SSATBB choir a cappella - Late Intermediate SKU: MN.50-1137 Composed by M...(+)
SSATBB choir a cappella -
Late Intermediate
SKU:
MN.50-1137
Composed
by Matthew Culloton.
Secular, Christmas,
Advent, Christmas-Sacred,
Lessons and Carols, 21st
Century. Duration 2
minutes, 30 seconds.
MorningStar Music
Publishers #50-1137.
Published by MorningStar
Music Publishers
(MN.50-1137).
UPC:
688670511370.
English.
A lilting
choral accompaniment
evokes pizzicato sounds
surrounding the tenor
melody in verse one.
The other verses
are set more
conventionally but still
reflect the goals of our
Christmas with The
Singers series: that the
audience will enjoy the
famliarity of the carol
but be enchanted by the
creativity of the
arrangement. Challenging,
but masterful in how
Matthew Culloton treats
the ensemble as a
self-sufficient choral
idiom. Duration 2:30.
SSATBB choir - Level 3 SKU: CA.4049680 Composed by Peter Cornelius. Germa...(+)
SSATBB choir - Level 3
SKU: CA.4049680
Composed by Peter
Cornelius. German title:
Ich will dich lieben,
meine Krone. Lieder for
choir, Secular choral
music, Praise and thanks.
Full score. Composed
1872. Op. 18, No. 2.
Duration 3 minutes. Carus
Verlag #CV 40.496/80.
Published by Carus Verlag
(CA.4049680).
ISBN
9790007105952. Key: D
major. Language:
German/English. Text:
Silesius, Angelus. Text:
Angelus
Silesius.
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.
