A Service for Tenebrae. Par NIX BRAD / MARTIN JOSEPH M. . This brief choral cantata is well suited for use during Holy Week as a Tenebrae observance or as a time of reflection. A musical ?service of shadows,? Candles of Grace is filled with emotive texts and deeply expressive music portraying the events of the Passion. A thoughtful orchestration adorns this chamber cantata with refined beauty and grace, giving directors an instrumental or track option for their presentations. From the delicate opening phrases to the fragile whispered ending, this work is essential for remembering and experiencing the suffering of the Lord. Songs include: Prelude (The Shadow Falls); Bring Me to the Cross; The Garden Call; Man of Sorrows, What a Name; Jesus, Lover of My Soul; Keep Me Near the Cross; Scenes from a Solemn Cross; Epilogue. Score and Parts (pno, fl, vn 1-2, va, vc) available as a digital download. For the Accompaniment and Part Dominant Tracks: Audio is accessed online using the unique code generated upon purchase and can be streamed or downloaded. The audio files include PLAYBACK , a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right. / Date parution : 2022-02-17/ Répertoire / SATB

The Royal Swedish Court commissioned this piece for the celebration of the Mass on Annunciation to the Blessed Virgin Mary (March 17, 2013). The music depicts Mary's sorrow as the mother of a child that belongs not to her, but to all mankind.'My music is my own and I have never tried to be original. That has always been my motto and I have only tried to use music to express all the feelings which life has to offer. This has led people to describe my music as 'so sad that it sounds like birds who have lost their wings' but also as 'the happiest classical music that we have ever heard'.My compositions are almost all sacred. They express not only my own faith but also my appreciation and respect for the timeless texts that have been used for centuries and centuries.Mårten Jansson (b. 1965), elected member of the Föreningen svenska tonsättare (the Society of Swedish Composers), graduated from the Royal College of Music, Stockholm (KHM) with an MFA degree in Music Education, Dalcroze Eurhythmics and Voice. For more than ten years he was the music director and conductor of 'Carmen?, one of the most prominent womens' vocal ensembles in Sweden. He currently teaches choral conducting and music theory as well as giving vocal tuition at the Bolandgymnasiet and Musikskolan in his home town of Uppsala. / Choeur Mixte (SATB)

Threshold of Night (a setting one of Kathleen Raine's Three Poems of Incarnation) was commissioned by St John's College, Cambridge and was premièred under the direction of David Hill in the College chapel on 25th November 2006. Written for Advent, the work aims to highlight the yearning that all societies have, in their time of need, for guidance from beyond their community. By coincidence, however, this composition was completed on the eve of 29th August 2006, one year after Hurricane Katrina, one of the deadliest in the history of the United States, made landfall in Louisiana. Looking at Raine's words in this context ('Go back, my child, to the rain and storm', 'I will not go back for sorrow or pain'), the poem can be seen to echo the conflicted and anguished thoughts of displaced New Orleanians. The original Advent sense ofdesired guidance takes on a specific, if unintentional, significance with regards to the tragic outcome of that hurricane - this is emphasized by the bluesinflectedharmonies found throughout Threshold of Night . / SATB

'Ingenting utanför / Nothing Beyond? is another collaboration between Mårten Jansson and the Swedish poet Einar Askestad. This a cappella choral work deals with sorrow and loss. After a forceful, harmonically ambiguous section and a clear break in the music, the piece ends with a comforting decrescendo of reconciliation. It was commissioned by the Uppsala female choir 'La Cappella? and is dedicated to its choral director Tony Margeta.'My music is my own and I have never tried to be original. That has always been my motto and I have only tried to use music to express all the feelings which life has to offer. This has led people to describe my music as 'so sad that it sounds like birds who have lost their wings' but also as 'the happiest classical music that we have ever heard'.My compositions are almost all sacred. They express not only my own faith but also my appreciation and respect for the timeless texts that have been used for centuries and centuries.'Mårten Jansson (b. 1965), elected member of the Föreningen svenska tonsättare (the Society of Swedish Composers), graduated from the Royal College of Music, Stockholm (KHM) with an MFA degree in Music Education, Dalcroze Eurhythmics and Voice. For more than ten years he was the music director and conductor of 'Carmen?, one of the most prominent womens' vocal ensembles in Sweden. He currently teaches choral conducting and music theory as well as giving vocal tuition at the Bolandgymnasiet and Musikskolan in his home town of Uppsala. / Choeur De Femmes

Par SCHUBERT FRANZ. Franz Schubert's 'Stabat Mater” D 175 is one of a number of church works that he wrote for his local congregation in Lichtental. This edition is based on the sole surviving source, the composer's autograph full score. Unlike its like-named companion piece D 383, Schubert uses the original Latin poem here. In his setting of April 1815 he focuses on the first two lines of the text depicting the Virgin's motherly sorrows. This edition is based on the Urtext from the 'New Schubert Edition”. The original figured bass numerals found in Schubert's score have been modernised in all performance material and meticulously adapted to meet the demands of today's performers./ Répertoire / Choeur Mixte et Orchestre

Reverand Chris Anderson has penned some moving words to commemorate the Lenten season. Teaming again with composer Richard A. Nichols, this anthem opens with the choir accompanying a soloist with a cappella loos. The the choir assumes the piece for a few measures before the piano enters. A very effective opening. The modulation from C minor to C Major is another wonderful moment in this piece. / SATB