Choral TTBB choir, piano

SKU: PR.312419270

From Terra Nostra. Composed by Stacy Garrop. Performance Score. 8 pages. Duration 2 minutes. Theodore Presser Company #312-41927. Published by Theodore Presser Company (PR.312419270).

ISBN 9781491137918. UPC: 680160692606. English. Charles Mackay.

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 “Darkness” 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 Peace” 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?” and “There was a child went forth every day”) 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…”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?

Composed by Traditional Irish. Arranged by Michael Engelhardt. Concert. Walton Choral. Tune Name: Slane. Octavo. Walton Music #WW1828. Published by Walton Music

(TTBB Choir)

SKU: HL.14076603

Composed by Sunleif Rasmussen. Choral. General Merchandise. Duration 240 seconds. Edition Wilhelm Hansen #WH32702C. Published by Edition Wilhelm Hansen (HL.14076603).

SSAATTBB Choir

SKU: CA.967400

Composed by Jacek Sykulski. Edited by Stefan Schuck. CARUS CONTEMPORARY. Sacred vocal music. Full score. 16 pages. Duration 8 minutes. Carus Verlag #CV 09.674/00. Published by Carus Verlag (CA.967400).

ISBN 9790007187484. Language: Latin.

With the publication of his hypnotic Pater noster, Carus proudly presents Jacek Sykulski as a new composer in the Carus Contemporary series. Whilst Sykulski has achieved worldwide success as Director of the Academic Choir at the University of Poznan and the Poznan Boys' Choir, as a composer he has remained a well-guarded secret until now. In his sacred compositions he combines in music the deeply Catholic-imbued tradition of his country with his own compositional technique, characterized by a tremendous vocal sensuousness of sound and a conscious use of tonality enriched by dissonance. His Pater noster was composed in 2009 and revised in 2015 for a performance by the RIAS Kammerchor in Berlin. The first section of this three-part work for eight-part choir (tenors and sopranos also split into three) begins with the invocation Pater noster homophonically in A minor. This then introduces the Gregorian liturgical melody of the Our Father canonically and aleatorically, like a contemplative congregational hymn. The middle section calls out Dein Reich komme in increasingly insistent rhythmic declamation, more demanding, with hypnotic repetitions and intensifications. In the last section, Sykulski returns to the opening harmonies, but now a semitone lower on A flat, followed by an intensification at the words sed libera nos a malo - and delivery us from evil once more; this ends unresolved in a diatonic cluster on A flat as the paradigm of our imperfect earthly existence. The eight-minute unaccompanied composition is extremely singable, impressive, and not difficult to master. The piece is suitable for use in the liturgy, as well as in concerts and competitions.