Pacific Dreams Chorale SATB - Intermédiaire De Haske Publications
SATB Choir - Grade 3 SKU: BT.DHP-0991451-050 Composed by Jacob De Haan. I...(+)
SATB Choir - Grade 3
SKU:
BT.DHP-0991451-050
Composed by Jacob De
Haan. Inspiration Series.
Set (Score & Parts).
Composed 1999. De Haske
Publications #DHP
0991451-050. Published by
De Haske Publications
(BT.DHP-0991451-050).
English.
Pacific
Dreams describes the
experience of Miguel, a
traveling composer from
Spain who, feeling
somewhat alienated from
his homeland, is
wandering through an area
of Sydney known as The
Rocks. At a small outdoor
market in a typical
street of this
oldcolonial
neighbourhood, he
discovers a print of
William DeShazos painting
Pacific Dreams Portrayed
in the painting is the
surf of one of the exotic
islands in the Pacific.
Next, with the impressive
Sydney Harbour Bridge
looming over the
narrowstreets of The
Rocks, he envisions
sultry Pacific beaches.
Suddenly a theme he once
composed about the lakes
in Japan comes to him. Is
it the Asian influences
present in cosmopolitan
Sydney that bring this
theme to mind? Or perhaps
the waters aroundSydney,
over which he could sail
to Tahiti? He is
uncertain. Could this
same theme be used to
create a new composition
about his feelings for
the metropolis Sydney?
How then to work his
Pacific Dreams into the
mix? Miguel is certainly
no fan ofHawaiian music.
Mayby he could use the
vocabularies of islands
like Hawaii and Tahiti,
their beautiful vowel
combinations being sung
ad libitum by a mixed
choir.With these ideas
and his newly purchased
print of Pacific Dreams,
he boards the Metroat
Circular Quay. He has a
final glimpse of the
harbour and the Sydney
Opera House as the train
races into the ground. On
to the hotel! To work! He
must compose!Maestoso :
Miguel is impressed as he
gazes upon the Sydney
Harbour Bridge. And yet,
hewants to go away from
this city. Away, to an
exotic island in the
Pacific.Steady Rock : In
the Rocks, musicians are
playing at a square.
Miguel basks in the
atmosphere but at the
same time he is
fantasizing about Hawaii
and Tahiti.Andante
Lamentoso :In his hotel
room, Miguel is feeling
sad and lonely in this
big city. He takes
comfort in his Pacific
Dreams.Allegro : Miguel
boards the boat that
takes him from Darling
Harbour to Circular Quay.
In his mind he is
traveling on to Hawaii.
Or is ithome, where the
bolero is playing? He is
pulled back to reality by
the skyline of
Sydney.
Wir
schlüpfen in die Haut
von Miguel und reisen mit
ihm nach Australien.
Einigermaßen
entfremdet von seiner
spanischen Heimat
schlendert er durch das
Viertel The Rocks in
Sydney. Auf einem kleinen
Markt entdeckt er einen
Druck des Gemäldes
Pacific Dreams von
William DeShazo. Das Bild
stellt die Meeresbrandung
auf einer exotischen
Insel im Pazifik dar.
Während die
eindrucksvolle Harbour
Bridge von Sidney vor ihm
auftaucht, ist er in
Gedanken bei den
heißen Stränden im
Stillen Ozean. Auf einmal
kommt ihm das Thema in
den Sinn, das er einst
über die Gewässer
Japans komponiert hatte.
Liegt es an den
asiatischen
Einflüssen, die im
kosmopolitischen Sydney
so vielfältig
vertretensind? Oder sind
es die Wasser rund um
Sydney, über die er
nach Tahiti segeln
könnte? Er ist sich
unsicher. Könnte er
genau dieses Thema für
eine neue Komposition
über die Metropole
Sydney verwenden? Wie
sollte er seine Träume
vom Pazifik, seine
Pacific Dreams, in
diese Mixtur einbringen?
Vielleicht könnte er
den Wortschatz von Inseln
wie Hawaii und Tahiti
für seine Komposition
verwenden. Und einen
gemischten Chor die
schönen
Vokalverbindungen ad
libitum singen lassen.
Mit diesen Ideen im Kopf
steigt er in die Metro am
Circular Quay. Auf ins
Hotel und frisch ans
Werk! Jetzt muss er
einfach
komponieren....
High Flight Chorale SATB SATB, Piano Theodore Presser Co.
Choral SATB Choir and Piano SKU: PR.312419020 From Terra Nostra. C...(+)
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
“Darknessâ€
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 Peaceâ€
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?â€
and “There was a
child went forth every
dayâ€) 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…â€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?
By Felix Bartholdy Mendelssohn (1809-1847). Edited by Alfred Dorffel. Arranged b...(+)
By Felix Bartholdy
Mendelssohn (1809-1847).
Edited by Alfred Dorffel.
Arranged by August Horn.
Choir and piano. For Solo
voices, SATB Choir,
Piano. This edition:
Paperback. Oratorio
(complete),
Transcriptions, Original
Works, Choral. Romantic
Period; Sacr. Large Vocal
Score. Romantic Period;
Sacred/Hymns, German.
Kottarainen Chorale SATB SATB A Cappella Alliance Music Publications
Composed by Riika Pietilainenen-Caffrey. Edited by Lawrence Kaptein. Octavo. ...(+)
Composed by Riika
Pietilainenen-Caffrey.
Edited
by Lawrence Kaptein.
Octavo.
Alliance Music
Publications
#AMP 1072. Published by
Alliance Music
Publications
Looking Up Chorale SATB SATB, Piano St Rose Music Publishing
Choir, Piano Accompaniment (SATB Choir) SKU: HL.277282 SATB and Piano ...(+)
Choir, Piano
Accompaniment (SATB
Choir)
SKU:
HL.277282
SATB and
Piano Vocal Score.
Composed by Nico Muhly.
Music Sales America.
Classical. Softcover. 60
pages. St. Rose Music
#SRO10015201. Published
by St. Rose Music
(HL.277282).
UPC:
840126915006. 6.75x10.5
inches.
Program
note:
Looking Up
is a piece for large
chorus and orchestra, and
is in three sections,
played without pause. In
the 16th century, a
variety of psalters in
meter were printed in
England, with the idea of
making psalm-singing
something that could
happen easily at home,
with the rhyming meter
being an aid to
memorization. These
translations are
wonderful exercises in
brevity and sometimes
clumsy rhymemaking, and
were usually prefaced by
a lengthy explanation as
to their merits; the
title of one of the first
such volumes in English
is: The Psalter of Dauid
newely translated into
Englysh metre in such
sort that it maye the
more decently, and wyth
more delyte of the mynde,
be reade and songe of al
men. I thought it would
be appropriate to set one
of these introductions,
and the first section of
Looking Up sets the
preface to Thomas
Ravenscroft's psalter
(1621), in which he
writes: “The
singing of Psalmes (assay
the Doctors) comforteth
the sorrowfull, pacifieth
the angry, strengtheneth
the weake, humbleth the
proud, gladdeth the
humble, stirres up the
slow, reconcileth
enemies, lifteth up the
heart to heavenly things,
and uniteth the Creature
to his
Creator.”
It
begins meditatively, but
eventually grows agitated
and fervent, with a
vision of the
“quire of Angels
and Saints”
“redoubling
anddescanting” - an
ecstatic and terrifying
vision of the skies
opening up. Ravenscroft
then encourages the use
of instrumental musicfor
worship, at which point,
a long, acrobatic
orchestral interlude with
jagged edges antagonizes
the choir, who sing a
kind of private, anxious
meditation on two
pitches.
One of
the most delicious
biblical texts is an
Apocryphal prayer known
as the Benedicite or the
Prayer of the Three
Children (the same who
were rescued by an angel
after King Nebuchadnezzar
tried to have them burnt
in an oven for not bowing
to his image). The text
is repetitive, obsessive,
and a gift to composers -
each line is an
invocation of an element
of the natural world,
followed by the phrase,
“blesse ye the
Lord, praise him &
magnify him for
ever.” In Looking
Up, the setting begins
with three solo voices,
and then grows to include
the whole choir,
itemizing the whole of
creation. The idea that
these boys are spared
from the furnace and then
five minutes later are
saying, “O ye the
fire and warming heate,
blesse ye the
Lord...” has always
felt very loaded to me,
and the orchestra plays
with this conflict
between joyful praise and
a more terrible (in the
16th-century sense)
awefor the
divine.
The text
for the third, and
shortest, section is
taken from Christopher
Smart's (1722-1771) A
Song to David,
purportedly written
during his confinement in
a mental asylum. This ode
to King David points out
how David, as the author
of some of the Psalms,
observes the whole world
from the
“clustering
spheres” to the
“nosegay in the
vale.&rdquo.
Requiem. Composed
by Andre Campra. Edited
by Jean-Paul Montagnier.
Choir; Softcover.
Eulenburg Orchestral
Series. Mass; Requiem;
Baroque. Part. 24 pages.
Duration 55'. Breitkopf
and Haertel #EOS 8047-15.
Published by Breitkopf
and Haertel
(BR.EOS-8047-15).
ISBN
9790004789735. 8.5 x 11.5
inches.
Among
Campra's Latin works, the
,Messe de mort' is
perhaps one of the more
successful and today it
is one of the more
frequently performed. It
is also the most
enigmatic score of his
entire output. Despite
extensive researches, no
evidence of any sort has
yet been brought to light
to document its origin,
purpose, date of
composition, first
performance or reception.
A stylistic analysis
indubitably supports the
contention that the
,Messe de mort' is a late
work, composed perhaps
between 1722 and 1729.
The present edition
is based on the
manuscript from the
Bibliotheque Nationale de
France (Paris). It it the
oldest known source of
the work. The very few
errors have been
corrected. (Jean-Paul
Montagnier) Vokalensemble
Stuttgart und den
Kammerchor des
Kopernikus-Gymnasiums
Wasseralfingen. Fur diese
beiden ganz
unterschiedlichen
Chorformationen hat
Martin Smolka 2012 auch
gezielt seine Partitur
angelegt. Biografisch ist
das Agnus Dei eine Art
kleines Requiem fur
seinen kurz zuvor
verstorbenen Vater. Das
liturgische Agnus Dei
rahmt den deutschen Text
Eh das Madchen entschlief
... der bei Auffuhrungen
in anderen Landern durch
eine Ubersetzung ersetzt
werden soll.
Der
SWR-Redakteur Hans-Peter
Jahn schreibt dazu im
Programmheft: Die fur
Smolka typischen
minimalistischen
Taktzellen schaffen eine
archaische Sinnlichkeit.
Eine einfache und
zugleich streng gebaute
Vokalmusik mit
Tiefenwirkung.
Nac
h der Urauffuhrung war
die Esslinger Zeitung
hellauf begeistert:
Smolka ist ein Meister
der Stimmbehandlung und
der chorischen
Klanggestaltung. Im
Zentrum des Stucks gerat
die Musik zum Stillstand:
im leisen gleichmassigen
Summen uber dem plotzlich
fortissimo ein
tschechisches Kinderlied
erklingt eines das der
Vater seinen Kindern
haufig vorgesungen hat.
Das alles war sehr
beruhrend. Und eigentlich
noch mehr als das. My
father PhDr. Jaroslav
Smolka (1933-2011) was a
leading Czech
musicologist author of
books Czech Cantata and
Oratorium Fuga in Czech
Music Smetana's Orchestra
Music Smetana's Vocal
Music monography of Jan
Dismas Zelenka and many
others. He was a
legendary teacher of
Music History at Prague
Music Academy critic
recording producer
composer; for almost 50
years he was an important
and highly respected
personality of Prague
musical life. My
father devoted a lot of
time and energy to
musical education and
activities of my sister
and me using often quite
original methods such as
teaching of intervals and
counterpoint through
Bartok's Microcosmos ear
training filling all
imaginable moments of
everyday life or lessons
of harmony analysis
starting with Overture to
Tristan and Musorgsky's
Catacombs. The Martinu
song Wondering Maiden was
his solo number in our
home vocal productions
which he used to sing
with amazing devotion
while his huge voice was
audible in several
neighboring
streets. My Agnus Dei
is closely bound to all
this history e.g. by
using canon and
preferring beauty of
dissonant seconds like
Bartok or quoting Martinu
and his refined
neoclassical harmony.
Father would be probably
a bit critical about the
minimalistic monotony of
the main body of the
piece. Nevertheless
firstly he would
improvise a short lecture
of history of Agnus Dei
in Requiem in Czech Music
naming by heart many
dates and all examples of
changes of order of the
traditional text by
composers. Examples would
be sung
probably. (Martin
Smolka).
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.
Choral (SATB Choir) SKU: HL.48021234 From Cantata academica, Carmen ba...(+)
Choral (SATB Choir)
SKU: HL.48021234
From Cantata
academica, Carmen
basiliense. Composed
by Benjamin Britten.
Boosey & Hawkes Sacred
Choral. Classical.
Octavo. 16 pages. Boosey
& Hawkes #M051482474.
Published by Boosey &
Hawkes (HL.48021234).
ISBN 9781458423542.
UPC: 884088642037.
6.75x10.5
inches.
Text: in
Latin compiled from the
charter of the
University, and from
older orations in praise
of Basle by Bernhard
Wyss.
Publisher:
Boosey &
Hawkes
Difficulty
level: 4 (for
chorus)
Britten's
genius lifts this work
above being just a worthy
celebration of the 500th
anniversary of the
foundation of Basle
University. It is
tongue-in-cheek and
mockingly non-academic
while referring all the
time to academic musical
forms and formulae. It is
written in two parts
(everything is in the
statutory Latin including
the titles of the parts -
Pars I and Pars II). The
titles of the movements
show Britten's intention
to show off a wide
variety of techniques.
Here are some examples:
Chorale/Alla Rovescio
(the theme is given and
responded to with the
same melody upside
down)/Recitativo/Tema
seriale con fuga/Canone
ed ostinato. There is a
good deal of humour
here.
There are
seven movements in Pars I
and six in Pars II. The
tenor soloist is given
three florid recitatives,
accompanied only by a
piano, which act as
bridges between other
orchestrally accompanied
movements. Of these the
most noteworthy are the
Arioso con canto popolare
for soprano solo with
tenors and basses who hum
a student song; another
terrific Britten scherzo;
and a wonderfully raucous
final pair of movements
(Canon ed ostinato and
Corale con canto) where
Britten seems to be aping
the Vivat Regina! cries
in Parry's I was glad or
encouraging the kind of
noisy 'I'm from the best
university' kind of
student touchline shout.
This has outrageously
high notes for the tenors
(top B) which further
endorse this feeling.
There are real echoes of
the Spring Symphony (see
separate entry) final
movement here which are
further underlined by the
last section of the
Cantata which brings in
the bells, piano, huge
percussion and the
inevitable chorale in
which the choir sings
'that a free academy may
thrive in a free
community, for ever the
ornament and treasure of
illustrious
Basle'.
This may
not be Britten at his
most soul-searching but,
as always, there is
plenty here to enjoy,
especially if the work is
not taken too seriously.
It is a celebratory,
occasional piece and it
could be well taken up by
other academic
establishments
celebrating big
anniversaries. The chorus
parts are not very
difficult, though they do
present challenges for
the choir - not least in
having tenors capable of
those very high notes at
the end. The Tema seriale
con fuga is sinewy and
needs careful tuning. It
also has the subject
regularly given upside
down after its initial
sounding by the basses.
All good
fun.
Choral SATB Choir and Piano SKU: CF.CM9740 Composed by Mark Burrows. 16 p...(+)
Choral SATB Choir and
Piano
SKU:
CF.CM9740
Composed by
Mark Burrows. 16 pages.
Duration 4 minutes, 22
seconds. Carl Fischer
Music #CM9740. Published
by Carl Fischer Music
(CF.CM9740).
ISBN
9781491161203. UPC:
680160919789. Key: Bb
major. English. Siegfried
Sasson.
Everyone
suddenly burst out
singing; And I was filled
with such delight As
prisoned birds must find
in freedom... These
opening lines to Everyone
Sang by the British war
poet Siegfried Sassoon
feel as relevant today as
they did when the poem
was first published in
1919. It was after the
end of World War I and
these words capture so
much of the collective
exhilaration, relief, and
pure joy about the Great
War finally coming to an
end. And yet Sassoon
himself felt none of that
when he wrote this poem.
In his own words, he was
feeling dull-minded and
depressed. Perhaps his
time in the trenches was
still too recent. One of
the reasons the creative
arts are so powerful is
that a poet like Sassoon
(or a painter like Van
Gogh or a composer like
Mahler) can take their
own feelings of deep
sadness or pain and
transform them into
something beautiful, even
uplifting. Everyone Sang
is a celebration of the
promise that things can
get better, that there
are things worth looking
forward to. The
poem itself has so much
rhythm and musicality.
The appearance of
suddenly in the first
line of each verse gives
those verses a rush of
energy. Attention to the
crescendo in measure 7,
and again in measure 37,
from mf to f will help
the listener experience
that rush. There are
expressive opportunities
with so many of the
poet's bold choices of
action words - burst,
winging, and shaken. Then
there's alliteration - a
poetic device that can be
overdone, but Sassoon
strikes a wonderful
balance. Suddenly/singing
(measures 6-7 and 10-11)
Find/freedom (measure
21-22) Winging/wildly
(measure 23) Setting/sun
(measures 47-49)
Was/wordless (measures
65-75) Give these
alliterations just a hint
of emphasis (without
overdoing) to bring out
the natural rhythm of the
text. And just as
O is set apart in the
poem by punctuation, I
wanted the musical
setting - in measure 57 -
to honor that feeling of
wonder - ...O, but
Everyone Was a bird; and
the song was wordless;
the singing will Never be
done. Friends, there is
so much good ahead, so
much to be excited about.
May the singing never be
done. Everyone
suddenly burst out
singingAnd I was filled
with such delightAs
prisoned birds must find
in freedom…These
opening lines to Everyone
Sang by the British war
poet Siegfried Sassoon
feel as relevant today as
they did when the poem
was first published in
1919. It was after the
end of World War I and
these words capture so
much of the collective
exhilaration, relief, and
pure joy about the
“Great Warâ€
finally coming to an end.
And yet Sassoon himself
felt none of that when he
wrote this poem. In his
own words, he “was
feeling dull-minded and
depressed.†Perhaps
his time in the trenches
was still too recent.One
of the reasons the
creative arts are so
powerful is that a poet
like Sassoon (or a
painter like Van Gogh or
a composer like Mahler)
can take their own
feelings of deep sadness
or pain and transform
them into something
beautiful, even
uplifting. Everyone Sang
is a celebration of the
promise that things can
get better, that there
are things worth looking
forward to. The poem
itself has so much rhythm
and musicality.The
appearance of
“suddenly†in
the first line of each
verse gives those verses
a rush of energy.
Attention to the
crescendo in measure 7,
and again in measure 37,
from mf to f will help
the listener experience
that rush.There are
expressive opportunities
with so many of the
poet’s bold
choices of action words
– burst, winging,
and shaken.Then
there’s
alliteration - a poetic
device that can be
overdone, but Sassoon
strikes a wonderful
balance.Suddenly/singing
(measures 6-7 and
10-11)Find/freedom
(measure
21-22)Winging/wildly
(measure 23)Setting/sun
(measures
47-49)Was/wordless
(measures 65-75)Give
these alliterations just
a hint of emphasis
(without overdoing) to
bring out the natural
rhythm of the
text. And just as
“O†is set
apart in the poem by
punctuation, I wanted the
musical setting –
in measure 57 - to honor
that feeling of wonder
–…O, but
EveryoneWas a bird; and
the song was wordless;
the singing willNever be
done. Friends, there
is so much good ahead, so
much to be excited
about.May the singing
never be done.
By Robert Kyr. Text: William Blake and Alexander Pope. For Boy soprano and Tenor...(+)
By Robert Kyr. Text:
William Blake and
Alexander Pope. For Boy
soprano and Tenor soli,
SATB Choir [divisi],
piano and optional cello.
(Mixed Voices). General.
Choral. Level: moderately
difficult. Octavo. 20
pages. Published by Ione
Press.
Composed by Johann Sebastian Bach (1685-1750), edited by Albert Riemenschneider,...(+)
Composed by Johann
Sebastian Bach
(1685-1750), edited by
Albert Riemenschneider,
Charles Boyd. Vocal score
book for SATB choir. With
vocal score notation
(open score in German;
closed score in English),
introductory text and .
Text language English;
lyrics in German and
English. 127 pages.
Published by G. Schirmer,
Inc.
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.
By Michael Praetorius (1571-1621). This edition: paperbound. Psalms, German; Cho...(+)
By Michael Praetorius
(1571-1621). This
edition: paperbound.
Psalms, German; Choral
Collection for SAM Choir;
Occasions: Praise and
thanks, Our Father; Use
during chuch year: Easter
and Eastertide,
Pentecost. Collection.
100 pages
SATB Choir and Piano SKU: HL.14043700 Composed by Various. Arranged by Gi...(+)
SATB Choir and Piano
SKU: HL.14043700
Composed by Various.
Arranged by Gitika
Partington. Choral. Pop &
Rock. Softcover Audio
Online. Composed 2015.
Novello & Co Ltd.
#NOV165110. Published by
Novello & Co Ltd.
(HL.14043700).
ISBN
9781783058617. UPC:
888680736491.
9.0x12.0x0.125 inches.
English.
Sing Pop A
Cappella is a collection
of a cappella
arrangements of fantastic
pop songs old and new, by
renowned teacher, singer
and director Gitika
Partington . Her
arrangements are used by
choirs across the UK, and
she emphasises that being
able to read music is not
necessary. Rewarding and
enjoyable, Book Three
continues her project to
bring people together
through the power of
song. What's great about
Gitika Partington 's Sing
Pop A Cappella series is
how she understands that
to make great music or to
sing a great song, it's
not necessary to be able
to sight-read. It may be
useful, but she has
learned that there are
other ways to communicate
music, namely through ear
training,repetition and
gesture. Her
arrangements, five of
which appear in this
book, have enabled youth
and community choirs to
spring up across the
country, making singing
truly and universally
accessible.
Included in this book are
wonderfully rich a
cappella arrangements of
Ain't No Sunshine
by Bill Withers,
Black Is The Colour Of My
True Love's Hair, Rick
Astley's Never Gonna Give
You Up, Adele's Rolling
In The Deep and a
huge favourite, Sway
(Quien Sera) . Vocal
scores for these
innovative and enjoyable
arrangements are included
in standard notation,
although Partington
recommends learning by
ear as something equally
beneficial. To aid with
this, the accompanying
download card includes
five tracks of audio for
each song. One features a
full performance
demonstration while the
other four each focus on
either soprano, alto,
tenor or bass. The easy
download of these tracks
makes learning efficient
and fun, as you are able
to listen wherever you
are. The great thing
about a cappella singing
is that it can be done
anywhere, with limited
resources, with members
who don't necessarily
have any musical
training. Partington
has created a book
that can be used by a
cappella choirs who love
pop music that sounds
great and will thrill
audiences. Sing Pop A
Cappella is not just a
songbook, though, it also
includes an
extensive.
Arranged by Brent Jorgensen. For SATB choir and piano. Christmas. Medium. Octavo...(+)
Arranged by Brent
Jorgensen. For SATB choir
and piano. Christmas.
Medium. Octavo. Duration
2 minutes, 30 seconds.
Published by Jackman
Music Corporation
By Various. Edited by Hildebrandt, Herbert. This edition: paperbound. Sacred, Hy...(+)
By Various. Edited by
Hildebrandt, Herbert.
This edition: paperbound.
Sacred, Hymn settings,
Mass Sections, Motets,
Psalms, German; Choral
Collections, SAM Choir;
Occasions: Eucharist,
Communion, Praise and
thanks, Feasts of the
Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary; Use during
church year: Advent,
Special. Choral
collection. 116 pages
((from A Ceremony of Carols) SATB and Harp or Piano, New Edition). Composed by B...(+)
((from A Ceremony of
Carols) SATB and Harp or
Piano, New Edition).
Composed by Benjamin
Britten (1913-1976). For
Choral (SATB). Boosey and
Hawkes Sacred Choral. 12
pages. Boosey and Hawkes
#M051481613. Published by
Boosey and Hawkes
(No. 3 from Three Sacred Songs ). Composed by Derek Healey. For SATB choir, flu...(+)
(No. 3 from Three Sacred
Songs ). Composed by
Derek Healey. For SATB
choir, flute, piano ad
lib. General, 21st
Century. Moderately
Difficult. Octavo. Text
Language: English. 12
pages. Published by Ione
Press