SKU: HL.48009387

UPC: 073999093872. 9.0x12.0x0.184 inches.

Archive Edition Choral Parts only Contents: Drake's Drum * Outward Bound * Devon, O Devon * Homeward Bound * The 'Old Superb'.

SKU: CF.CM9580

ISBN 9781491154021. UPC: 680160912520. 6.875 x 10.5 inches. Key: D mixolydian. English, Latin. 15th Century Medieval Carol.

The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherds response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compassthe distance between the highest and lowest noteis at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.
The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherdas response in the gospel of Luke 2:15, Transeamus. Latin phraseA translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compassathe distance between the highest and lowest noteais at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.
The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd's response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass--the distance between the highest and lowest note--is at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.
The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd's response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pares forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass--the distance between the highest and lowest note--is at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.
The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written.The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd’s response in the gospel of Luke 2:15, Transeamus.Latin phrase  translation sourceAlleluia Alleluia LaetabundusRes miranda A thing to be wondered at LaetabundusPares forma of equal form LaetabundusGaudeamus Let us rejoice! GaudeamusTranseamus Let us go Luke 2:15The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty.The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists.Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass—the distance between the highest and lowest note—is at its widest.The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.

SKU: GI.G-8815

UPC: 785147881506. English, Latin. Text Source: Romans 11:29, Latin Vulgate. Scripture: Romans 11:29.

I composed this setting in my last weeks of study at Westminster Choir College. The Latin text (Sine paenitentia enim sunt dona et vocatio Dei) translates roughly to “Truly, without regret are the gifts and callings of God.” This piece serves not only as an outward affirmation for all to embrace and use their God-given talents, but also as an inward mantra for myself, as I move into an uncertain period in my life after completing my undergraduate studies. Many of the colors and textures found within this piece were influenced by my experience singing with the Westminster Williamson Voices for two years. While the “sine paenitentia” text may allow shades of doubt to creep in, all uncertainty and fear is dispelled upon singing “sunt dona et vocatio Dei.” —Cortlandt Matthews Here is an amazing performance by The Westminster Williamson Voices at the Choral Insititute at Oxford. Ryan Manni, Conductor.

SKU: HL.50601600

8.0x11.75x0.067 inches.

The “small suite in the old style” was created in September 1992. It is not an outward stylization of early music, but rather an attempt to adopt a kind of Baroque-style thinking. But since we are 200 years older, our thinking is more reflective. That is, our C major sounds sadder today, more nostalgic, our 6/8 Presto more desperate than then, and we do not have the courage to finish the work tonally. Something is not working, although the sounds are always the same. And the quote from Bach's “Chromatic Fantasy” looks like a gem; Nevertheless, can not we already hear something about our resignation in this famous motif? That is, we remember today Bach's prophecies, we make, so to speak, a double time travel ... –Vassily Lobanov.

SKU: GI.G-10550

SKU: HH.HH447-FSP

ISBN 9790708146544.

Sona ta 5, in A major, is the only work in the set to feature the ‘classic’ three-movement design in its symmetrical Fast–Slow–F ast configuration. Its opening Vivace makes considerable demands on the flautist’s technique, and the accompanist, too, has some lively interventions. A short Andante, in A minor, recaptures the style of the slow movement of an operatic sinfonia. High spirits return in the concluding Allegro comodo, which manages to be frothy and substantial at the same time. Sonata 6 is in G minor, traditionally a key for serious utterances. Its muscular opening Largo packs in a wealth of interesting rhythmic designs and articulations for the flautist. The influence of violinistic style is clearly seen in the Allegro that follows. The finale is composite: its ‘frame’ is an Affettuoso in minuet rhythm, but its ‘core’ is a Poco Allegro in G major with the character of a second minuet. Despite its outward charm, this movement retains much of the heft of the first two movements.

SKU: HL.50513343

The Concerto for Violin and Orchestra Op.103 was written in 1958 and is yet another superb orchestral work by Edmund Rubbra. Typically, this is a work that calls more on musicality than on virtuosity, although Rubbra knew the violin well for having long partnered his wife and for having long played in a trio with William Pleeth. Rubbra's familiarity with the instrument certainly helped him avoiding technical 'tricks' and concentrating his creative energies more on an inward-looking solo part than an outward-dashing virtuosic one!

This is an arrangement for Solo Violin with Piano Accompaniment. The solo violin part is also included on a separate insert.

SKU: P2.10007

Composer Thomas Dempster says, In differential calculus, an inflection point is a point on a curve at which the curvature changes sign - between positive and negative curvature. I construe the entirety of the piece as a somewhat long arc; the inflection point of the entire piece happens somewhere during the second movement. The first movement ('Quirky Rays and Charming Segments') takes the idea of a stationary point as a tonal center as more literally sees a line, or a curve, or pitches and motives passed around between the ensemble.This movement juggles a number of ideas and verily proffers some short-lived, rhythmically unstable and tonally ambiguous lines and arcs that return later on. The second movement ('Distant Planes and Objects') contains a fair amount of parallel motion, open and sparse figures, and static textures. Motion in pitch space extends outward in both directions from Ab and eventually returns, retracing the points. The final movement ('Jiggly Dots and Origins') is a mildly psychotic gigue that melds together the ideas of the previous two movements..

SKU: KJ.WP470

ISBN 9780849799129.

Matc hes method series in which students learn notes from middle-C outward on the grand staff. Gives focus to lifting from the keys led by the wrists as well as shifting arm weight from one finger to the next. Playing melodic intervals and selected harmonic intervals (2nds, 3rds, 5ths) with the building blocks necessary for playing two- and three-note chords. Various note naming exercises are also included. Beautifully illustrated. A total of 26 exercises on 32 pages.

SKU: BA.BA11071

ISBN 9790006562015. 42 x 29.7 cm inches.

“Now II” is the second part of a triptych of chamber pieces entitled “Profiles of Light”. The first part is written for solo piano (Now I, BA 11073), the second for unaccompanied cello. The two instruments are then combined in the concluding third part, Uriel (BA 11013).

All three pieces were inspired by the Abstract Expressionist paintings of the American artist Barnett Newman. Newman's work has had a formative impact on Matthias Pintscher's artistic philosophy: what does it mean to reduce things to essentials while seeking maximum immediacy of expression? Several of Newman's paintings have a radiant light of uncommon intensity, yet resembling a dark illumination. The same sort of thing is found in the late works of Franz Schubert, where a comparable profundity and retrospective yearning likewise shine through the surface of even the brightest tonalities.

This is a piece about resonances, about the inward and outward givens of existence, about life itself: 'I find the cello a highly suitable instrument for depicting such existential conditions'.

SKU: GH.GE-11866

ISBN 979-0-070-11866-8. A4 inches.

Mesto is Italian and means sad. The work begins, after a short piano introduction, softly - like a mournful dirge. A solo cadence builds up towards a more outward-looking and passionate exclamation, and then the music takes a more romantic turn and fades away into the distance.

SKU: BT.AL-0855

English.

The Concerto for Violin and Orchestra Op.103 was written in 1958 and is yet another superb orchestral work by Edmund Rubbra. Typically, this is a work that calls more on musicality than on virtuosity, although Rubbra knewthe violin well for having long partnered his wife and for having long played in a trio with William Pleeth. Rubbra's familiarity with the instrument certainly helped him avoiding technical ‘tricks’ and concentrating his creativeenergies more on an inward-looking solo part than an outward-dashing virtuosic one!

This is an arrangement for Solo Violin with Piano Accompaniment. The solo violin part is also included on a separate insert.

SKU: PR.41641451L

UPC: 680160611386.

This work is based on Mozarts overture to The Magic Flute, breaking down the themes and motives from that overture as well as the famous Queen of the Night aria, Der Holle Rache, and spinning them out of control. While the title seems to be nonsense, it is actually an anagram of Zauberflote. Im sure that Mozart would have appreciated the humor in this work, even though the harmonic language is quite far removed from the Classical era. The piece opens with repeated E-flats, suggesting the beginning of the main theme of the Magic Flute overture, and it gradually expands outward chromatically, creating gritty dissonances. Other borrowed motives from Mozart creep their way in, as well as complex polyrhythms on the repeated notes. I imitate the structure of Mozarts overture by writing a fugue (subtitled Overt Metrical Fugue, a serendipitous anagram of Magic Flute Overture) using a subject that mashes up all of the disassembled Mozart motives. Gradually, I work in references to the excessively high coloratura part of Der Holle Rache, treating it as a second subject. After the fugue runs its course, I quote small but recognizable parts of the overture almost verbatim, but only from the players farthest away from the conductor to create a disembodied sound.

SKU: GI.G-9322

UPC: 785147932239. English.

GIA is pleased to release an impassioned new recording from Jeanne Cotter. Tender Hearted is filled with songs that pour forth the message of God’s unconditional love. These songs tell the story of Christ’s heart of compassion and of his gentle yet untiring call for us to live as his disciples. Written for her three children, the title track “Tender Hearted” encourages us all to clothe ourselves “with kindness, patience, and humility” and to “live a life worthy of our calling.” The moving texts of “All Is Holy,” “The Way You Love Me,” and “In You, I Abide” remind us that we are called to be imitators of Christ—to build the kingdom through our acts of mercy, kindness, and compassion. The music of Tender Hearted is not just about our outward actions of grace and holiness toward others. It is also about the grace that God shows each of us daily. Songs like “Do Not Be Afraid,” “By Your Love,” and “ I’ll Walk by Your Side” are filled with encouraging words of hope and healing. Tender Hearted is quintessential Jeanne Cotter. When you listen, be prepared for your heart to swell with love, kindness, and peace.

SKU: FG.55011-355-5

Asked to contribute a carol to the already rich Finnish Christmas repertoire, music I've sung myself for many years, I was very aware of the things that mark the season for my adopted countrymen: peace, stillness, the cold landscape and home. When I came across Ester Ahokainen's gentle poem, so focused around these images, it seemed like providence. The resulting song is modest and warmly modal, departing only a little from Finnish tradition: a lingering dissonance here, a moment of quiet sentiment held slightly longer expected there. Like the words, the music opens outward in thanks at the end. Aattoilta was composed for the Helsinki Chamber Choir Christmas CD recording, and is dedicated to them.