titel Ode an Europa. 1967 schrieb er im Auftrag der Australischen Rundfunkgesellschaft, für den Kammerchor 'Adelaide Singers' einen siebensätzigen Madrigalzyklus (Songs of the Seasons).

SATB a cappella Choral; Mixed Choir (SATB a cappella)

SKU: HL.50490228

By Melinda Berlasz. By Veress Sándor. EMB. Classical. Softcover. 147 pages. Editio Musica Budapest #Z14553. Published by Editio Musica Budapest (HL.50490228).

ISBN 9790080145531. UPC: 884088531638. 7.5x10.75x0.365 inches. Hungarian, English, German. Sandor Veress; Melinda Berlasz.

Volume II of the collected edition of the choral works of Veress contains seven Hungarian folksong cycles or cantatas, a choral poem in Hungarian and a choral cycle in English. In his first creative period (1929-1939), which he spent in Hungary, Sandor Veress's direct involvement in Hungarian folk music research played a decisive part: his folksong experience gained through personal collecting work found expression in his first period of composition for mixed choir. In the course of the 1960s, after his emigration, he returned on two occasions to the a cappella mixed choir genre: in 1962 he wrote a piece for mixed choir to mark the 60th birthday of the great Hungarian poet Gyula Illyes (Oda Europahoz - Ode to Europe, based on the poem by Illyes), and in 1967, at the request of the Australian Radio Company, he composed for the 'Adelaide Singers' chamber choir Songs of the Seasons, a seven-movement madrigal cycle making exceptional demands on the performers, to verses by the Australian poet Christopher Brennan (1870-1932).

2-Part Mixed Choral (2-Part Mixed)

SKU: HL.367605

By Lewis Capaldi. Arranged by Mark A. Brymer. Pop Choral Series. Ballad, Pop, Show Choir. Octavo. 12 pages. Duration 200 seconds. Published by Hal Leonard (HL.367605).

UPC: 840126966138. 6.75x10.5x0.029 inches.

On the heels of his breakthrough single “Someone You Loved”, Scottish singer-songwriter Lewis Capaldi released this affecting and serious ballad to reflect on a personal tragedy. This is a deeply personal, effective pop narrative with a propulsive drive.

Chamber Music Violin

SKU: CF.BF131

Composed by Roland Vamos. With Standard notation. 168 pages. Carl Fischer Music #BF131. Published by Carl Fischer Music (CF.BF131).

ISBN 9781491153765. UPC: 680160911264. 9 x 12 inches.

Inspired by Clarence Cameron White’s book The Violinist’s Daily Dozen, The Violinist’s Daily Sixteen is a collection of daily exercises compiled by Roland Vamos. Intended for student and professional violinists, the collection provides the performer with a variety of exercises for daily warm-ups. Mr. Vamos also focuses on developing dexterity and flexibility in the fingers and joints, the first and fourth fingers in particular. Each of the sixteen exercises is notated for each of the four strings, and Vamos recommends that the exercises be practiced as warm-ups, choosing a different string for each day of practice.Also included with the Daily Sixteen is a comprehensive set of studies for developing fluency with scales and arpeggios. Mr. Vamos’ unique methodology is to begin with major scales and arpeggios, followed by minor scales and arpeggios, all of which are notated in two, three and four octaves. Alternate fingers are provided, as well as a variety of slurred and mixed bowings using the three parts of the bow whenever feasible. It is a remarkably systematic approach to performing scales and arpeggios on the violin and will surely benefit students and professionals alike.
ForewordThis short hand-setting set of exercises was inspired by a book entitled The Violinist’s Daily Dozen, conceived by Clarence Cameron White, a prominent African-American violinist, composer and arranger who enjoyed the bulk of his career in the first half of the twentieth century.I have practiced this set of exercises since I was twelve years old. It has served me as a superb warm-up and hand setting tool. Over the years, I have found that there are some aspects of this warm-up routine that were not given sufficient attention or not addressed at all. Consequently, I have expanded the Daily Dozen to create a new work entitled The Violinist’s Daily Sixteen.I have also paid particular attention in this work as to how these exercises are to be practiced. In exercises one and two, I have indicated some notes to be played before the actual written exercises. This is to ensure that the fourth finger will be over the string in a position ready to strike even though it is not being used. Before playing exercises three, four, nine, ten, eleven and twelve, I have indicated silent fingers to be placed on the notes they would be playing if they were being used.I have replaced Mr. White’s grace notes with notes of specific value and have slowed down the exercises so that the first joint (the joint nearest the string) of each finger can move with flexibility and strength. At no time should the first joint buckle.In Mr. White’s version, the last exercise gave the first finger some very valuable backward extensions. In this exercise (number 14 in this book), I caution the student not to move the hand along with the first finger. The hand should remain in position while the first finger independently moves back and forth.It became obvious to me that if the first finger were given the opportunity to develop the dexterity that Mr. White’s twelfth exercise emphasizes, the fourth finger could benefit from an exercise that gives it a forward extension. Consequently, I added another exercise to create a Baker’s Dozen (thirteen).Several years later, I felt that the second and third fingers should also have an exercise to further develop their dexterity…hence exercise fourteen was added to create a “Vamos Dozen.”Because the first finger did not have sufficient practice in the development of the first joint in the original version, I have added two exercises to precede White’s fifth exercise. After re-working and re-numbering these exercises, I have come up with a total of sixteen exercises. It is my suggestion that these be practiced as a warm-up, choosing a different string each day.—Roland VamosEvanston, Illinois 2017 PrefaceScales are a means of teaching a person the fingerboard on his or her instrument. The fingers move across the strings and are required to make shifts, all in highly organized patterns. Scales and arpeggios are the foundation upon which our repertoire is built. Many scale books have been written; each one being organized in its own specific way. The Flesch Scale System has been a standard for many decades. It is very comprehensive and systematic. From the point of view of establishing similar patterns, it has one drawback: it is organized by starting with a major key, followed by its relative minor, going through the circle of fifths. I believe that it is more profitable to do only major scales with their arpeggios first, going up chromatically, and then follow them in a similar way with the minor scales. In using this approach, the similarities in fingerings between the various scales are more apparent. It is also profitable to have alternate fingerings whenever possible. My approach to scales and arpeggios includes a variety of slurred and mixed bowings using the three parts of the bow whenever feasible. These bowings are not all-inclusive. Whenever a particularly awkward bowing pattern is encountered in the repertoire, it can be practiced as an additional bowing variation in the scales and arpeggios.    I have chosen to introduce the three and four octave scales by teaching two octave scales across the strings in one position going up chromatically through seven positions; starting on the first, second, third, and finally fourth fingers in major and melodic minor.—Roland VamosEvanston, Illinois 2017.

2-part mixed voices, keyboard accompaniment, violin, cello - Beginning

SKU: GI.G-7720

Composed by Carol Browning. Palm Sunday, Good Friday. Choral. Sacred. Octavo. 4 pages. GIA Publications #7720. Published by GIA Publications (GI.G-7720).

UPC: 785147772002. English. Text by Frances Teresa. Scripture: Mark 15:34.

The composer pairs a sparse keyboard part and vocals with the author’s stark text for “a very intimate, personal perspective” of the Crucifixion. Trebles, then tenors and basses, solo on vv. 1–2, the 3rd and 4th verses are sung by 2 mixed-voice sections.

Mixed choir

SKU: FG.55009-452-9

Composed by Josquin Desprez. Edited by Ross Duffin. Published by Fennica Gehrman (FG.55009-452-9).

ISBN 979-0-55009-452-9.

This is one of three early renaissance Marian motets, along with Mouton's Nesciens Mater and de la Rue's Gaude Virgo, edited by Ross Duffin. It is a classic example of this great composer's balanced unfolding of motifs, with two-part paired imitation followed by four-voice imitative sections and punctuations in homophony. Especially, striking is the personal supplication at the end, in the words O rnater dei, memento mei. Fazer Editions of Early Music is a choral series under the editorial supervision of Paul Hillier, founder and artistic director of the renowned Hilliard Ensemble. Although each title in this series is the result of careful scholarly research and is a reliable source for musicologists, the series' main purpose is to make practical performing editions available to choirs and other vocal ensembles. The original C clefs have been replaced by G and F clefs and the note values adapted to conform to modern practice. All the works in the series are intended for mixed voices. Each title includes a lengthy introduction in English and notes on the editorial principles. Where necessary, an English translation of the text and a guide to pronunciation are provided.

Composed by Johannes Brahms (1833-1897). Edited by Rainer Boss. This edition: urtext. Stuttgart Urtext Edition. Sacred vocal music. Complete orchestral parts. Composed 1871. Duration 16 minutes. Published by Carus Verlag (CA.1039919).

SATB choir and organ/orchestra (3fl (III+picc.), 2ob, 2cl (Bb), 2bsn, 4hn, 3tpt, 3tbn, tba, timp, perc, hp, org, str) - easy

SKU: OU.9780193524385

Composed by Mack Wilberg. Sacred choral - mixed voices. Sacred. Vocal score. 12 pages. Duration 5'. Oxford University Press #9780193524385. Published by Oxford University Press (OU.9780193524385).

ISBN 9780193524385. 6.9 x 10.5 inches.

For SATB and organ or orchestra This is an arrangement of the 19th-century hymn by Philip Bliss, with words by Horatio Spafford following several personal tragedies. Wilberg keeps the first two verses in unison, before allowing fuller textures to take over, with two upward modulations leading to a triumphant close.

Meet the Great Jazz Legends. (Short Sessions on the Lives, Times and Music of the Great Jazz Legends). By Ronald C. McCurdy. Classroom/Pre-School; General Music and Classroom Publications; Reproducible. Jazz. Book. 72 pages. Published by Alfred Music Publishing

A Play-Along Guide to the Nashville Number System. Music Instruction. Songwriting, Instruction. Softcover Audio Online. 64 pages. Published by Hal Leonard

(Over 40 Pop Music Favorites). Composed by various artists and composers. For Guitar; Keyboard; Piano; Voice. This edition: Piano/Vocal/Guitar. Artist/Personality; Book; P/V/C Mixed Folio; Piano/Vocal/Chords. Greatest Hits. Pop; Pop/Rock; Rock. 264 pages. Published by Alfred Music

Choral Cello, Flute, Harp, Oboe, Percussion, Piano, Viola, Violin 1, Violin 2, alto voice, bass voice, soprano voice, tenor voice

SKU: PR.31241902S

From Terra Nostra. Composed by Stacy Garrop. Full score. Duration 3:15. Theodore Presser Company #312-41902S. Published by Theodore Presser Company (PR.31241902S).

UPC: 680160690589. English.

Commission ed by the San Francisco Choral Society and the Piedmont East Bay Children’s Choir, Terra Nostra is a 70-minute oratorio on the relationship between our planet and humankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. Part I: Creation of the World explores various creation myths from different cultures, culminating in a joyous celebration of the beauty of our planet. Part II: The Rise of Humanity examines human achievements, particularly since the dawn of our Industrial Age, and how these achievements have impacted the planet. Part III: Searching for Balance questions how to create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. In addition to the complete oratorio, stand-alone movements for mixed chorus, and for solo voice with piano, are also available separately.
Terra Nostra focuses on the relationship between our planet and mankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. The oratorio is divided into three parts:Part I: Creation of the World celebrates the birth and beauty of our planet. The oratorio begins with creation myths from India, North America, and Egypt that are integrated into the opening lines of Genesis from the Old Testament. The music surges forth from these creation stories into “God’s World” by Edna St. Vincent Millay, which describes the world in exuberant and vivid detail. Percy Bysshe Shelley’s “On thine own child” praises Mother Earth for her role bringing forth all life, while Walt Whitman sings a love song to the planet in “Smile O voluptuous cool-breathed earth!” Part I ends with “A Blade of Grass” in which Whitman muses how our planet has been spinning in the heavens for a very long time.Part II: The Rise of Humanity examines the achievements of mankind, particularly since the dawn of the Industrial Age. Lord Alfred Tennyson’s “Locksley Hall” sets an auspicious tone that mankind is on the verge of great discoveries. This is followed in short order by Charles Mackay’s “Railways 1846,” William Ernest Henley’s “A Song of Speed,” and John Gillespie Magee, Jr.’s “High Flight,” each of which celebrates a new milestone in technological achievement. In “Binsey Poplars,” Gerard Manley Hopkins takes note of the effect that these advances are having on the planet, with trees being brought down and landscapes forever changed. Percy Bysshe Shelley’s “A Dirge” concludes Part II with a warning that the planet is beginning to sound a grave alarm.Part III: Searching for Balance questions how we can create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. Three texts continue the earth’s plea that ended the previous section: Lord Byron’s “Darkness” speaks of a natural disaster (a volcano) that has blotted out the sun from humanity and the panic that ensues; contemporary poet Esther Iverem’s “Earth Screaming” gives voice to the modern issues of our changing climate; and William Wordsworth’s “The World Is Too Much With Us” warns us that we are almost out of time to change our course. Contemporary/agrarian poet Wendell Berry’s “The Want of Peace” speaks to us at the climax of the oratorio, reminding us that we can find harmony with the planet if we choose to live more simply, and to recall that we ourselves came from the earth. Two Walt Whitman texts (“A Child said, What is the grass?” and “There was a child went forth every day”) echo Berry’s thoughts, reminding us that we are of the earth, as is everything that we see on our planet. The oratorio concludes with a reprise of Whitman’s “A Blade of Grass” from Part I, this time interspersed with an additional Whitman text that sublimely states, “I bequeath myself to the dirt to grow from the grass I love…”My hope in writing this oratorio is to invite audience members to consider how we interact with our planet, and what we can each personally do to keep the planet going for future generations. We are the only stewards Earth has; what can we each do to leave her in better shape than we found her?

2-part equal voices, 2-part mixed voices, cantor, voice solo, assembly, piano accompaniment, guitar - Early intermediate

SKU: GI.G-7218

Composed by Michael Mahler. Leavensong Series. Sacred. Octavo. With guitar chord names. 12 pages. GIA Publications #7218. Published by GIA Publications (GI.G-7218).

UPC: 785147721802. English. Text by Michael Mahler.

When presented in an acoustic-pop style, the appeal of this piece will be immediate. Through the composer’s beautiful baptismal text, which is both personal and communal, we are reminded of the wondrous gift that a helpless infant can be for us.  For cantor or soloist.

Alto voice solo, SATB choir, Piano

SKU: CA.2110100

Composed by Juliette Marie Olga (Lili) Boulanger. Edited by Michael Alber. Sacred vocal music, Hymns. Sacred vocal music, Hymns. Full score. LB 24. Duration 5 minutes. Carus Verlag #CV 21.101/00. Published by Carus Verlag (CA.2110100).

ISBN 9790007187798. Language: French/English. Text: Delavigne, Casimir.

First critical edition. Together with Debussy, Ravel, and Dukas, Lili Boulanger was one of the most important representatives of impressionism. Despite her short life of just 24 years, she developed a distinctive personal style, and composed a huge variety of works including songs, piano music, operatic scenes, and choral music, all with great inventiveness. The Hymne au soleil (Hymn to the sun) for mixed choir, alto solo, and piano, was written in 1912 to a poem by Casimir Delavigne. In ecstatic layers of chords the sun is acclaimed; through its power it brings the colors of the earth to light anew. The edition contains both the original French text, with a singable English translation underlaid.

Score and Parts Concert Band (Score & Parts) - Grade 6

SKU: HL.44012421

Concert Band Score and Parts. Composed by Ottorino Respighi. Arranged by Yoshihiro Kimura. De Haske Concert Band. Classical. Softcover. Composed 2006. De Haske Publications #1063989-010. Published by De Haske Publications (HL.44012421).

English-German-French- Dutch-Japanese.

Ita lian composer Ottorino Respighi wrote several operas, ballet music, chamber music, piano and organ works as well as Cantatas in a style much influenced by the French Impressionists mixed with his unique personal style. The Japanese arranger Yoshihiro Kimura has skilfully adapted Respighi?s symphonic poem Fontane di Roma for concert bands of an advanced level.

Choir Secular (SAB choir/3-Part choir Mixed)

SKU: AP.48459

Composed by Andy Grammer, Bram Inscore, Jacob Torrey, and Sam Farrar. Arranged by Andy Beck. Performance Music Ensemble; Single Titles. Alfred Pop Choral Series. Pop; Secular. Choral Octavo. 12 pages. Alfred Music #00-48459. Published by Alfred Music (AP.48459).

UPC: 038081552828. English.

I'm not givin' up . . . no, not yet. This lead single from Andy Grammer's album Naive is featured in the movie Five Feet Apart and gained YouTube fame among choir directors after Grammer's personal visit to PS22 in New York City. The lyrics speak of the power of friendship, the strength to fight, and the importance of support during difficult times. The catchy, syncopated chorus (with optional handclaps) makes great use of stacked harmony. Use the SoundTrax CD, or add guitar, bass, and drums to build your own band!

About Alfred Pop Choral Series

The Alfred Pop Series features outstanding arrangements of songs from the popular music genre. These publications provide exciting, contemporary, and educationally-sound arrangements for singers of all ages, from elementary through high school, to college and adult choirs.

Piano

SKU: M7.AHW-3028

Composed by Herbie Hancock. Arranged by Oligario Diaz. Sheet music. Performance book. Charles Colin Corp. #AHW 3028. Published by Charles Colin Corp. (M7.AHW-3028).

English.

This theoretical book is meant to improve contemporary jazz styles and techniques for all players of modern jazz. This study investigates jazz pianist and composer Herbie Hancock's seven albums recorded as a bandleader for Blue Note Records between 1962 and 1969. Recorded during Hancock's tenures with Donal Byrd and Miles Davis, his early works are highly mature musical conceptions, with all the major elements of Hancock's personal musical style already present. A mixed-methods approach combining sever forms of qualitative data analysis is used to identify the formal construction, the musical meanings, and the cultural significance of this body of music. The study surveys the thirty-six compositions that comprise these seven albums, and selects for in-depth analysis seven pieces that are proportionally representative of the formal characteristics of this larger repertoire: The Maze, The Pleasure Is Mine, Jack Rabbit, One Finger Snap, Little One, Toys, and I Have A Dream. Hancock's improvisations on these repretative compositions are transcribed, and each improvisation and composition is analyzed for its historical context and significance of each recording is examined through interviews with persons involved in the original recording process, as well as other jazz musicians and scholars with deep knowledge of Hancock's life, music and oeuvre. Aesthetic analyses, informed by the theories of of Kivy and Elliot, investigate the expressive or representational qualities of each composition, and examine how formal musical elements contribute to these expressive or representational qualities. Formal analyses examine elements of Hancock's compositional and improvisational style. The study concludes the Hancock's compositions and improvisations of the period exhibit a number of consistent style elements, such as sophisticated harmonic and rhythmic superimposition, that were very important influences on jazz pianists of the following generation.

(21 Current Hits (Piano/Vocal/Guitar)). For Guitar; Keyboard; Piano; Voice. This edition: Piano/Vocal/Guitar. Artist/Personality; Book; P/V/C Mixed Folio; Piano/Vocal/Chords. Greatest Hits. Pop; Pop/Rock; Rock. 160 pages. Published by Alfred Music

Performing Score English Horn; Oboe (Performance Score)

SKU: HL.50601465

Solo and Chamber Works for Oboe and English Horn Performing Score. Composed by Gyorgy Kurtag. Contemporary Music. EMB. Classical. Softcover. Composed 2018. 66 pages. Editio Musica Budapest #Z15074. Published by Editio Musica Budapest (HL.50601465).

ISBN 9790080150740. UPC: 888680970147. 9.0x12.0x0.178 inches. Hungarian, English, German. Gyorgy Kurtag.

Signs, Games and Messages are series for solo instruments and small chamber ensembles. Each of the three notions refers to an essential factor in Kurtág’s music. Signs ties it with the composer's period of study in Paris as a young man, when he could not compose, merely put graphic signs on the paper. Games links with his nine-volume series for the piano with that title. Messages conveys the very personal content of these works, in that these short pieces are meant to be diary-entries and missives to musiciansand friends important to Kurtág. The collection – like the earlier five series for string instruments – does not form a coherent cycle. The pieces can be played individually or in various orders or mixed with from Signs, Games and Messages written for other instruments.

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.

SATB Choir (Mixed choir (SATB)) - Level 3

SKU: BA.BA08524

Composed by Marten Jansson. Stapled. Choral score, anthology. 14 pages. Duration 8 minutes. Baerenreiter Verlag #BA08524_00. Published by Baerenreiter Verlag (BA.BA08524).

ISBN 9790006564194. 27 x 19 cm inches. Text Language: Swedish, English. Text: Kerstin Dillmar.

“Tri ptyk” (“Triptych”) and “Mörkblå tillit” (“Dark Blue Trust”) have been written by hospital chaplain/author Kerstin Dillmar.

In her work she often meets people who walk in the shadow of death and her dealings and thoughts about this are a central part of her writing. This is most clearly seen in “Mörkblå tillit” whose key message is to trust that we will be safe and secure after passing away in sleep.

Jansson’s intention with the music was to enhance this feeling of comforting trust without taking away the seriousness of the subject. “Triptyk” on the other hand describes a journey within a person in three stages which moves from despair, “God, my God why have I forsaken myself?”, through to hope and faith that God is within.
The music depicts these stages, starting with a dark-searching tonality, then describing the simple beauty of trust through to a joyful expectation of hope and ending with a strong conviction.

Choral SATB Choir and Piano

SKU: PR.312419020

From Terra Nostra. Composed by Stacy Garrop. Sws. Performance Score. 12 pages. Duration 3:15. Theodore Presser Company #312-41902. Published by Theodore Presser Company (PR.312419020).

ISBN 9781491131862. UPC: 680160680474. 6.875 x 10.5 inches. English.

Commission ed by the San Francisco Choral Society and the Piedmont East Bay Children’s Choir, Terra Nostra is a 70-minute oratorio on the relationship between our planet and humankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. Part I: Creation of the World explores various creation myths from different cultures, culminating in a joyous celebration of the beauty of our planet. Part II: The Rise of Humanity examines human achievements, particularly since the dawn of our Industrial Age, and how these achievements have impacted the planet. Part III: Searching for Balance questions how to create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. In addition to the complete oratorio, stand-alone movements for mixed chorus, and for solo voice with piano, are also available separately.
Terra Nostra focuses on the relationship between our planet and mankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. The oratorio is divided into three parts:Part I: Creation of the World celebrates the birth and beauty of our planet. The oratorio begins with creation myths from India, North America, and Egypt that are integrated into the opening lines of Genesis from the Old Testament. The music surges forth from these creation stories into “God’s World” by Edna St. Vincent Millay, which describes the world in exuberant and vivid detail. Percy Bysshe Shelley’s “On thine own child” praises Mother Earth for her role bringing forth all life, while Walt Whitman sings a love song to the planet in “Smile O voluptuous cool-breathed earth!” Part I ends with “A Blade of Grass” in which Whitman muses how our planet has been spinning in the heavens for a very long time.Part II: The Rise of Humanity examines the achievements of mankind, particularly since the dawn of the Industrial Age. Lord Alfred Tennyson’s “Locksley Hall” sets an auspicious tone that mankind is on the verge of great discoveries. This is followed in short order by Charles Mackay’s “Railways 1846,” William Ernest Henley’s “A Song of Speed,” and John Gillespie Magee, Jr.’s “High Flight,” each of which celebrates a new milestone in technological achievement. In “Binsey Poplars,” Gerard Manley Hopkins takes note of the effect that these advances are having on the planet, with trees being brought down and landscapes forever changed. Percy Bysshe Shelley’s “A Dirge” concludes Part II with a warning that the planet is beginning to sound a grave alarm.Part III: Searching for Balance questions how we can create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. Three texts continue the earth’s plea that ended the previous section: Lord Byron’s “Darkness” speaks of a natural disaster (a volcano) that has blotted out the sun from humanity and the panic that ensues; contemporary poet Esther Iverem’s “Earth Screaming” gives voice to the modern issues of our changing climate; and William Wordsworth’s “The World Is Too Much With Us” warns us that we are almost out of time to change our course. Contemporary/agrarian poet Wendell Berry’s “The Want of Peace” speaks to us at the climax of the oratorio, reminding us that we can find harmony with the planet if we choose to live more simply, and to recall that we ourselves came from the earth. Two Walt Whitman texts (“A Child said, What is the grass?” and “There was a child went forth every day”) echo Berry’s thoughts, reminding us that we are of the earth, as is everything that we see on our planet. The oratorio concludes with a reprise of Whitman’s “A Blade of Grass” from Part I, this time interspersed with an additional Whitman text that sublimely states, “I bequeath myself to the dirt to grow from the grass I love…”My hope in writing this oratorio is to invite audience members to consider how we interact with our planet, and what we can each personally do to keep the planet going for future generations. We are the only stewards Earth has; what can we each do to leave her in better shape than we found her?