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.
Soli SATB, SATB Choir, 2 Obda, Cor (Ctto), Trb, 2 Vl, Va, Bc - Level 4 SKU: C...(+)
Soli SATB, SATB Choir, 2
Obda, Cor (Ctto), Trb, 2
Vl, Va, Bc - Level 4
SKU: CA.3100349
2nd Sunday after
Epiphany. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Reinhold
Kubik. Organ. Sacred
vocal music, Cantatas,
Epiphany. Single Part,
Organ. Composed 1725. BWV
3. 20 pages. Duration 27
minutes. Carus Verlag #CV
31.003/49. Published by
Carus Verlag
(CA.3100349).
ISBN
9790007204426. Key: A
major. Language:
German/English. Text:
Moller, Martin.
For
the 2nd Epiphany Sunday
1725, Bach composed the
cantata O God, what glut
of care and pain. It
forms part of the annual
cycle of chorale
cantatas. In the
large-scale opening
movement, a choral
setting full of anguish
with expansive orchestral
sections, the bass
presents the cantus
firmus in segments,
reinforced by one
trombone. This is
followed directly by the
second chorale verse in a
four-part setting in
which, however, each
chorale line is
interrupted by a short
recitative (each one sung
by a different voice).
The bass, who closes the
recitative, also sings
the following continuo
aria which is rich in
melismatic passages. The
second aria is a duet
expanded into a quartet
setting by the addition
of oboes d'amore and
continuo; it leads into
the closing chorale
containing a wealth of
transitions. Score and
part available separately
- see item
CA.3100300.
Soli SATB Voices, SATB Choir, 2 Ob, 2 Fg, 2 Tr, Timp, 2 Vl, Va, Bc SKU: CA.70...(+)
Soli SATB Voices, SATB
Choir, 2 Ob, 2 Fg, 2 Tr,
Timp, 2 Vl, Va, Bc
SKU: CA.7005304
Composed by Franz
Schubert. Edited by
Salome Reiser. Carus
plus: Innovative practice
aids; Sacred vocal music,
Magnificats; use during
church year: Advent,
Christmas; Carus sheet
music series: Vocal
scores XL; Stuttgart
Editions (Urtext):
Stuttgart Schubert
Edition; occasions:
Feasts of the Blessed
Virgin M. Stuttgart
Urtext Edition: Stuttgart
Schubert Edition. XL in
large print. Innovative
practice aids, Sacred
vocal music, Magnificats,
Advent, Christmas, Feasts
of the Blessed Virgin
Mary, Hymns in praise of
the Virgin Mary, Daily
hours. Vocal score.
Composed 1815. D 486. 28
pages. Duration 9
minutes. Carus Verlag #CV
70.053/04. Published by
Carus Verlag
(CA.7005304).
ISBN
9790007240936. Key: D
major. Language:
Latin.
With a
duration of about 10
minutes, Schubert's
Magnificat D 486 in C
major is one of the more
concise settings of the
well-known Marian
canticles, originally for
the service of Vespers.
It was composed in late
summer 1815, and is
therefore probably one of
a series of church music
works Schubert wrote in
his youth for Lichtenthal
Parish Church. The work
requires a large-scale
orchestra with strings,
woodwind, and brass. The
four-part choir contrasts
with four soloists; this
quartet sings the
peaceful middle section
of the three-section
work. For the Carus
edition Schubert's own
autograph manuscript of
his Magnificat was
consulted again for the
first time since 1888.
Until 1989 this had been
thought to be lost. This
work is now available in
carus music, the choir
app! Score available
separately - see item
CA.7005300.
2nd Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Reinhold
Kubik. Hymns by Martin
Luther: Ach Gott, vom
Himmel sieh darein.
German title: Ach Gott,
vom Himmel sieh darein.
Sacred vocal music,
Cantatas. Single Part,
Violin solo + Vio.
Composed 1724. BWV 2. 8
pages. Duration 20
minutes. Carus Verlag #CV
31.002/11. Published by
Carus Verlag
(CA.3100211).
ISBN
9790007041342. Key: D
minor. Language:
German/English. Text:
Luther, Martin. Text:
Martin Luther.
Bach
composed the cantata O
God, from heaven look on
us BWV 2 for the 2nd
Trinity Sunday 1724 as
the second cantata of the
annual cycle of chorale
cantatas. It is based on
Martin Luther's rewriting
of Psalm 112. The opening
movement is one of a
group of cantata opening
movements which are not
concertante but kept
entirely in the motet
style, with the
instruments serving only
to reinforce the singers.
The archaic character of
this movement is
heightened by the
addition of a trombone
quartet. The concertante
style is all the more
significant in the first
aria for contralto, solo
violin and continuo. The
first secco recitative
represents a special
feature: two fragments of
the chorale are woven as
arioso into the
recitative, both in text
and melody; futhermore,
they are also taken up
canonically by the
continuo. Score and part
available separately -
see item CA.3100200.
2nd Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Reinhold
Kubik. Hymns by Martin
Luther: Ach Gott, vom
Himmel sieh darein.
German title: Ach Gott,
vom Himmel. Sacred vocal
music, Cantatas. Single
Part, Violin 2. Composed
1724. BWV 2. 8 pages.
Duration 20 minutes.
Carus Verlag #CV
31.002/12. Published by
Carus Verlag
(CA.3100212).
ISBN
9790007041359. Key: D
minor. Language:
German/English. Text:
Luther, Martin. Text:
Martin Luther.
Bach
composed the cantata O
God, from heaven look on
us BWV 2 for the 2nd
Trinity Sunday 1724 as
the second cantata of the
annual cycle of chorale
cantatas. It is based on
Martin Luther's rewriting
of Psalm 112. The opening
movement is one of a
group of cantata opening
movements which are not
concertante but kept
entirely in the motet
style, with the
instruments serving only
to reinforce the singers.
The archaic character of
this movement is
heightened by the
addition of a trombone
quartet. The concertante
style is all the more
significant in the first
aria for contralto, solo
violin and continuo. The
first secco recitative
represents a special
feature: two fragments of
the chorale are woven as
arioso into the
recitative, both in text
and melody; futhermore,
they are also taken up
canonically by the
continuo. Score and part
available separately -
see item CA.3100200.
2nd Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Reinhold
Kubik. Hymns by Martin
Luther: Ach Gott, vom
Himmel sieh darein.
German title: Ach Gott,
vom Himmel. Sacred vocal
music, Cantatas. Single
Part, Viola. Composed
1724. BWV 2. 8 pages.
Duration 20 minutes.
Carus Verlag #CV
31.002/13. Published by
Carus Verlag
(CA.3100213).
ISBN
9790007041366. Key: D
minor. Language:
German/English. Text:
Luther, Martin. Text:
Martin Luther.
Bach
composed the cantata O
God, from heaven look on
us BWV 2 for the 2nd
Trinity Sunday 1724 as
the second cantata of the
annual cycle of chorale
cantatas. It is based on
Martin Luther's rewriting
of Psalm 112. The opening
movement is one of a
group of cantata opening
movements which are not
concertante but kept
entirely in the motet
style, with the
instruments serving only
to reinforce the singers.
The archaic character of
this movement is
heightened by the
addition of a trombone
quartet. The concertante
style is all the more
significant in the first
aria for contralto, solo
violin and continuo. The
first secco recitative
represents a special
feature: two fragments of
the chorale are woven as
arioso into the
recitative, both in text
and melody; futhermore,
they are also taken up
canonically by the
continuo. Score and part
available separately -
see item CA.3100200.
2nd Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Reinhold
Kubik. Hymns by Martin
Luther: Ach Gott, vom
Himmel sieh darein.
German title: Ach Gott,
vom Himmel. Sacred vocal
music, Cantatas. Single
Part, Cello/Double Bass.
Composed 1724. BWV 2. 12
pages. Duration 20
minutes. Carus Verlag #CV
31.002/14. Published by
Carus Verlag
(CA.3100214).
ISBN
9790007041373. Key: D
minor. Language:
German/English. Text:
Luther, Martin. Text:
Martin Luther.
Bach
composed the cantata O
God, from heaven look on
us BWV 2 for the 2nd
Trinity Sunday 1724 as
the second cantata of the
annual cycle of chorale
cantatas. It is based on
Martin Luther's rewriting
of Psalm 112. The opening
movement is one of a
group of cantata opening
movements which are not
concertante but kept
entirely in the motet
style, with the
instruments serving only
to reinforce the singers.
The archaic character of
this movement is
heightened by the
addition of a trombone
quartet. The concertante
style is all the more
significant in the first
aria for contralto, solo
violin and continuo. The
first secco recitative
represents a special
feature: two fragments of
the chorale are woven as
arioso into the
recitative, both in text
and melody; futhermore,
they are also taken up
canonically by the
continuo. Score and part
available separately -
see item CA.3100200.
2nd Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Reinhold
Kubik. 2x 31.002/21 2
oboes, 1x 31.002/31
trumpet, 1x 31.002/32
trombone 1, 1x 31.002/33
trombone 2, 1x 31.002/34
trombone 3, 1x 31.002/35
trombone 4. Hymns by
Martin Luther: Ach Gott,
vom Himmel sieh darein.
German title: Ach Gott,
vom Himmel sieh darein 7.
Sacred vocal music,
Cantatas. Set of
Orchestra Parts. Composed
1724. BWV 2. 20 pages.
Duration 20 minutes.
Carus Verlag #CV
31.002/09. Published by
Carus Verlag
(CA.3100209).
ISBN
9790007041335. Key: D
minor. Language:
German/English. Text:
Luther, Martin. Text:
Martin Luther.
Bach
composed the cantata O
God, from heaven look on
us BWV 2 for the 2nd
Trinity Sunday 1724 as
the second cantata of the
annual cycle of chorale
cantatas. It is based on
Martin Luther's rewriting
of Psalm 112. The opening
movement is one of a
group of cantata opening
movements which are not
concertante but kept
entirely in the motet
style, with the
instruments serving only
to reinforce the singers.
The archaic character of
this movement is
heightened by the
addition of a trombone
quartet. The concertante
style is all the more
significant in the first
aria for contralto, solo
violin and continuo. The
first secco recitative
represents a special
feature: two fragments of
the chorale are woven as
arioso into the
recitative, both in text
and melody; futhermore,
they are also taken up
canonically by the
continuo. Score and parts
available separately -
see item CA.3100200.
2nd Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Reinhold
Kubik. Hymns by Martin
Luther: Ach Gott, vom
Himmel sieh darein.
German title: Ach Gott,
vom Himmel sieh darein.
Sacred vocal music,
Cantatas. Choral Score.
Composed 1724. BWV 2. 12
pages. Duration 20
minutes. Carus Verlag #CV
31.002/05. Published by
Carus Verlag
(CA.3100205).
ISBN
9790007041311. Key: D
minor. Language:
German/English. Text:
Luther, Martin. Text:
Martin Luther.
Bach
composed the cantata O
God, from heaven look on
us BWV 2 for the 2nd
Trinity Sunday 1724 as
the second cantata of the
annual cycle of chorale
cantatas. It is based on
Martin Luther's rewriting
of Psalm 112. The opening
movement is one of a
group of cantata opening
movements which are not
concertante but kept
entirely in the motet
style, with the
instruments serving only
to reinforce the singers.
The archaic character of
this movement is
heightened by the
addition of a trombone
quartet. The concertante
style is all the more
significant in the first
aria for contralto, solo
violin and continuo. The
first secco recitative
represents a special
feature: two fragments of
the chorale are woven as
arioso into the
recitative, both in text
and melody; futhermore,
they are also taken up
canonically by the
continuo. Score available
separately - see item
CA.3100200.
2nd Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Reinhold
Kubik. Hymns by Martin
Luther: Ach Gott, vom
Himmel sieh darein.
German title: Ach Gott,
vom Himmel sieh darein.
Sacred vocal music,
Cantatas. Set of
Orchestra Parts. Composed
1724. BWV 2. Duration 20
minutes. Carus Verlag #CV
31.002/19. Published by
Carus Verlag
(CA.3100219).
ISBN
9790007135904. Key: D
minor. Language:
German/English. Text:
Luther, Martin. Text:
Martin Luther.
Bach
composed the cantata O
God, from heaven look on
us BWV 2 for the 2nd
Trinity Sunday 1724 as
the second cantata of the
annual cycle of chorale
cantatas. It is based on
Martin Luther's rewriting
of Psalm 112. The opening
movement is one of a
group of cantata opening
movements which are not
concertante but kept
entirely in the motet
style, with the
instruments serving only
to reinforce the singers.
The archaic character of
this movement is
heightened by the
addition of a trombone
quartet. The concertante
style is all the more
significant in the first
aria for contralto, solo
violin and continuo. The
first secco recitative
represents a special
feature: two fragments of
the chorale are woven as
arioso into the
recitative, both in text
and melody; futhermore,
they are also taken up
canonically by the
continuo. Score and parts
available separately -
see item CA.3100200.
Soli ATB, SATB Choir, 2 Ob, 4 Trb, Vl solo, 2 Vl, Va, Bc - Level 3 SKU: CA.31...(+)
Soli ATB, SATB Choir, 2
Ob, 4 Trb, Vl solo, 2 Vl,
Va, Bc - Level 3
SKU:
CA.3100249
2nd
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Reinhold Kubik. Arranged
by Reinhold Kubik. Hymns
by Martin Luther: Ach
Gott, vom Himmel sieh
darein. Organ. Sacred
vocal music, Cantatas.
Single Part, Organ.
Composed 1724. BWV 2. 20
pages. Duration 20
minutes. Carus Verlag #CV
31.002/49. Published by
Carus Verlag
(CA.3100249).
ISBN
9790007204419. Key: D
minor. Language:
German/English. Text:
Luther,
Martin.
Bach
composed the cantata O
God, from heaven look on
us BWV 2 for the 2nd
Trinity Sunday 1724 as
the second cantata of the
annual cycle of chorale
cantatas. It is based on
Martin Luther's rewriting
of Psalm 112. The opening
movement is one of a
group of cantata opening
movements which are not
concertante but kept
entirely in the motet
style, with the
instruments serving only
to reinforce the singers.
The archaic character of
this movement is
heightened by the
addition of a trombone
quartet. The concertante
style is all the more
significant in the first
aria for contralto, solo
violin and continuo. The
first secco recitative
represents a special
feature: two fragments of
the chorale are woven as
arioso into the
recitative, both in text
and melody; futhermore,
they are also taken up
canonically by the
continuo. Score and part
available separately -
see item CA.3100200.
Composed by Michael D. Costello. Ordination/Installation, 21st Century, Commu...(+)
Composed by Michael D.
Costello.
Ordination/Installation,
21st Century, Communion.
Choral score. MorningStar
Music Publishers
#60-7026.
Published by MorningStar
Music Publishers
By Michael D. Costello. For SATB chorus and Organ, with opt. Congregation, Brass...(+)
By Michael D. Costello.
For SATB chorus and
Organ, with opt.
Congregation, Brass
Quartet, and Timpani.
Sacred Music from
Lenoir-Rhyne. Sacred.
Full Score and
Instrumental Parts
Lyrics by Alain Boublil, Richard Maltby, music by Claude-Michel Schonberg, arran...(+)
Lyrics by Alain Boublil,
Richard Maltby, music by
Claude-Michel Schonberg,
arranged by Ed Lojeski.
Vocal score (five copies
needed for performance)
for voice quartet (SATB)
and piano accompaniment.
With vocal score and
piano accompaniment.
Series: Hal Leonard Pop
Choral Series, . 32
pages. Published by Hal
Leonard.
By John; St. Anne: Croft Ferguson. Arranged by John Ferguson. For Voices: SATB; ...(+)
By John; St. Anne: Croft
Ferguson. Arranged by
John Ferguson. For
Voices: SATB; Children's
choir or semi-chorus.
Instruments: Handbells,
brass quartet (2 trumpets
in C or B, 2 trombones)
(instruments required).
Choral Sacred. Level:
easy. 9 pages. Published
by GIA Publications.
SATB choir, congregation,
organ, brass quartet,
timpani - Early
Intermediate
SKU:
MN.60-6200
Composed
by Michael D. Costello.
Year A Easter5; Catholic
Year C Ordinary21.
Trinity, Pentecost, 21st
Century. Choral score.
MorningStar Music
Publishers #60-6200.
Published by MorningStar
Music Publishers
(MN.60-6200).
UPC:
688670662003. English.
Text: James E. Seddon. 1
Peter 2:9-12.
An
original hymn tune
ASSUMPTION is used as the
basis for this stirring
concertato. The text by
James E. Seddon is based
on 1 Peter 2:9-12. The
theme of the text is to
challenge the Church to
remember and embrace its
mission. Optional parts
for brass quartet and
timpani are available.
Useful for church
celebrations,
ordinations, and
installations.
Instrum
ental parts include:
Trumpets I and II in
B-flat, Trumpets I and II
in C, Trombones I and II,
opt. Horn in F (sub. for
Trombone I), Timpani.
Composed by Michael D.
Costello. Sacred Music
from Lenoir-Rhyne Choral
Series. Advent, 21st
Century. Choral score.
MorningStar Music
Publishers #60-0003.
Published by MorningStar
Music Publishers
(MN.60-0003).
UPC:
688670600036.
This
wonderful hymn text by
Paul Gerhardt and the
sturdy tune Wie soll ich
dich empfangen by Johann
Crger are well matched
and have been sung by
congregations since the
late 1600s. This setting
matches this tune and
text with full bodied
brass writing to create a
truly grand musical
experience. The choral
score includes a
reproducible page for
congregation.