By John D. Horman. For SATB choir. Sacred. Level: Medium. Sacred Anthem. Published by Sacred Music Press. (10/1517S)

(from Revelation of Saint John). By Dominick Argento. (TTBB). BH Brunelle Cathedrel Series. 9 pages. Published by Boosey and Hawkes.

(Dale Warland Choral Series). Composed by Kevin Siegfried. For Choral (SATB a cappella). Choral. Octavo. Published by G. Schirmer

Composed by James Newton Howard. Arranged by Robert Longfield. Pop Specials for Strings. Movies. Published by Hal Leonard

The Hunger Games. (Music from the Motion Picture Score). By James Newton Howard. Piano Solo Songbook. Softcover. 24 pages. Published by Hal Leonard

((from The Hunger Games)). By Taylor Swift and The Civil Wars. By John Paul White, Joy Williams, T-Bone Burnett, and Taylor Swift. Arranged by Mark A. Brymer. For Choral (ShowTrax CD). Pop Choral Series. CD only. Published by Hal Leonard

((from The Hunger Games: Catching Fire)). By Coldplay. For Piano/Vocal/Guitar. Piano Vocal. 8 pages. Published by Hal Leonard

((from The Hunger Games: Mockingjay, Part 1)). By Jennifer Lawrence. By James Newton Howard. For Piano/Vocal/Guitar. Piano Vocal. 8 pages. Published by Hal Leonard

Brass Band - Grade 3

SKU: HL.44010981

Brass Band - Score and Parts. Composed by Philip Sparke. Anglo Music Concert Band. Concert Piece. Set (Score & Parts). Composed 2011. Anglo Music Press #AMP315030. Published by Anglo Music Press (HL.44010981).

UPC: 884088624095. 9x12 inches. English-German.

Phi lip Sparke was commissioned to compose a gentle chorale, a style typical of Philip's writing, and Cantilena was the result. Enthuse your dedicated performers hunger for great music with this new masterpiece. Philip Sparke was commissioned to compose a gentle chorale, a style typical of Philip's writing, and Cantilena was the result. Enthuse your dedicated performers hunger for great music with this new masterpiece.

Philip Sparke was commissioned to compose a gentle chorale, a style typical of Philip's writing, and Cantilena was the result. Enthuse your dedicated performers hunger for great music with this new masterpiece.

Cantilena wurde als Pflichtstück für das Grenland International Brass Festival im norwegischen Ort Skien in Auftrag gegeben. In Anlehnung an das Stück Catilena von Henrik Ibsen, der in Skien geboren wurde, komponierte Philip Sparke Cantilena, was Wiegenlied und ausserdem, etwas weiter gefasst in einem gesanglichen Stil spielen bedeutet, und sich damit als der perfekte Titel für dieses lyrische und leidenschaftliche Stück anbot.

Viola 2

SKU: KU.OCT-10224_VA2

Composed by Arcangelo Corelli. Edited by Helmut Hunger. Arranged by Helmut Hunger. Bach format (230 x 302). Single Sheet. Part. 2 pages. Edition Kunzelmann #OCT-10224_VA2. Published by Edition Kunzelmann (KU.OCT-10224_VA2).

Chamber Music Clarinet, Flute, Guitar, Horn, Viola, Violin, Violoncello

SKU: PR.114420410

Chamber Concerto for Guitar and Ensemble. Composed by George Rochberg. Set of Score and Parts. 30+10+8+10+12+10+10+10 pages. Duration 20 minutes. Theodore Presser Company #114-42041. Published by Theodore Presser Company (PR.114420410).

UPC: 680160687015.

In one of the dedicatory poems to his verse play The Shadowy Waters (1906), William Butler Yeats asks: Is Eden far away...? Do our woods and winds and verponds cover more quiet woods, More shining winds, more star-glimmering ponds? Is Eden out of time and out of space? How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And - what is most painful to admit - that it is closed to us in the form in which we live and breathe, even if at times we do have intimations..., Yeats is telling us that this paradise, this Eden we yearn for is here - present even if invisible, palpable even if intangible. In his Second Symphony, Mahler meets an angel who tells him he can't get into heaven, he's locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden. Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes -because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs. I have turned Yeats' question Is Eden out of time and out of space? into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us. I wrote this music the way I did to shut out -with quietness and otherworldliness - the clamor and clang of the raucous Garish Day, to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.
In one of the dedicatory poems to his verse play “The Shadowy Waters” (1906), William Butler Yeats asks:“Is Eden far away…?Do our woods and windsand verponds cover morequiet woods,More shining winds,more star-glimmeringponds?Is Eden out of timeand out of space?”How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And – what is most painful to admit – that it is closed to us in the form in which we live and breathe, even if at times we do have intimations…, Yeats is telling us that this paradise, this Eden we yearn for is here – present even if invisible, palpable even if intangible.In his Second Symphony, Mahler meets an angel who tells him he can’t get into heaven, he’s locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden.Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes –because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs.I have turned Yeats’ question “Is Eden out of time and out of space?” into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us.I wrote this music the way I did to shut out –with quietness and otherworldliness – the clamor and clang of the raucous “Garish Day,” to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.

Trumpet, piano

SKU: KU.GM-1206

Composed by Arcangelo Corelli. Edited by Helmut Hunger. Arranged by Helmut Hunger. Bach format (230 x 302). Staple Bound. Piano reduction, solo part. 12 pages. Edition Kunzelmann #GM-1206. Published by Edition Kunzelmann (KU.GM-1206).

Trumpet, piano

SKU: KU.GM-1623

Composed by Joseph Kuffner. Edited by Helmut Hunger. Arranged by Helmut Hunger. Bach format (230 x 302). Staple Bound. Piano reduction, solo part. Op. 126. 11 pages. Edition Kunzelmann #GM-1623. Published by Edition Kunzelmann (KU.GM-1623).

ISBN 9790206203022.

' pour le cor de signale a clef obligee avec accompagnement d'orchestre', Op. 126

Concert Band - Grade 6

SKU: ML.013702080

Composed by Alex Poelman. Full set. Molenaar Edition #013702080. Published by Molenaar Edition (ML.013702080).

At the end of 1944, Allied troops invaded the Netherlands from Belgium. Hope and longing for freedom, which now seemed so close, swept through the Netherlands: Operation Market Garden was launched. Huge numbers of paratroopers made the dangerous jump to take over enemy territory on the south side of the Rhine. Fierce fighting and attempts to cross and secure the river resulted in heavy casualties for the liberating forces. Ground support from the south came too late and there was no alternative but to call off Operation Market Garden. What looked like a quick liberation of the Netherlands turned into a long, bitter struggle. To make matters worse, a harsh winter followed: hunger and cold ate away at hope and the prospect of a liberated Netherlands. The composition 1944 uses original radio fragments from 1944 to describe these events.

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fragment D

Eind 1944 vielen geallieerde troepen vanuit België Nederland binnen. Hoop en verlangen naar vrijheid, die nu zo dichtbij leek, golfden door Nederland: Operatie Market Garden werd gelanceerd. Enorme aantallen parachutisten maakten de gevaarlijke sprong om vijandelijk gebied aan de zuidkant van de Rijn in te nemen. Hevige gevechten en pogingen om de rivier over te steken en veilig te stellen resulteerden in zware verliezen voor de bevrijdende troepen. Grondsteun vanuit het zuiden kwam te laat en er was geen alternatief dan Operatie Market Garden af te blazen. Wat leek op een snelle bevrijding van Nederland veranderde in een lange, bittere strijd. Tot overmaat van ramp volgde er een strenge winter: honger en kou vrat de hoop en het vooruitzicht op een bevrijd Nederland weg. De compositie 1944 gebruikt originele radiofragmenten uit 1944 om deze gebeurtenissen te beschrijven.<<

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fragment A

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fragment B

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fragment C

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fragment D

Fin 1944, les troupes alliées envahissent les Pays-Bas à partir de la Belgique. L'espoir et la nostalgie de la liberté, qui semble désormais si proche, envahissent les Pays-Bas : L'opération Market Garden est lancée. D'innombrables parachutistes font le dangereux saut pour s'emparer du territoire ennemi sur la rive sud du Rhin. Les combats acharnés et les tentatives pour traverser et sécuriser le fleuve se soldent par de lourdes pertes pour les forces libératrices. Le soutien terrestre en provenance du sud arrive trop tard et il n'y a pas d'autre choix que d'annuler l'opération Market Garden. Ce qui s'annonçait comme une libération rapide des Pays-Bas s'est transformé en une lutte longue et acharnée. Pour ne rien arranger, un hiver rigoureux a suivi : la faim et le froid ont rongé l'espoir et la perspective d'une libération des Pays-Bas. La composition 1944 utilise des fragments radiophoniques originaux de 1944 pour décrire ces événements.

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fragment B

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fragment C

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fragment D

Ende 1944 marschierten die alliierten Truppen von Belgien aus in die Niederlande ein. Die Hoffnung und die Sehnsucht nach der Freiheit, die nun so nah zu sein schien, überkam die Niederlande: Die Operation Market Garden wurde gestartet. Zahlreiche Fallschirmjäger wagen den gefährlichen Absprung, um das feindliche Gebiet auf der Südseite des Rheins zu erobern. Heftige Kämpfe und Versuche, den Fluss zu überqueren und zu sichern, forderten schwere Verluste für die Befreiungstruppen. Die Bodenunterstützung aus dem Süden kam zu spät und es gab keine andere Möglichkeit, als die Operation Market Garden abzubrechen. Was nach einer schnellen Befreiung der Niederlande aussah, wurde zu einem langen, erbitterten Kampf. Zu allem Überfluss folgte ein harter Winter: Hunger und Kälte zehrten an der Hoffnung und der Aussicht auf befreite Niederlande. In der Komposition 1944 werden diese Ereignisse anhand von Original-Funkfragmenten aus dem Jahr 1944 beschrieben.

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fragment A

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fragment B

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fragment C

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fragment D

Viola 1

SKU: KU.OCT-10224_VA1

Composed by Arcangelo Corelli. Edited by Helmut Hunger. Arranged by Helmut Hunger. Bach format (230 x 302). Single Sheet. Part. 2 pages. Edition Kunzelmann #OCT-10224_VA1. Published by Edition Kunzelmann (KU.OCT-10224_VA1).

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: 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.).­­.

Trumpet, string orchestra (Tpt Solo-Str-Bc)

SKU: KU.OCT-10224

Composed by Arcangelo Corelli. Edited by Helmut Hunger. Arranged by Helmut Hunger. Letter format (190 x 270). Staple Bound. Full score. 12 pages. Edition Kunzelmann #OCT-10224. Published by Edition Kunzelmann (KU.OCT-10224).

Chamber Music Clarinet, Flute, Guitar, Horn, Viola, Violin, Violoncello

SKU: PR.11442041L

Chamber Concerto for Guitar and Ensemble. Composed by George Rochberg. Large Score. 30 pages. Duration 20 minutes. Theodore Presser Company #114-42041L. Published by Theodore Presser Company (PR.11442041L).

UPC: 680160687039.

In one of the dedicatory poems to his verse play The Shadowy Waters (1906), William Butler Yeats asks: Is Eden far away...? Do our woods and winds and verponds cover more quiet woods, More shining winds, more star-glimmering ponds? Is Eden out of time and out of space? How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And - what is most painful to admit - that it is closed to us in the form in which we live and breathe, even if at times we do have intimations..., Yeats is telling us that this paradise, this Eden we yearn for is here - present even if invisible, palpable even if intangible. In his Second Symphony, Mahler meets an angel who tells him he can't get into heaven, he's locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden. Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes -because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs. I have turned Yeats' question Is Eden out of time and out of space? into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us. I wrote this music the way I did to shut out -with quietness and otherworldliness - the clamor and clang of the raucous Garish Day, to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.
In one of the dedicatory poems to his verse play “The Shadowy Waters” (1906), William Butler Yeats asks:“Is Eden far away…?Do our woods and windsand verponds cover morequiet woods,More shining winds,more star-glimmeringponds?Is Eden out of timeand out of space?”How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And – what is most painful to admit – that it is closed to us in the form in which we live and breathe, even if at times we do have intimations…, Yeats is telling us that this paradise, this Eden we yearn for is here – present even if invisible, palpable even if intangible.In his Second Symphony, Mahler meets an angel who tells him he can’t get into heaven, he’s locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden.Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes –because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs.I have turned Yeats’ question “Is Eden out of time and out of space?” into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us.I wrote this music the way I did to shut out –with quietness and otherworldliness – the clamor and clang of the raucous “Garish Day,” to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.

Chamber Music Clarinet, Flute, Guitar, Horn, Viola, Violin, Violoncello

SKU: PR.11442041S

Chamber Concerto for Guitar and Ensemble. Composed by George Rochberg. Full score. 30 pages. Duration 20 minutes. Theodore Presser Company #114-42041S. Published by Theodore Presser Company (PR.11442041S).

UPC: 680160687022.

In one of the dedicatory poems to his verse play The Shadowy Waters (1906), William Butler Yeats asks: Is Eden far away...? Do our woods and winds and verponds cover more quiet woods, More shining winds, more star-glimmering ponds? Is Eden out of time and out of space? How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And - what is most painful to admit - that it is closed to us in the form in which we live and breathe, even if at times we do have intimations..., Yeats is telling us that this paradise, this Eden we yearn for is here - present even if invisible, palpable even if intangible. In his Second Symphony, Mahler meets an angel who tells him he can't get into heaven, he's locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden. Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes -because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs. I have turned Yeats' question Is Eden out of time and out of space? into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us. I wrote this music the way I did to shut out -with quietness and otherworldliness - the clamor and clang of the raucous Garish Day, to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.
In one of the dedicatory poems to his verse play “The Shadowy Waters” (1906), William Butler Yeats asks:“Is Eden far away…?Do our woods and windsand verponds cover morequiet woods,More shining winds,more star-glimmeringponds?Is Eden out of timeand out of space?”How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And – what is most painful to admit – that it is closed to us in the form in which we live and breathe, even if at times we do have intimations…, Yeats is telling us that this paradise, this Eden we yearn for is here – present even if invisible, palpable even if intangible.In his Second Symphony, Mahler meets an angel who tells him he can’t get into heaven, he’s locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden.Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes –because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs.I have turned Yeats’ question “Is Eden out of time and out of space?” into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us.I wrote this music the way I did to shut out –with quietness and otherworldliness – the clamor and clang of the raucous “Garish Day,” to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.

(Music for First Communion). Composed by Various. For voice(s), keyboard. Sacred. Easy. Collection. Guitar chord names. 104 pages. Published by GIA Publications

Choir

SKU: GI.G-6050CD

Music for First Communion. Composed by Various. This edition: Book and CD edition. Children. Sacred. Book and CD. GIA Publications #6050CD. Published by GIA Publications (GI.G-6050CD).

ISBN 9781579992743. English, Spanish.

The title says it all! In this new, expanded, and updated collection, we bring you the very best songs GIA has to offer for the blessed occasion of First Communion. Carefully chosen, the music in this collection is assembly-friendly and easy to sing for both children and adults. A demo recording of all songs is available. Separate choral octavos are also available for most titles. A must-have for every parish! CONTENTS: Come to the Table ALONSO - Take and Eat JONCAS - Come and Eat This Living Bread GLOVER - Eat This Bread BERTHIER - We Will Take What You Offer BELL - I Received the Living God - Come to the Banquet CHEPPONIS - Live-giving Bread, Saving Cup CHEPPONIS - All Who Hunger MOORE - Come All You People BELL - Jesus, Be Our Bread WOLD - Stand Up, Friends - We Come to Your Table - Now in This Banquet - I Am the Bread of Life / Yo soy el pan de vida TOOLAN - Song of the Body of Christ / Cancin del cuerpo de Cristo HAAS - Pues si vivimos / If We Are Living - Bread of Life from Heaven / Pan de vida eterna HAUGEN - All Who Hunger DUNSTAN - Prepare a Room for Me STUEMPFLE - I Want to Walk as a Child of the Light - Let the Children Come BRINGLE - I Come with Joy - Come to the Feast MOORE - Taste and See MOORE - Final Blessing (from Jesus, the Compassion of God) HAAS - In the Lord I-ll Be Ever Thankful BERTHIER - Jubilate Servite BERTHIER - I Am Special MOORE - Psalm 78: The Lord Gave Them Bread GUIMONT - Psalm 34: Taste and See GUIMONT - Psalm 23: The Lord Is My Shepherd SENSMEIER.

CME In High Voice. Composed by Zebulon M. Highben. In High Voice. Concert, Festival. Octavo. 12 pages. Boosey and Hawkes #M051484515. Published by Boosey and Hawkes

Soprano voice, piano

SKU: GH.GE-12126

Composed by Anna Cederberg-Orreteg. Valklingande sanger for diskantkor och piano med varmande barntexter pa temat Hunger - Fysisk svalt/sjalslig torst. With Language: Swedish. Gehrmans Musikforlag #GE 12126. Published by Gehrmans Musikforlag (GH.GE-12126).

ISBN 979-0-070-12126-2. 185 x 262 mm inches. Text: Elsa Bergendahl / Sigrid Ahlstrom / Maja Olsson.

Fyra texter tonsatta av Anna Cederberg-Orreteg som en del av ett projekt i Hogalids forsamling i Stockholm.