Composed by Marty Haugen. Arranged by Joel Raney. For SATB choir with optional C...(+)
Composed by Marty Haugen.
Arranged by Joel Raney.
For SATB choir with
optional C instrument
(part included) and
congregation. Lent, Holy
Week, Responsive Litany.
Octavo. Published by Hope
Publishing Company
Choral SATB choir SKU: CF.CM9700 Composed by Hungarian Folk. Arranged by ...(+)
Choral SATB choir
SKU:
CF.CM9700
Composed by
Hungarian Folk. Arranged
by Stacy Garrop. 20
pages. Duration 4:44.
Carl Fischer Music
#CM9700. Published by
Carl Fischer Music
(CF.CM9700).
ISBN
9781491160008. UPC:
680160918607. Key: A
minor. Hungarian.
Hungarian Folk.
In
2014, Chanticleer
commissioned me to make a
new arrangement of the
Hungarian-Romani folk
song Jarba, Mare Jarba
for their 2014 touring
program. Passed down
orally through the Romani
communities, this
beautiful folk song, with
text in a language called
Beas (beh-osh), speaks of
a deep longing to visit
one's homeland, a place
where the singer can
never return. Chanticleer
consists of twelve men
whose vocal ranges span
from low bass to high
soprano, equivalent to
the range of a mixed
choir of women and men. I
composed slow sections of
original material to
represent the singers'
longing to return home;
these are interspersed
with the folk song's
traditional fast
sections. The
incorporated shouts and
calls in the score are
typically found in the
performance of Central
European folk songs. I
hope you enjoy singing
this new version of
Jarba, Mare Jarba that
contains all of the vigor
and excitement of the
Chanticleer version.
PERFORMANCE NOTES All
spoken sounds (indicated
by x noteheads) should be
performed by individuals.
Feel free to elaborate
with more sounds of your
own in the tradition of
Eastern European folk
music. If the piece is
memorized, feel free to
experiment with clapping
on the off-beats of m. 93
to the end. TEXT
Transliteration Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat, Jarba, mare jarba
mas duce a casa, da nu
pot ca am jurat. Mare
jarba, verde jarba nu me
pot duce a casa. Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat. O mers mama de pe
sat, O lasat coliba
goala, Infrunzitu,
ingurzitu da plina de
saracie, da plina de
saracie. Mare jarba,
verde jarba nu me pot
duce a casa. Jarba, mare
jarba mas duce a casa, da
nu pot ca am jurat.
Translation Green grass,
tall grass, I would like
to go home, but I cannot,
because I have sworn not
to. Tall grass, green
grass - oh, that I cannot
go home! My mother has
left the village; she
left the hut empty,
Adorned with leaves but
full of poverty. Tall
grass, green grass - oh,
that I cannot go home!
Tall grass, green grass -
I would like to go home.
but I cannot, because I
have sworn not to. Stacy
Garrop's music is
centered on dramatic and
lyrical storytelling. The
sharing of stories is a
defining element of our
humanity; we strive to
share with others the
experiences and concepts
that we find compelling.
She shares stories by
taking audiences on sonic
journeys - some simple
and beautiful, while
others are complicated
and dark - depending on
the needs and dramatic
shape of the story.
Garrop served as the
first Emerging Opera
Composer of Chicago Opera
Theater's Vanguard
Program. She also held a
3-year
composer-in-residence
position with the
Champaign-Urbana Symphony
Orchestra, funded by New
Music USA and the League
of American Orchestras.
She has received numerous
awards and grants
including an Arts and
Letters Award in Music
from the American Academy
of Arts and Letters,
Fromm Music Foundation
Grant, Barlow Prize, and
three Barlow Endowment
commissions, along with
prizes from competitions
sponsored by the Detroit
Symphony Orchestra, Civic
Orchestra of Chicago,
Omaha Symphony, New
England Philharmonic,
Boston Choral Ensemble,
Utah Arts Festival, and
Pittsburgh New Music
Ensemble. She is a
Cedille Records artist;
her works are
commercially available on
more than ten additional
labels. Her catalog
covers a wide range, with
works for orchestra,
opera, oratorio, wind
ensemble, choir, art
song, various sized
chamber ensembles, and
works for solo
instruments. Notable
commissions include My
Dearest Ruth for soprano
and piano with text by
Martin Ginsburg, the
husband of the late
Supreme Court Justice
Ruth Bader Ginsburg, The
Transformation of Jane
Doe for Chicago Opera
Theater, The Battle for
the Ballot for the
Cabrillo Festival
Orchestra, Goddess
Triptych for the St.
Louis Symphony Orchestra,
Glorious Mahalia for the
Kronos Quartet, Give Me
Hunger for Chanticleer,
Rites for the Afterlife
for the Akropolis and
Calefax Reed Quintets,
and Terra Nostra: an
oratorio about our
planet, commissioned by
the San Francisco Choral
Society and Piedmont East
Bay Children's Chorus.
Garrop previously served
as composer-in-residence
with the Albany Symphony
and Skaneateles Festival,
and as well as on faculty
of the Fresh Inc Festival
(2012-2017). She taught
composition and
orchestration full-time
at Roosevelt University
2000-2016) before leaving
to launch her freelance
career. She earned
degrees in music
composition at the
University of
Michigan-Ann Arbor
(B.M.), University of
Chicago (M.A.), and
Indiana
University-Bloomington
(D.M.). In 2014,
Chanticleer commissioned
me to make a new
arrangement of the
Hungarian-Romani folk
song Jarba, Mare Jarba
for their 2014 touring
program. Passed down
orally through the Romani
communities, this
beautiful folk song, with
text in a language called
Beas (beh-osh), speaks of
a deep longing to visit
one’s homeland, a
place where the singer
can never return.
Chanticleer consists of
twelve men whose vocal
ranges span from low bass
to high soprano,
equivalent to the range
of a mixed choir of women
and men. I composed slow
sections of original
material to represent the
singers’ longing
to return home; these are
interspersed with the
folk song’s
traditional fast
sections. The
incorporated shouts and
calls in the score are
typically found in the
performance of Central
European folk songs. I
hope you enjoy singing
this new version of
Jarba, Mare Jarba that
contains all of the vigor
and excitement of the
Chanticleer
version.PERFORMANCE
NOTESAll spoken sounds
(indicated by x
noteheads) should be
performed by individuals.
Feel free to elaborate
with more sounds of your
own in the tradition of
Eastern European folk
music.If the piece is
memorized, feel free to
experiment with clapping
on the off-beats of m. 93
to the
end.TEXTTransliterationJa
rba, mare jarba mas duce
a casa, da nu pot ca am
jurat, Jarba, mare jarba
mas duce a casa, da nu
pot ca am jurat. Mare
jarba, verde jarba nu me
pot duce a casa.Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat.O mers mama de pe
sat, O lasat coliba
goala,Infrunzitu,
ingurzitu da plina de
saracie, da plina de
saracie. Mare jarba,
verde jarba nu me pot
duce a casa.Jarba, mare
jarba mas duce a casa, da
nu pot ca am
jurat.TranslationGreen
grass, tall grass, I
would like to go home,
but I cannot, because I
have sworn not to.Tall
grass, green grass
– oh, that I
cannot go home!My mother
has left the village; she
left the hut empty,
Adorned with leaves but
full of poverty.Tall
grass, green grass
– oh, that I
cannot go home! Tall
grass, green grass
– I would like to
go home.but I cannot,
because I have sworn not
to.Stacy Garrop’s
music is centered on
dramatic and lyrical
storytelling. The sharing
of stories is a defining
element of our humanity;
we strive to share with
others the experiences
and concepts that we find
compelling. She shares
stories by taking
audiences on sonic
journeys – some
simple and beautiful,
while others are
complicated and dark
– depending on the
needs and dramatic shape
of the story.Garrop
served as the first
Emerging Opera Composer
of Chicago Opera
Theater’s Vanguard
Program. She also held a
3-year
composer-in-residence
position with the
Champaign-Urbana Symphony
Orchestra, funded by New
Music USA and the League
of American Orchestras.
She has received
numerous awards and
grants including an
Arts and Letters Award in
Music from the American
Academy of Arts and
Letters, Fromm Music
Foundation Grant, Barlow
Prize, and three Barlow
Endowment commissions,
along with prizes from
competitions sponsored by
the Detroit Symphony
Orchestra, Civic
Orchestra of Chicago,
Omaha Symphony, New
England Philharmonic,
Boston Choral Ensemble,
Utah Arts Festival, and
Pittsburgh New Music
Ensemble. She is a
Cedille Records artist;
her works are
commercially available on
more than ten additional
labels.Her catalog covers
a wide range, with works
for orchestra, opera,
oratorio, wind ensemble,
choir, art song, various
sized chamber ensembles,
and works for solo
instruments. Notable
commissions include My
Dearest Ruth for
soprano and piano with
text by Martin Ginsburg,
the husband of the late
Supreme Court Justice
Ruth Bader
Ginsburg, The
Transformation of Jane
Doe for Chicago Opera
Theater, The Battle for
the Ballot for the
Cabrillo Festival
Orchestra, Goddess
Triptych for the St.
Louis Symphony Orchestra,
Glorious Mahalia for
the Kronos Quartet, Give
Me Hunger for
Chanticleer, Rites for
the Afterlife for the
Akropolis and Calefax
Reed Quintets,
and Terra
Nostra:Â an oratorio
about our planet,
commissioned by the San
Francisco Choral Society
and Piedmont East Bay
Children’s
Chorus.Garrop previously
served as
composer-in-residence
with the Albany Symphony
and Skaneateles Festival,
and as well as on faculty
of the Fresh Inc Festival
(2012-2017). She taught
composition and
orchestration full-time
at Roosevelt University
2000-2016) before leaving
to launch her freelance
career. She earned
degrees in music
composition at the
University of
Michigan-Ann Arbor
(B.M.), University of
Chicago (M.A.), and
Indiana
University-Bloomington
(D.M.).ÂÂ.
Choral Score -
(SATB/SATB/SATB/SATB) -
Latin. Composed by
Janusz Krzysztof Korczak.
This edition: Saddle
stitching. Sheet music.
Choral. General Worship,
Latin, Sacred. Octavo.
Composed 2016. 16 pages.
Duration 4'. Schott Music
#C59048. Published by
Schott Music
(HL.49045600).
ISBN
9790001166249. UPC:
841886032675. 7.5x10.75
inches. Latin. Book of
Wisdom
18:14-15.
The
composer, chorus and
organist Janusz Krzysztof
Korczak, who was born in
Krakow in 1994, was
awarded the 3rd prize at
the International
Composition Competition
Musica Sacra Nova 2016
for his choral piece Cum
enim quietum silentium
contineret omnia, ....
This sophisticated
Latin-language choral
work is designed for four
four-part ensembles (SATB
/ SATB / SATB / SATB) a
cappella,for which the
Polish composer delivers
an exact arrangement. The
Korczak, which is divided
into a number of musical
thematic sections, for
which Korczak foresees a
maximum of four singers
per voice within the
individual ensembles,
has, according to his own
statement, musically
implemented a kind of
programmatic
visualization of the
underlying words from
Liber Sapientiae 18,
14-15b searched. And so
there are lecture notes
such as delicate or sharp
whispering, singing with
closed and open mouth, ad
libitum to declaiming
parts, a general pause
with explicit seconds,
strong dynamic accents
and an abrupt descending
Glissando at the end of
thestriking features of
this 16-voice A
-cappella-choral work.
Ideal literature for
singers with a high
degree of
experimentation.
Oalla Mohololi Chorale SATB SATB - Intermédiaire Faber Music Limited
(Three Songs from Africa). Arranged by Mike Brewer. Choir Secular. SATB choir. B...(+)
(Three Songs from
Africa). Arranged by Mike
Brewer. Choir Secular.
SATB choir. Book; Choral
Collection. Faber
Edition: Mike Brewer's
Choral World Tour.
Multicultural;
Traditional; World.
Intermediate. Published
by Faber Music
For SATB chorus &
orchestra. Composed
by Emma Lou Diemer.
Vocal/Choral, Secular
Large Choral Works. Piano
Vocal Score. Seesaw Music
Corp #50500090. Published
by Seesaw Music Corp
(SU.50500090).
SATB Chorus,
SATB Ensemble, Soprano &
Baritone Soli, Orchestra
[2 (opt afl) 22 (opt bcl)
2 (opt cbn); 4331; timp,
perc; pno/cel; stgs]
Duration: 18' 1
Nature’ is what we
see (Emily Dickinson); 2
And this delightful Herb
(The Rubaiyat of Omar
Khayyám, trans. Edward
FitzGerald); 3 I robbed
the Woods (Emily
Dickinson); 4 Experiment
(Dorothy Diemer Hendry);
5 And I saw another
brightness (The Book of
Life’s Merits, How
the Earth Preserves
Mankind [paraphrased] by
Hildegard von Bingen); 6
Harvest Moon–The
Mockingbird Sings in the
Night (Mary Oliver) Study
Score: available for sale
(#50500091) Full Score &
Parts: available on
rental Composed: 2002-03
Published by: Seesaw
Music.
For SATB chorus &
orchestra. Composed
by Emma Lou Diemer.
Vocal/Choral, Secular
Large Choral Works. Study
Score. Seesaw Music Corp
#50500091. Published by
Seesaw Music Corp
(SU.50500091).
SATB Chorus,
SATB Ensemble, Soprano &
Baritone Soli, Orchestra
[2 (opt afl) 22 (opt bcl)
2 (opt cbn); 4331; timp,
perc; pno/cel; stgs]
Duration: 18' 1
‘Nature’ is
what we see (Emily
Dickinson); 2 And this
delightful Herb (The
Rubaiyat of Omar
Khayyám, trans. Edward
FitzGerald); 3 I robbed
the Woods (Emily
Dickinson); 4 Experiment
(Dorothy Diemer Hendry);
5 And I saw another
brightness (The Book of
Life’s Merits, How
the Earth Preserves
Mankind [paraphrased] by
Hildegard von Bingen); 6
Harvest Moon–The
Mockingbird Sings in the
Night (Mary Oliver) Vocal
Score: available for sale
(#50500090) Full Score &
Parts: available on
rental Composed: 2002-03
Published by: Seesaw
Music.
SATB choir, keyboard
accompaniment, flute,
violin - Early
intermediate
SKU:
GI.G-8036
Composed by
Philipp Nicolai. Edited
by Patrick M. Liebergen.
Arranged by Johann
Kuhnau. Christmastide,
Epiphany. Choral. Tune
Name: Wie Schön
Leuchtet. Sacred. Octavo.
8 pages. GIA Publications
#8036. Published by GIA
Publications (GI.G-8036).
UPC: 785147803607.
English. Text Source:
'Wie schön leuchtet
der Morgenstern'
Translation: Catherine
Winkworth. Text by
Phillip
Nicolai.
Although a
part for flute (or
violin) is provided to
emphasize the hymn tune,
there are other creative
instrumental
opportunities to explore.
Use a cello or bassoon
for the bass
accompaniment line. The
organist is encouraged to
experiment with different
registrations and colors.
The tenors will want to
be well warmed-up, and
the occasional tenuous
bass section will
appreciate the support
from the keyboard. The
Flute and Violin parts
are optional. .
Choral (SATB a cappella) SKU: HL.48024896 Motet for Mixed Choir SATB a...(+)
Choral (SATB a cappella)
SKU: HL.48024896
Motet for Mixed Choir
SATB a Cappella.
Composed by
Wolfgang-Andreas Schultz.
BH Large Choral.
Classical, General
Worship, Sacred.
Softcover. 24 pages.
Duration 360 seconds.
Simrock #M2212122520.
Published by Simrock
(HL.48024896).
ISBN
9781540095800. UPC:
840126927818.
The
title's Third Word of
Creation refers to verses
from Rilke's Book of
Hours which indicate the
fear of what other
delicate experiments God
might come up with after
'light' and 'man'.
Schultz contradicts the
text by combining it with
the monolithic beginning
of the First Book of
Moses in the Old
Testament, which is
imbued with the rightness
of God's actions, as well
as with lines by the
Persian poet Rumi in the
translation by Friedrich
Ruckert. The latter
indicate the comforting
certainty of rebirth as
ahigher being up to the
unfathomable spirit of
God. The composer
accomplishes the feat of
weaving all three levels
into a complex, ethereal
structure in which the
words nevertheless always
remain clearly
understandable.
Choral (SATB) SKU: HL.2050295 Edited by Jay Rouse and Randy Vader. Praise...(+)
Choral (SATB)
SKU:
HL.2050295
Edited by
Jay Rouse and Randy
Vader. Praise Gathering
Choral. Patriotic.
Softcover. 136 pages.
Duration 3120 seconds.
PraiseGathering #A08445.
Published by
PraiseGathering
(HL.2050295).
UPC:
797242938795.
6.75x10.5x0.299
inches.
America has
often been referred to as
the great melting pot of
nationalities and
cultures. That is true to
a certain extent.
Americans have not
relinquished the unique
character of their
individual heritage -
they have, however,
acknowledged those things
that unite all of us as a
people, a nation
dedicated to liberty and
justice for all. The one
thing we share that is
most obvious is this
particular area of the
planet Earth, located in
the western hemisphere,
on the North American
Continent. This is a
landmass that is bordered
east and west by the
Atlantic and Pacific
oceans and north and
south by Canada and
Mexico. In addition, we
have two states that are
thousands of miles
removed from these
borders but very much a
part of these states -
the United States of
America. This is a
celebration of our
country - our dwelling
place - our Homeland. Our
Homeland - this is the
place where we pledge the
same flag, protect and
defend the same
Constitution, breathe the
same air, cherish the
future of our children,
and stand constant vigil
to defend the rights that
compelled our founders to
form a more perfect
Union. This is the place
our ancestors fought for,
and also the place where
people still gather the
courage to come and be a
part of the greatest
experiment in freedom in
human history.America - a
land uniquely blessed of
God - a staggering mosaic
of natural beauty and
resources. America -
sweet land of Liberty.
America - residence for
those who dared to dream
the dream, pay the price,
share the costs. . . of
living in the
HOMELAND!
ISBN
9790006523368. 33.5 x
25.5 cm inches. Text
Language: French.
Preface: Sylvie Bouissou.
Louis de
Cahusac.
Rameau's
“Les Fêtes de
l'Hymen et de
l'Amour†was long
considered second-rate
because its première
was associated with a
political event. Yet this
ballet abounds in novel
dramaturgical effects
that foreshadow his later
operas, such as
“Zaïsâ€,
“Zoroastreâ€
and “Les
Boradesâ€. Working
together with his
librettist Cahusac,
Rameau sought to weave
the dance numbers,
choruses and stage
machinery more tightly
into the main plot. He
also experimented with
stylistic devices unique
to this work, the most
famous being
unquestionably the scene
in which the Nile
overflows its banks (an
impressive ten-voice
double chorus with solo
voices and orchestra) and
the sextet from
“Arurisâ€, a
scoring found nowhere
else in his
uvre.
For the
first time, this
scholarly-critical
edition of “Les
Fêtes de l'Hymen et de
l'Amour†presents a
reference version of the
work that is based on all
the major sources for
both the libretto and the
music, including two
recent musical
discoveries. As most of
the performance material
for the première has
vanished, our edition is
based on the version
prepared for the Acadmie
Royale de Musique in
1748.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Mixed choir SKU: FG.042-05006-4 Composed by Erik Valdemar Bergman. Publis...(+)
Mixed choir
SKU:
FG.042-05006-4
Composed by Erik Valdemar
Bergman. Published by
Fennica Gehrman
(FG.042-05006-4).
ISBN
979-0-042-05006-4.
The four-movement Nox is
fabulously effective.
Four poets, writing in
four different languages,
have provided inspiration
for totally divergent
moods: the setting of
Quasimodo's poem is
tranquil and meditative,
Hans Arp's is bizarre,
Eluard's is elegiac while
the setting of Eliot's
poem is completely
ecstatic. Nox with its
subtle timbres and rich
spectrum of emotions
present two aspects of
Bergman's creative spirit
which, more than every
technical experiment,
constitute the essence of
his artistry.
Motetten fur 5
Stimmen. Composed by
Orlande De Lassus. Edited
by Bernhold Schmid.
Softbound. Complete
Works. Vocal Music
Between Genres.
Renaissance/early
Baroque. Complete Works.
302 pages. Breitkopf and
Haertel #SON 339.
Published by Breitkopf
and Haertel (BR.SON-339).
ISBN 9790004802854.
10.5 x 13.5 inches.
Latin.
The present
volume contains the
Psalmi Davidis
Poenitentiales, seven
penitential psalms that
had already been
supplemented with the
motet Laudate Dominum de
coelis in the first
edition (1584). In the
Complete Edition,
however, the compilation
is preceded by the vocal
piece S u Su p e r per
Super (1567), which
experiments with
syllables. Though
reprinted many times, it
was assigned to various
genres according to its
place of publication:
while the piece was
considered as a motet in
Germany, in France it was
classified as a chanson
and in Italy as a
madrigal a unique case in
the reception history of
vocal music in the 16th
century. To this day we
still do not know the
significance of the vocal
text Super flumina
Babylonis, which
gradually evolves out of
syllables. Perhaps Lasso
wanted to depict a
biblical scene that
evokes the gradual
learning of a
language.
Mixed choir SKU: FG.55011-858-4 Incantation of Vowels. Composed by...(+)
Mixed choir
SKU:
FG.55011-858-4
Incantation of
Vowels. Composed by
Žibuoklė
MartinaitytÄ—.
Classical, contemporary.
Book. Fennica Gehrman
#55011-858-4. Published
by Fennica Gehrman
(FG.55011-858-4).
Chant des
Voyelles - Incantation of
Vowels (2018) for mixed
choir (SSAATTBB) was
premiered by Volti on May
4, 2018 at Noe Vallay
Ministry in San Francisco
and on May 6, 2018 at
BAMPFA, in Berkeley,
California.
Martin
aitytÄ— encountered at
the Rockefeller estate
Kykuit near New York City
a work by the cubist
sculptor Jacques Lipchitz
called Chant des Voyelles
. It was titled after an
Egyptian prayer composed
only of vowels that was
designed to subdue the
forces of nature. Further
research showed that many
ancient traditions
(Egyptians, Greeks and
Tibetans) ascribed
sacred, mystical and
healing powers and
significance to vowels.
The details might vary in
different traditions, yet
it is clear that
something miraculous
happens through the very
act of prolonged
repetition of certain
vowels - whether in the
form of a mantra or
prayer or as a
self-healing
ritual.
This work
experiments with subtly
shifting, sometimes
barely audible clouds of
overtones resulting from
the sustaining of certain
vowels in multiple voices
in a magical
way.
Duration:
16-17'
The works
of New York -based
Lithuanian composer
Žibuoklė
MartinaitytÄ— (b.
1973) have been lauded as
breathtaking and
profoundly moving. Her
stimulating music
bristles with energy and
tension and revolves
often around the subject
of beauty, which she
calls both a guiding
principle and an
aesthetic measure for
sonic quality.
Choral SATB Choir and Piano SKU: CF.CM9549 Composed by Michael John Trott...(+)
Choral SATB Choir and
Piano
SKU:
CF.CM9549
Composed by
Michael John Trotta.
Fold. Mjts. Performance
Score. With Standard
notation. 12 pages. Carl
Fischer Music #CM9549.
Published by Carl Fischer
Music (CF.CM9549).
ISBN 9781491150818.
UPC: 680160908318. 6.875
x 10.5 inches.
Make
Space for Life to Live by
Michael John Trotta
offers captivating,
expansive melodies
interwoven with a piano
accompaniment that makes
subtle allusions to the
main theme. Its
mesmerizing text
resonates with the singer
and the audience.
Appropriate for concert
or festival use
throughout the year, this
piece is also available
for SA voices (CM9274),
TB Voices (CM9283) and
SAB voices
(CM9289). Editor's
NoteAbout the WorkMake
Space for Life to
Live features
expansive, yet accessible
vocal lines perfect for
choirs of all abilities
and sizes. It offers
compelling melodies and
singable vocal lines
interwoven with a piano
accompaniment that makes
subtle allusions to the
main theme.About the
TextThe text for this
work was written while on
an extended seashore
retreat several years
ago. It was the product
of many long walks
looking out into the
vastness of the sea. It
was a time in my life
that was immediately
preceded by great
personal loss and
turmoil. It was in that
silence and space I was
able to reconnect to that
still, small voice within
that reminded me that I
was merely a part of
something much bigger
than myself. The text
that was hewn from that
experience is a
reflection on the
importance of allowing
space in my daily life to
experience the simple
joys that every moment
has to offer.Optional
NarrationRegardless of
race or creed the
abundance that is found
in the reality of the
present moment is
augmented by regular
exposure to the arts. The
capricious nature of time
in the age of immediacy
is that it is entirely
flexible. Experience
suggests that exposure to
natural beauty, such as
watching a sunrise
unravel over the sea or a
cloud formation sweep
through a mountain range,
allows an individual to
feel part of something
greater than themselves.
Music has the ability to
take time and slow it
down, revealing to the
participant their part in
the whole. Taking part in
choral music, whether as
an audience member,
singer, conductor or
composer is an
opportunity to slow down
time long enough to allow
the beauty of life to
catch up with you.
Softly and tenderly Chorale SSATB SSATB, Piano [Vocal Score] Oxford University Press
Composed by Mack Wilberg (1955-). For SSATB choir and piano/orchestra (fl, 3 hn,...(+)
Composed by Mack Wilberg
(1955-). For SSATB choir
and piano/orchestra (fl,
3 hn, hp, str). Vocal
score. 12 pages. Duration
5'. Published by Oxford
University Press
Isthmus Chorale SATB [Conducteur] University Of York Music Press
SATB Choir SKU: BT.MUSM570368679 For choir and fixed media. Compos...(+)
SATB Choir
SKU:
BT.MUSM570368679
For choir and fixed
media. Composed by
Evis Sammoutis. Score
Only. Composed 2019. 14
pages. University of York
Music Press
#MUSM570368679. Published
by University of York
Music Press
(BT.MUSM570368679).
Isthmus denotes
a narrow strip of land
with sea on either side,
forming a link between
two larger ars of land.
The title is a metaphor
for an effort to bond
artistically my
experiences of living in
Cyprus, my birthplace,
and in the USA, my
recently adopted
homeland. Having lived in
a small, partitioned
island for my formative
years and in England for
eleven years, water has
always had a double
meaning: it has at once
served as a gateway to
other cultures but also
as a border, a violent
and absolute interruption
of a continuum. While in
the USA, or indeed in a
now connected Europe, it
is possible to travel on
land for days without
having to encounter a
border, in the countries
where I lived for most of
my life, that was not
possible. As an artist,
this notion of
establishing boundaries
and consciously trying to
break them is very close
to me, as my music deals
both with modernity but
also with tradition and,
similarly, with metaphor
and reality. As a
Cypriot, the sea, the
world of antiquity, the
mysteries of the oracles,
the notion of borders and
the pastoral are all very
central to my way of
thinking. In Cyprus,
different layers of
history are frequently
superimposed on a single
building that might still
preserve its Roman,
Byzantine, Venetian and
Ottoman features in its
layers of stone and
architecture. Similarly,
ancient ruins or the
barbed wire of modern
conflict often interrupt
placid fields. An
isthmus, therefore, can
be seen to symbolize my
artistic struggle to join
strikingly different
experiences and notions
in a cohesive way.
Similar to an isthmus, in
this short piece, I
connect these experiences
with the purpose of
creating a distinct and
unique sonic context,
connecting technology and
tradition, the pastoral
with the urban, the
musical with the
extra-musical and the
abstract with the
concrete. For example,
the choir does not always
sing in the traditional
sense, but the singers
imitate various natural
sounds, such as water,
air, crickets or birds,
to create a vivid visual
impression for the work.
Scandinavian herding
calls blend with field
recordings from the seas
of Cyprus and the lakes
of Upstate New York,
communicated within
clearly defined, singular
acoustic sources and
spaces through wireless
speakers. The text used
is both onomatopoeic,
articulating an imaginary
language, but also
literal, with a setting
of the poem, “To make a
prairie” by the iconic
American poet Emily
Dickinson and a tiny
fragment from
Callimachus’ “Hymn to
Demeter.” Technology is
used sparsely and very
intentionally to
articulate the expressive
qualities of pastoral
imagery, creating one
unified synthetic timbre
with the choristers’
sounds. This piece is
dedicated to the
wonderful singers of the
Georgia Institute of
Technology Chamber Choir
with special thanks to
Professors Hsu and
Ulrich, without whose
support this composition
would not have been
possible. Practical
notes: A choir of no
less than 24 singers is
sought with 4 additional
soloists (2 Sopranos and
2 Altos). Each singer
must have their own
wireless speaker, secured
either in the music
folder or as a strap
inside their shirts. All
sounds must match in
volume the sound from the
speakers, creating one
unified timbre. The
speakers should not be
noticeable to the public.
The four soloists are
placed offstage at the
beginning of the work.
From 1:35’ onwards they
enter the hall and take
their positions, ideally
at the four corners of
the hall. If the hall is
too large, the singers
can find alternate
positions, but these
should always be
antiphonal. The four
soloists sing
predominantly in the
“kulning” style and
the antiphonal aspect is
very important to the
work. There are two sound
files for each section
(SATB) that are triggered
by each singer’s mobile
device. The first occurs
at the start of the
piece, and the second,
about a minute before the
end. The sound files are
able to be purchased
separately, on CD, or are
available directly from
UYMP.
Composed by
Paul Tate. Lent 3 A, Lent
4 A, Lent 5 A, OT 6 A, OT
17 A. Choral. Sacred.
Octavo. With guitar chord
names. 8 pages. GIA
Publications #6291.
Published by GIA
Publications (GI.G-6291).
UPC: 785147629108.
English. Text by Timothy
Dudley-Smith. Scripture:
Psalm 119.
A new
tune set in a hymn anthem
style, with each stanza
receiving a different
treatment: SATB, melody
with decant, TB, and SATB
with descant. The text,
taken from Psalm 119,
highlights the human
experiences of God
through the senses.
Guitar part is
optional
The text,
taken from Psalm 119,
highlights the human
experiences of God
through the senses.
Composed by Lloyd Larson. Choral, cantatas. Advent, Christmas. SATB with perf...(+)
Composed by Lloyd Larson.
Choral, cantatas. Advent,
Christmas. SATB with
performance CD. Lorenz
Publishing Company
#65/2091L. Published by
Lorenz Publishing Company
Semichorus, SATB choir and organ Choral (SATB AND ORGAN) SKU: HL.1167600 ...(+)
Semichorus, SATB choir
and organ Choral (SATB
AND ORGAN)
SKU:
HL.1167600
For
semichorus, SATB choir
and organ. Composed
by Nico Muhly. Choral.
Concert. Octavo. 76
pages. Duration 1020
seconds. St. Rose Music
#SRO100200. Published by
St. Rose Music
(HL.1167600).
ISBN
9781705188651. UPC:
196288123934.
9.0x12.0x0.186
inches.
Commissione
d by Chanticleer and
premiered in April 2022,
“Beauty of the
Day†is a setting
of texts that capture the
wonder and grandeur of
the natural world, and we
can't imagine a more
perfect topic to
facilitate the shared
experience of choral
music than the shared
experience of living on
this planet.
Composed by Dan Forrest.
Choral, School, Church,
Community, Collegiate.
Justice. Octavo. The
Music of Dan Forrest
#DF1022. Published by The
Music of Dan Forrest
(BP.DF1022).
6.88 x
10.5 inches.
From
the composer: Written as
a statement of support
for, and allyship with,
our Black brothers and
sisters (as well as all
people of color). Too
often, in any aspect of
life, we explain away
other people’s
experiences instead of
seeking to understand
experiences that differ
from our own;
we’re so busy
talking about our own
viewpoints that we fail
to listen to the voices
we most need to hear. I
asked Tony Silvestri to
write a text that could
function as a personal
statement from me to
people I need to listen
to—especially to
my friends of color. This
the text that
resulted—words
that speak powerfully for
any situation where we
need to listen to those
who have been
marginalized or
mistreated, not heard or
believed. For SATB or
SSAA choir with piano and
optional guitar.
SATB divisi a cappella Choral (SATB a cappella) SKU: HL.1428504 Composed ...(+)
SATB divisi a cappella
Choral (SATB a cappella)
SKU: HL.1428504
Composed by Will
Schneider. Gentry
Publications. Octavo.
Gentry Publications
#JG2724. Published by
Gentry Publications
(HL.1428504).
UPC:
196288202707.
Exper
ience the captivating
allure of this
pop-inspired composition
crafted for double-choir
and two soloists. Picture
your choirs positioned
antiphonally across the
stage, immersing the
audience in a dynamic
sonic experience. As the
piece crescendos to a
powerful climax, the
unforgettable finale
beckons, inviting you to
embrace the last four
measures repeatedly.
Then, revel in the
classic fade-out - a rare
gem reminiscent of the
timeless musical nuances
that gracefully taper, a
feature less prevalent in
today's popular music
landscape.
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.
.
(CME Gospel Music Experience). By Richard Smallwood. Arranged by Doreen Rao. SAT...(+)
(CME Gospel Music
Experience). By Richard
Smallwood. Arranged by
Doreen Rao. SATB. Gospel
Music Experience. 8
pages. Boosey and Hawkes
#M051480494. Published by
Boosey and Hawkes
SATB choir, piano SKU: LO.15-3352H Composed by Lloyd Larson. Choral. Octa...(+)
SATB choir, piano
SKU:
LO.15-3352H
Composed
by Lloyd Larson. Choral.
Octavo. Heritage Music
Press #15/3352H.
Published by Heritage
Music Press
(LO.15-3352H).
ISBN
9780787733094.
Rich
ly scored choral writing
defines this sumptuous
setting of a tender text,
which incorporates
splendid natural imagery
to describe experiences
of beauty and love to a
child. With highly
singable vocal lines that
perfectly pair with the
lyrics, this piece is an
unforgettable experience
for any concert
setting.