Choral SATB choir, piano SKU: PR.362034230 A Prologue to THE CREATION ...(+)
Choral SATB choir, piano
SKU: PR.362034230
A Prologue to THE
CREATION by Franz Joseph
Haydn. Composed by
Dan Welcher. Sws.
Premiered at the
Northwest Hills United
Methodist Church, Austin,
TX. Choral. Performance
Score. With Standard
notation. Composed July 5
2014. 16 pages. Duration
5:15. Theodore Presser
Company #362-03423.
Published by Theodore
Presser Company
(PR.362034230).
ISBN
9781598069556. UPC:
680160624225. Letter
inches.
English.
Ash
Wednesday through Holy
Week, SATB. Lent, Ash
Wednesday, Holy Week.
Sacred. Collection. GIA
Publications #7795.
Published by GIA
Publications (GI.G-7795).
A Clare Benediction Composed by John Rutter A Prayer Of St Richard Of Chicheste...(+)
A Clare Benediction
Composed by John Rutter
A Prayer Of St Richard Of
Chichester Composed by L.
J. White
Alleluia Composed by
William Boyce
Author Of Life Divine
Composed by Cecilia
Mcdowall
Be Still For The Presence
Of The Lord Composed by
David Evans; Arranged by
Richard Shephard
Bread Of The World
Composed by Scottish
Traditional; Arranged by
Alan Bullard
Brightest And Best
Composed by Malcolm
Archer
Christ Is The World's
True Light Composed by W.
K. Stanton
Christ The Lord Is Risen
Again Composed by Richard
Shephard
Christians Shout For Joy
And Gladness Composed by
Johann Sebastian Bach
Come Down, O Love Divine
Composed by Hilary
Tadman-robins
Plainsong: Creator Of The
Stars Arranged by John
Scott
Drop, Drop Slow Tears
Composed by Kerry Andrew
Evening Service In C
Composed by Frank Henry
Shera
Fairest Lord Jesus
Composed by Martin How
Gabriel To Mary Came
Composed by 14th Century
Irish; Arranged by Alan
Bullard
Give Thanks To God
Composed by Botswanan
Traditional; Arranged by
Alan Bullard
God Be In My Head
Composed by Armstrong
Gibbs
God In Mine Eternity
Composed by Alan Bullard
God So Loved The World
Composed by Alan Bullard
God That Madest Earth And
Heaven Composed by Welsh
Traditional; Arranged by
David Thorne
Hail, Virgin Mary (Ave
Maria) Composed by Franz
Liszt
Hark, The Glad Sound
Composed by David Thorne
Harvest Carol Composed by
Ian Ray
He Is Risen Composed by
Cecil Cope
Hide Not Thy Face
Composed by Richard
Farrant
see all...
Holy, Holy, Holy, Holy Is
The Lord Composed by
Franz Schubert; Arranged
by Alan Bullard
Holy, Holy, Holy! Lord
God Almighty Composed by
Alan Smith
Hosanna To The Son Of
David Composed by Georg
Philipp Telemann
Irish Blessing Composed
by Bob Chilcott
Jesu, Lamb Of God,
Redeemer (Ave Verum
Corpus) Composed by
Edward Elgar
Jesus Christ The Apple
Tree Composed by English
Traditional; Arranged by
Alan Bullard
Jubilate (Let Us Praise
You) Composed by Wolfgang
Amadeus Mozart
Lamb Of God (Agnus Dei)
Composed by Samuel Webbe
Let All Mortal Flesh Keep
Silence Composed by
Stephen Cleobury
Like The Murmur Of The
Dove's Song Composed by
Alan Smith
Lord, In Thy Mercy
Composed by Felix
Bartholdy Mendelssohn
Magnificat And Nunc
Dimittis In C Composed by
F. H. Shera
Never Weather-beaten Sail
Composed by Thomas
Campion; Arranged by Alan
Bullard
Now The Green Blade
Riseth Composed by French
Traditional; Arranged by
Alan Bullard
O Breath Of Life Composed
by English Traditional;
Arranged by Alan Bullard
O For A Closer Walk With
God Composed by Charles
Villiers Stanford
O God Of Mercy Composed
by Simon Lole
O God, Your Goodness
Composed by Ludwig Van
Beethoven
O Praise God In His
Holiness Composed by John
Weldon
Panis Angelicus Composed
by Cesar Auguste Franck
Peace Between Nations
Composed by Christopher
Wiggins
Pie Jesu Composed by
Gabriel Faure
Praise To The Trinity
Composed by Hildegard Of
Bingen
Psalm 150 Composed by Bob
Chilcott
Rejoice In The Lord
Always Composed by
Christopher Wiggins
Shout For Joy Composed by
African Traditional;
Arranged by Alan Bullard
Star Of Wonder Composed
by Alan Bullard
The Eternal Gifts Of
Christ The King Composed
by Guidetti/henry G. Ley
The Heavens Sing Praises
To God Composed by Ludwig
Van Beethoven
The Lord Ascendeth
Composed by Michael
Praetorius
The Lord Bless You And
Keep You Composed by John
Rutter
The Lord's My Shepherd
Composed by Bob Chilcott
The Peace Of God Composed
by Alan Bullard
The True And Living Bread
Composed by David
Blackwell
There Is No Rose Composed
by Andrew Smith
Thou Visitest The Earth
Composed by Maurice
Greene
To Be A Pilgrim Composed
by Nick Burt
Were You There? Composed
by American Spiritual;
Arranged by Peter Hunt
Where All Charity And
Love Are (Ubi Caritas)
Arranged by Alan Bullard
Wondrous Cross Composed
by Philip Wilby
The Oxford Book of
Flexible Anthems by Alan
Bullard (1947-). For
flexible instrumentation.
Mixed Voices. Sacred.
Paperback. 296 pages.
Published by Oxford
University Press
(The Christmas Story Through Timeless Carols). By Larry Shackley. For SATB choir...(+)
(The Christmas Story
Through Timeless Carols).
By Larry Shackley. For
SATB choir, piano (with
optional instrumental
accompaniment). Cantatas.
Christmas, Sacred. Choral
score with performance
CD. Published by Lorenz
Publishing Company
(The Christmas Story Through Timeless Carols). By Larry Shackley. For SATB choir...(+)
(The Christmas Story
Through Timeless Carols).
By Larry Shackley. For
SATB choir, piano (with
optional instrumental
accompaniment). Cantatas.
Christmas. Published by
Lorenz Publishing Company
SATB Choir SKU: BT.MUSMF272 Composed by Blandet Kor Antologi. Arranged by...(+)
SATB Choir
SKU:
BT.MUSMF272
Composed
by Blandet Kor Antologi.
Arranged by Svend-G.
Asmussen and Thomas
Alvad. Hymns & Chorals.
Book Only. Composed 2013.
184 pages. Edition
Wilhelm Hansen #MUSMF272.
Published by Edition
Wilhelm Hansen
(BT.MUSMF272).
ISBN
9788774840954.
Anth
ology for mixed choir.
Suitable for use
colleges, high schools
etc.
Mixed choir (SATB) with soloists (AB), speakers and small orchestra or 2 pianos ...(+)
Mixed choir (SATB) with
soloists (AB), speakers
and small orchestra or 2
pianos and percussion
(STP) - advanced
SKU:
HL.49033080
3
morality plays after
Aesop's fables.
Composed by Hans Werner
Henze. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Study score.
Composed 1967. 154 pages.
Duration 23'. Schott
Music #ED9417. Published
by Schott Music
(HL.49033080).
ISBN
9790001131483.
8.25x11.75x0.389 inches.
English -
German.
'I. Frosche
wunschen sich einen
Konig. Sie missverstehen
die Warnung Jupiters vor
diesem dummen Wunsch,
darauf schickt er ihnen
einen Kranich, der sie
frisst. II. Fruher
konnten die Krahen
wunderschon singen. Doch
als sie versuchen, das
modische Gewiehere von
Pferden nachzuahmen,
verlieren sie diese
Fahigkeit. III. Eine
Schiffsgesellschaft gerat
in einen Seesturm und
fleht zu den Gottern um
Hilfe. Nach dem schadlos
uberstandenen Seegang
lachen sie in der
wiedergewonnenen
Lebensfreude alle
Autoritaten aus und
feiern ein ausgelassenes
Fest.' (Einfuhrungstext
im Programmheft des
Jugendmusikfestes
Deutschlandsberg 1991)
'Dies sind drei
Lehrstucke oder
Schulopern, komponiert
Anfang 1967 fur das
Musikfest in Cincinnati,
wo sie im Mai 1968
uraufgefuhrt wurden. Ich
stelle mir vor, dass sie
in Musikschulen,
Opernstudios und Colleges
aufgefuhrt werden konnen,
konzertant oder szenisch.
[...] Das erste Lehrstuck
handelt von der
Schwierigkeit, die
Vorzuge anarchistischer
Lebensweise zu erkennen,
das zweite vom
Modernismus und das
dritte vom schnellen
Vergessen einer
Gesellschaft, die glaubt,
noch einmal davongekommen
zu sein. Jedes der drei
Operchen ist in Nummern
aufgeteilt, es sind
Kurzformen, kleine Arien,
Rezitative,
Chorensembles.' (Hans
Werner Henze)
1
(auch Picc. ad lib.) * 1
* 1 * 1 - 1 * 1 * 1 * 0 -
P. S. (hg. Beck * 3 Tomt.
* Tamb. * Mil. Tr. * gr.
Tr. * 3 Woodbl. * Glsp. *
Bassxyl. * Xyl. [ad
lib.]) (5 Spieler) -
Klav. - Str.Reduzierte
Fassung fur
Schulauffuhrungen mit
Orff-Instrumentarium: 2
Klav. (o. 2 Klav. u.
Cemb.) - P. S. (3 hg.
Beck * 3 Tomt. *
Schellentr. * Mil. Tr. *
gr. Tr. * 3 Holztr. *
Glsp. * Bassxyl. [auch
Xyl. ad lib.]) (5
Spieler)
1 (auch
Picc. ad lib.) * 1 * 1 *
1 - 1 * 1 * 1 * 0 - P. S.
(hg. Beck * 3 Tomt. *
Tamb. * Mil. Tr. * gr.
Tr. * 3 Woodbl. * Glsp. *
Bassxyl. * Xyl. [ad
lib.]) (5 Spieler) -
Klav. -
Str.
Reduzierte
Fassung fur
Schulauffuhrungen mit
Orff-Instrumentarium: 2
Klav. (o. 2 Klav. u.
Cemb.) - P. S. (3 hg.
Beck * 3 Tomt. *
Schellentr. * Mil. Tr. *
gr. Tr. * 3 Holztr. *
Glsp. * Bassxyl. [auch
Xyl. ad lib.]) (5
Spieler).
SATB choir, cantor,
assembly, keyboard
accompaniment, flute,
trumpet 1 in B-flat,
trumpet 1 in C, trumpet 2
in B-flat, trumpet 2 in
C, trombone, violin 1,
violin 2, cello, guitar -
Early intermediate
SKU: GI.G-10297
Composed by Peter M.
Kolar. Mass. Sacred.
Octavo. With guitar chord
names. 64 pages. GIA
Publications #10297.
Published by GIA
Publications
(GI.G-10297).
UPC:
785147029717. English,
Spanish. Text Source:
Revised Order of Mass
2010, Lectionary for
Mass. Misal
Romano, tercera
edición
Composed by Carlos Colon. For SATB choir, opt. congregation, piano, opt. clarine...(+)
Composed by Carlos Colon.
For SATB choir, opt.
congregation, piano, opt.
clarinet or C instrument,
opt. guitar, opt. string
quartet or string
quintet. All Saints/All
Souls, Heaven,
Hope/Assurance,
Justice/Peace/Social
Concerns,
Lament/Grief/Sorrow,
Prayer, Trust/Guidance,
21st Century. Easy.
Octavo. Scripture: Romans
12:21; Text Language:
English, Spanish.
Published by MorningStar
Music Publishers
Mixed choir SKU: FG.55011-857-7 Composed by ŽibuoklÄ— MartinaitytÄ...(+)
Mixed choir
SKU:
FG.55011-857-7
Composed by
Žibuoklė
MartinaitytÄ—.
Classical, contemporary.
Book. Fennica Gehrman
#55011-857-7. Published
by Fennica Gehrman
(FG.55011-857-7).
Žibuoklė
MartinaitytÄ— tells
about the background of
Aletheia (2022) for mixed
choir (SSSSAAAATTTTBBBB):
Aletheia is variously
translated from Greek as
unconcealedness,
revealing or
unclosedness. It is
uncovering of the Truth -
the one we are afraid to
face, the truth that can
only be expressed
directly through the
pre-verbal communication.
How do you find words for
the horrors of the war,
for all unimaginable
global atrocities? How do
you even allow yourself
to feel it out? Solely
through art, through
music that offer a safe
space and a formalized
framework for processing
these accumulated complex
emotions and sharing them
with others in a moment.
This piece has no verbal
text and it is based on
various combinations of
vowels and consonants,
thus connecting us on a
deeper level through the
immediate emotional
experience.
The
war in Ukraine in spring
of 2022 had an impact on
all of us and shattered
my deeply rooted
Lithuanian identity. When
the freedom is threatened
and innocent people are
dying, it is hard to make
sense out of the reality.
Yet there is poetry even
in the worst nightmares.
I was imagining that the
only instrument people
have even in situations
of destruction, in the
midst of the war, is
their VOICE. It brought
back memories of my youth
when Singing revolution
was taking place in the
Baltic countries. Human
voice was the only weapon
that people used to
express their
determination for freedom
and independence. Voice
is our first and the very
last instrument we have
in our lifetime. Thinking
in these terms brings
almost a sacred dimension
to the voice as an
expression of the life
itself - from the very
first baby's scream until
the last breath and
whisper.
Duration
c. 15'
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.
The
Wedding Collection.
Composed by Steven R.
Janco. Advent 2 Year B,
advent 1 Year C, advent 3
Year C, advent 4 Year B,
advent 1 Year B. Sacred.
Book. With guitar chord
names. GIA Publications
#017093. Published by GIA
Publications
(GI.G-017093).
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.
Composed by Traditional Spiritual. Arranged by Dan Davison. Sws. Octavo. 16 ...(+)
Composed by Traditional
Spiritual. Arranged by
Dan
Davison. Sws. Octavo. 16
pages. Duration 2
minutes, 50
seconds. BriLee Music
#BL1155. Published by
BriLee
Music
Aus: Psalmen
Davids. Composed by
Heinrich Schutz. Edited
by Gunter Graulich.
Arranged by Paul Horn.
This edition: urtext.
Cycles: Schutz: Psalmen
Davids SWV 22-47.
Stuttgart Urtext Edition:
Schutz. German title:
Psalm 110 Der Herr
Sprach. Sacred, Motets,
Psalms, German; Stuttgart
Urtext editions;
Occasions: Psalms, Daily
hours; Use during church
year: Christmas. Full
score. Composed 1619. SWV
22. Duration 3 minutes.
Carus Verlag #CV
20.022/00. Published by
Carus Verlag
(CA.2002200).
ISBN
9790007033330. Key: G
dorian. Language:
German/English.
Take Him, Earth Chorale SATB SATB, Piano Theodore Presser Co.
Choral SATB choir, piano SKU: PR.342402020 In Memoriam John F. Kennedy...(+)
Choral SATB choir, piano
SKU: PR.342402020
In Memoriam John F.
Kennedy, 1917-1963.
Composed by Steven
Stucky. Sws. Premiered by
ACDA National Conference,
Craig Jessop, cond.;
Meyerson Symphony Center,
Dallas, TX. Secular
choral. Performance
Score. With Standard
notation. Composed
November 3 2012. 24
pages. Duration 13
minutes. Theodore Presser
Company #342-40202.
Published by Theodore
Presser Company
(PR.342402020).
ISBN
9781598064995. UPC:
680160616084. 8.5 x 11
inches. English. Text:
William Shakespeare;
Aurelius Prudentius
Clemens; Aeschylus.
Aurelius Clemens, William
Shakespeare, Aeschylus.
Texts from Aurelius
Prudentius Clemens,
Aeschylus, and William
Shakespeare.
When
Tim Sharp, Executive
Director of the ACDA,
offered Stucky the Brock
Memorial Commission, it
was decided that the text
would commemorate the
50th anniversary of the
assassination of John F.
Kennedy, since the annual
convention would take
place in Dallas of that
year. To that end, Stucky
chose four different but
pertinent texts to honor
the occasion, although
never referencing JFK by
name. Take Him, Earth was
premiered at the ACDA
convention in March,
2013. Originally scored
for chorus and chamber
ensemble of nine
instruments (available on
a rental basis), Take
Him, Earth is presented
here in piano reduction.
For advanced choirs.
Duration: 13'. When
Tim Sharp, Executive
Director of the American
Choral Directors
Association, very
kindlyoffered me the
Raymond W. Brock Memorial
Commission for 2013, he
suggested that because
thepremiere would take
place at the national
conference in Dallas in
the 50th year since the
assassinationof John F.
Kennedy in that city, the
text might refer in some
way to that grim
anniversary. Hesuggested,
too, that I consider
using a chamber ensemble
or chamber orchestra to
accompany thechorus.I
took these suggestions to
heart, but at the same
time I wanted to write
something universal
enoughto be appropriate
on other occasions, in
other settings. Thus the
score is dedicated to
PresidentKennedy’s
memory, but otherwise he
is never referred to by
name. Instead, I
assembled a group oftexts
that are associated with
him in some way, but that
also stand alone as a
more general eulogy.As a
refrain, there are a few
lines from the early
Christian burial hymn
that begins “Take
him,Earth, for
cherishingâ€
— lines that were
earlier set to music by
Herbert Howells in his
classic motetcommissioned
for Kennedy’s
memorial service in 1963.
The lines of Aeschylus
“Drop, drop
— inour sleep,
upon the heart sorrow
falls†from
Agamemnon were quoted by
Robert F. Kennedy uponthe
death of Martin Luther
King in April 1968. The
celebrated “When he
shall die, cut him out
inlittle starsâ€
from Act III of
Shakespeare’s
Romeo and Juliet was
cited by RFK a few months
after hisbrother’s
murder.
By Marty Haugen. For Voices: SATB. Instruments: Percussion (instruments optional...(+)
By Marty Haugen. For
Voices: SATB.
Instruments: Percussion
(instruments optional).
Keyboard accompaniment.
Celebration Series
Sacred. Level: easy. 6
pages. Published by GIA
Publications.
Soli SATB, SATB Choir, 2 Fl, 2 Ob, 2 Vl, Va, Bc SKU: CA.3116400 Cantat...(+)
Soli SATB, SATB Choir, 2
Fl, 2 Ob, 2 Vl, Va, Bc
SKU: CA.3116400
Cantata for the 13th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Frieder Rempp. Arranged
by Paul Horn. Stuttgart
Urtext Edition: Bach
vocal. Sacred vocal
music, Cantatas, Whitsun.
Full score. Composed
1725. BWV 164. 32 pages.
Duration 17 minutes.
Carus Verlag #CV
31.164/00. Published by
Carus Verlag
(CA.3116400).
ISBN
9790007187170. Language:
German/English.
Thi
s six-movement cantata
was performed for the
first time on 26 August
1725 in Leipzig. The text
was written by Bach's
Weimar cantata poet
Salomon Franck and had
been published earlier in
1715 in his collection
Evangelisches
Andachts-Opffer. Here,
Bach bases his work
around the form of the
Weimar cantatas which
take their texts from
Franck's printed
collection (BWV 132, 152,
161-163, 165): movements
1-5 are performed by
vocal soloists, whilst
only the final chorus is
given to the chorus. The
key concepts of the text
are Barmherzigkeit
[compassion], Erbarmen
[mercy] and wahre
Christenliebe [true
Christian love]; the
chamber music arrangement
of the cantata
corresponds with this.
The two arias for tenor
and alto, and the duet
for soprano and bass do
not contain da capo
sections, but repeat the
entire text in a
condensed form. The
instruments do not
contrast as a rule, but
are treated as a string
group (movements 1, 4),
duetting (movement 3),
and as full unison
(movement 5). What is
remarkable in all three
movements is the thematic
linking of the
instrumental ritornello
parts with the vocal
parts through which Bach
achieves a kind of unity
of form.
Soli SATB, SATB Choir, 2 Fl, 2 Ob, 2 Vl, Va, Bc SKU: CA.3116449 Cantat...(+)
Soli SATB, SATB Choir, 2
Fl, 2 Ob, 2 Vl, Va, Bc
SKU: CA.3116449
Cantata for the 13th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Frieder Rempp. Arranged
by Paul Horn. Stuttgart
Urtext Edition: Bach
vocal. Organ. Sacred
vocal music, Cantatas,
Whitsun. Single Part,
Organ. Composed 1725. BWV
164. 16 pages. Duration
17 minutes. Carus Verlag
#CV 31.164/49. Published
by Carus Verlag
(CA.3116449).
ISBN
9790007209070. Language:
German/English.
Thi
s six-movement cantata
was performed for the
first time on 26 August
1725 in Leipzig. The text
was written by Bach's
Weimar cantata poet
Salomon Franck and had
been published earlier in
1715 in his collection
Evangelisches
Andachts-Opffer. Here,
Bach bases his work
around the form of the
Weimar cantatas which
take their texts from
Franck's printed
collection (BWV 132, 152,
161-163, 165): movements
1-5 are performed by
vocal soloists, whilst
only the final chorus is
given to the chorus. The
key concepts of the text
are Barmherzigkeit
[compassion], Erbarmen
[mercy] and wahre
Christenliebe [true
Christian love]; the
chamber music arrangement
of the cantata
corresponds with this.
The two arias for tenor
and alto, and the duet
for soprano and bass do
not contain da capo
sections, but repeat the
entire text in a
condensed form. The
instruments do not
contrast as a rule, but
are treated as a string
group (movements 1, 4),
duetting (movement 3),
and as full unison
(movement 5). What is
remarkable in all three
movements is the thematic
linking of the
instrumental ritornello
parts with the vocal
parts through which Bach
achieves a kind of unity
of form. Score and part
available separately -
see item CA.3116400.
Soli SATB, SATB Choir, 2 Fl, 2 Ob, 2 Vl, Va, Bc SKU: CA.3116405 Cantat...(+)
Soli SATB, SATB Choir, 2
Fl, 2 Ob, 2 Vl, Va, Bc
SKU: CA.3116405
Cantata for the 13th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Frieder Rempp. Arranged
by Paul Horn. Stuttgart
Urtext Edition: Bach
vocal. Sacred vocal
music, Cantatas, Whitsun.
Choral Score. Composed
1725. BWV 164. 2 pages.
Duration 17 minutes.
Carus Verlag #CV
31.164/05. Published by
Carus Verlag
(CA.3116405).
ISBN
9790007187194. Language:
German/English.
Thi
s six-movement cantata
was performed for the
first time on 26 August
1725 in Leipzig. The text
was written by Bach's
Weimar cantata poet
Salomon Franck and had
been published earlier in
1715 in his collection
Evangelisches
Andachts-Opffer. Here,
Bach bases his work
around the form of the
Weimar cantatas which
take their texts from
Franck's printed
collection (BWV 132, 152,
161-163, 165): movements
1-5 are performed by
vocal soloists, whilst
only the final chorus is
given to the chorus. The
key concepts of the text
are Barmherzigkeit
[compassion], Erbarmen
[mercy] and wahre
Christenliebe [true
Christian love]; the
chamber music arrangement
of the cantata
corresponds with this.
The two arias for tenor
and alto, and the duet
for soprano and bass do
not contain da capo
sections, but repeat the
entire text in a
condensed form. The
instruments do not
contrast as a rule, but
are treated as a string
group (movements 1, 4),
duetting (movement 3),
and as full unison
(movement 5). What is
remarkable in all three
movements is the thematic
linking of the
instrumental ritornello
parts with the vocal
parts through which Bach
achieves a kind of unity
of form. Score available
separately - see item
CA.3116400.