SATB(B) a capella Choral;
Mixed Choir; Soprano
(SATBB)
SKU:
HL.48025402
SATB(B) a capella with
Solo Soprano.
Composed by James
Macmillan. Boosey &
Hawkes Sacred Choral.
Choral, Classical.
Octavo. Boosey & Hawkes
#M060141997. Published by
Boosey & Hawkes
(HL.48025402).
UPC:
196288201038.
Short
motet commissioned by St
DominicÂ’s Sixth Form
College,
Harrow-on-the-Hill, UK,
to celebrate its 40th
anniversary. MacMillan
chose a text which is
entirely appropriate to
young people about to be
let loose on the world to
fulfil their potential:
'Be who God meant you to
be and you will set the
world on fire'. But where
another composer might
have made this a fanfare
MacMillan writes with the
gentleness of sincerity.
The music is very
straightforward and in
wanting a solo soprano
line he outlines all the
ways this can be
achieved: soloist, group
of sopranos, or all the
sopranos if the altos can
be split into two. The
choir repeats the mantra
text above throughout the
motet, while the soprano
solo line is given the
prayer which follows.
Only at the very end do
they all join together in
the words 'Jesus, love,
Jesus, love' with a
lovely E major
ending.
SSATBB choir SKU: CA.964100 Responsory in the Nocturn on Good Friday(+)
SSATBB choir
SKU:
CA.964100
Responsory in the
Nocturn on Good
Friday. Composed by
Ko Matsushita.
Contemporary Choir Music.
Sacred vocal music, Lent
and Passiontide. Full
score. Duration 6
minutes. Carus Verlag #CV
09.641/00. Published by
Carus Verlag (CA.964100).
ISBN 9790007143541.
Text language:
Latin.
The Good
Friday Responsory
Tenebrae factae sunt for
six-part chorus was
commissioned in 2012 for
Peking University Student
Choir and was premiered
at the World Choir Games
in Cincinnati, Ohio, USA
conducted by Hou Xijin.
It is an ambitious work
with a fervent intensity.
Matsushita sets the two
last words of Jesus, Deus
meus, ut quid me
dereliquisti? [My God,
why hast thou forsaken
me] and Pater, in manus
tuas commendo spiritum
meum [Father, into thy
hands I commend my
spirit] as pained
outcries in Stravinskyian
harshness, in chords
characterized by
tritones, as a truly
superhuman work of
redemption whose Easter
message of hope only
appears in the last
conciliatory F major
chord. Although this work
lies slightly beyond the
upper limit of the
musical and vocal
technical demands of the
Carus Contemporary
series, it is well within
the abilities of
ambitious chamber
choirs.
