Millennium Fever Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-0981380-010 Composed by Johan...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-0981380-010
Composed by Johan Nijs.
Applause Series. Original
Light Music. Set (Score &
Parts). Composed 1998. De
Haske Publications #DHP
0981380-010. Published by
De Haske Publications
(BT.DHP-0981380-010).
The new
millennium inspires
curiosity, optimism, and
fear of the unknown.
Belgian composer Johan
Nij composed Millennium
Fear to capture the
uncertainty of this
monumental event. The
piece combines dynamic
sounds, feverish rhythms,
and surprising sound
textures in the dialogues
between different
instrument groups. The
piece expresses the
thoughts and feelings
many have toward the new
millennium.
Der
belgische Komponist Johan
Nijs hat diesen
Gefühlen mit dem
Stück Millennium
Fever stimmigen
Ausdruck gegeben. Es
handelt sich dabei um ein
Feuerwerk bewegter
Klänge, ein
Zusammenspiel fiebernder
Rhyhmen und unerwarteter
Wendungen, worin
verschiedene
Instrumentengruppen
miteinander dialogisiern.
Millennium Fever Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie/Fanfare Band - Grade 3 SKU: BT.DHP-0981380-215 Comp...(+)
Concert
Band/Harmonie/Fanfare
Band - Grade 3
SKU:
BT.DHP-0981380-215
Composed by Johan Nijs.
Applause Series. Original
Light Music. Score Only.
Composed 1998. De Haske
Publications #DHP
0981380-215. Published by
De Haske Publications
(BT.DHP-0981380-215).
Der belgische
Komponist Johan Nijs hat
diesen Gefühlen mit
dem Stück
Millennium Fever
stimmigen Ausdruck
gegeben. Es handelt sich
dabei um ein Feuerwerk
bewegter Klänge, ein
Zusammenspiel fiebernder
Rhyhmen und unerwarteter
Wendungen, worin
verschiedene
Instrumentengruppen
miteinander dialogisiern.
Millennium Fever Fanfare [Conducteur et Parties séparées] - Facile De Haske Publications
Fanfare Band - Grade 3 SKU: BT.DHP-0981380-020 Composed by Johan Nijs. Ap...(+)
Fanfare Band - Grade 3
SKU:
BT.DHP-0981380-020
Composed by Johan Nijs.
Applause Series. Original
Light Music. Set (Score &
Parts). Composed 1998. De
Haske Publications #DHP
0981380-020. Published by
De Haske Publications
(BT.DHP-0981380-020).
Der belgische
Komponist Johan Nijs hat
diesen Gefühlen mit
dem Stück
Millennium Fever
stimmigen Ausdruck
gegeben. Es handelt sich
dabei um ein Feuerwerk
bewegter Klänge, ein
Zusammenspiel fiebernder
Rhyhmen und unerwarteter
Wendungen, worin
verschiedene
Instrumentengruppen
miteinander dialogisiern.
The Millennium Song Fanfare [Conducteur et Parties séparées] - Facile De Haske Publications
Fanfare Band - Grade 2 SKU: BT.DHP-0970959-020 Composed by Kees Vlak. App...(+)
Fanfare Band - Grade 2
SKU:
BT.DHP-0970959-020
Composed by Kees Vlak.
Applause Series. Original
Light Music. Set (Score &
Parts). Composed 1997. De
Haske Publications #DHP
0970959-020. Published by
De Haske Publications
(BT.DHP-0970959-020).
Am Vorabend des
Millennium-Wechsels
hält Kees Vlak mit
dieser Komposition eine
Rückschau auf das 20.
Jahrhundert und das
zweite Jahrtausend.
Dieses Werk für Chor,
Solostimme und
Fanfareorchester ist
zugleich ein
Begrüßungslied
für die nächste
Epoche. Die Entwicklungen
haben sich vor allem im
letzten Jahrhundert
überschlagen und diese
Tendenz wird sich im
nächsten Millennium
sicherlich noch steigern.
Das Fortschreiten der
Technik wird zu
erstaunlichen Ergebnissen
führen. Die Informatik
wird dafür sorgen,
dass jeder in allen
Winkeln der Welt jede
Sekunde erreichbar ist.
Die Welt wird sozusagen
ein großes Dorf (The
Global Village).
Allerdings fragt sich der
Tonkünstler, ob
esneben all dieser
Technik auch noch Raum
und Zeit für
Liebliches und Sanftes
geben wird.
Fanfare Band - Grade 2 SKU: BT.DHP-0970959-120 Composed by Kees Vlak. App...(+)
Fanfare Band - Grade 2
SKU:
BT.DHP-0970959-120
Composed by Kees Vlak.
Applause Series. Original
Light Music. Score Only.
Composed 1997. De Haske
Publications #DHP
0970959-120. Published by
De Haske Publications
(BT.DHP-0970959-120).
Am Vorabend des
Millennium-Wechsels
hält Kees Vlak mit
dieser Komposition eine
Rückschau auf das 20.
Jahrhundert und das
zweite Jahrtausend.
Dieses Werk für Chor,
Solostimme und
Fanfareorchester ist
zugleich ein
Begrüßungslied
für die nächste
Epoche. Die Entwicklungen
haben sich vor allem im
letzten Jahrhundert
überschlagen und diese
Tendenz wird sich im
nächsten Millennium
sicherlich noch steigern.
Das Fortschreiten der
Technik wird zu
erstaunlichen Ergebnissen
führen. Die Informatik
wird dafür sorgen,
dass jeder in allen
Winkeln der Welt jede
Sekunde erreichbar ist.
Die Welt wird sozusagen
ein großes Dorf (The
Global Village).
Allerdings fragt sich der
Tonkünstler, ob
esneben all dieser
Technik auch noch Raum
und Zeit für
Liebliches und Sanftes
geben wird.
By Johann Sebastian Bach. Arranged by Roland L. Moelmann. By Johann Sebastian Ba...(+)
By Johann Sebastian Bach.
Arranged by Roland L.
Moelmann. By Johann
Sebastian Bach / arr.
Roland L. Moelmann. For
Concert Band. Concert
band. Classic Band.
Level: Medium Easy (grade
3). Conductor Score &
Parts. 182 pages.
Duration 6:10:00.
Published by Alfred
Publishing.
Piano SKU: HU.HN882 Composed by Frederic Chopin. Edited by Norbert Muellemann. ...(+)
Piano
SKU: HU.HN882
Composed by Frederic
Chopin. Edited by Norbert
Muellemann. Piano Solo,
Piano and Keyboard,
Repertoire, Solos.
Preludes. Classical,
Romantic. Softcover Book.
88 pages. G. Henle
#HN882. Published by G.
Henle (HU.HN882).
ISBN 9780101447300. 12.2
x 9.3 x 0.2 inches.
Henle Verlag publishing
have comprehensively
revised this Chopin
edition taking into
account the latest
scholarly findings. In
the process the musical
text brings to light
established variants as
well as others which are
to be found in the
sources. Edited by
Norbert Mullemann with
fingerings by Hermann
Keller.
By Josef Suk (1874-1935). For violin/piano. Czech title: Houslove solo ze scenic...(+)
By Josef Suk (1874-1935).
For violin/piano. Czech
title: Houslove solo ze
scenicke hudby k Zeyerove
hre Raduz a Mahulena .
Classical. Performance
score and parts.
Publication language:
Czech. Published by
Editio Baerenreiter Praha
(Aus den Neujahrskonzerten der Wiener Philharmoniker). By Johann Strauss, Jr. (1...(+)
(Aus den
Neujahrskonzerten der
Wiener Philharmoniker).
By Johann Strauss, Jr.
(1825-1899) and Josef
Strauss (1827-1870).
Piano. For piano. 2-3. 40
pages
Millennium Orchestre - Intermédiaire Alfred Publishing
By Richard Meyer. Music by Richard Meyer. For Full Orchestra. Full Orchestra. Fu...(+)
By Richard Meyer. Music
by Richard Meyer. For
Full Orchestra. Full
Orchestra. Full
Orchestra. Level: 3
(grade 3). Conductor
Score and Parts. 206
pages. Published by
Alfred Publishing.
Millennium Cyclone Orchestre à Cordes [Conducteur et Parties séparées] Highland/Etling
Composed by Andrew H. Dabczynski. Part(s); Score; String Orchestra. Highland/Etl...(+)
Composed by Andrew H.
Dabczynski. Part(s);
Score; String Orchestra.
Highland/Etling String
Orchestra. 128 pages.
Published by
Highland/Etling
(AP.44840).
Volume 88 - Millennium Blues Instruments Sib, Mib, Do et Bass clef [Partition + CD] - Intermédiaire/avancé Jamey Aebersold Jazz
Volume 88 - Millennium Blues by Jamey Aebersold. For any C, Eb, Bb, bass instrum...(+)
Volume 88 - Millennium
Blues by Jamey Aebersold.
For any C, Eb, Bb, bass
instrument or voice.
Play-Along series with
accompaniment CD. Jamey
Aebersold Play-A-Long
series. Intermediate,
advanced. Book and CD. 72
pages. Published by Jamey
Aebersold Jazz
Orchestra - Grade 2.5 SKU: AP.44840S Composed by Andrew H. Dabczynski. Pe...(+)
Orchestra - Grade 2.5
SKU: AP.44840S
Composed by Andrew H.
Dabczynski. Performance
Music Ensemble; Single
Titles; String Orchestra.
Highland/Etling String
Orchestra. Score. 20
pages. Duration 3:30.
Highland/Etling
#00-44840S. Published by
Highland/Etling
(AP.44840S).
UPC:
038081518398.
English.
Attention
thrill-seekers! Invite
your orchestra and
audience to step aboard
the Millennium Cyclone
roller coaster, and take
off on a wild ride!
Filled with twists,
turns, ups, and
downs---and even a moment
to catch your breath.
Here's an original piece
by Andrew H. Dabczynski
that will delight and
challenge intermediate
string players. It's also
a chance to introduce
repeated 16th note
figures and dramatically
contrasting dynamics;
this one is a sure must
ride! (3:30).
Composed by Frederic Chopin. Edited by Norbert Muellemann. Piano Solo, Piano...(+)
Composed by Frederic
Chopin.
Edited by Norbert
Muellemann.
Piano Solo, Piano &
Keyboard,
Repertoire, Solos.
Ballades.
Classical, Romantic.
Softcover
Book. 92 pages. G. Henle
#HN862. Published by G.
Henle
A distinctive set of recordings by the always impressive Washington Winds that f...(+)
A distinctive set of
recordings by the always
impressive Washington
Winds that features an
exciting lineup of wind
band compositions and
arrangements. A must CD
for all band music
lovers!
Violin, clarinet & piano SKU: SU.23145050 For violin, clarinet & piano...(+)
Violin, clarinet & piano
SKU: SU.23145050
For violin, clarinet &
piano. Composed by
Bruce Wolosoff. Chamber
Music, Piano Trio.
Violin, Clarinet, Piano.
Score & Parts. Subito
Music Corporation
#23145050. Published by
Subito Music Corporation
(SU.23145050).
Duration: 12'
Composed: 1999
Commissioned by: the 21st
Century Consort Bruce
Wolosoff Music Bruce
Wolosoff's contribution,
a trio for violin,
clarinet and piano called
Blues for the New
Millennium really does
sound and feel like a
turning point. Opening
with bits and pieces of
thematic material tossed
around in familiarly
idiomatic contemporary
ease, the bits begin to
take on blues sounds, the
piano moves into boogie
patterns and the music
seems to morph back and
forth between classical
contemporary and blues
personalities. (The
Washington Post).
Jubilate Agno.
Composed by Z. Randall
Stroope. 16 pages.
Duration 0:03:05. Carl
Fischer Music #CM9735.
Published by Carl Fischer
Music (CF.CM9735).
ISBN 9781491161159.
UPC: 680160919741. Key: A
minor. Latin, English.
Christopher Smart and
ZRS.
Origins of the
Tarantella The tarantella
is a popular southern
Italian dance with
origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(little spider), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the poison, the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately courtship.
Origins of the Text
Christopher Smart
(1722-1771), also known
as Kit Smart or Jack
Smart, was born in Kent,
England and suffered from
what is now believed to
be acute asthma and other
health issues as a child.
As such, he did not work
in the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke's Hospital
for Lunatics, though this
was based on his mounting
debt, and not on
insanity. (Confinement,
or debtor's prison, was
common during this period
if one's debts could not
be paid.) During his
confinement, he worked on
two of his most famous
works, Jubilate Agno and
A Song of David. (Part of
Jubilate Agno [Rejoice in
the Lamb] was set to
music by English
composer, Benjamin
Britten.) Smart's writing
style (which, at times,
bordered on the absurd),
along with his many
obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of Smart's
Jubilate Agno were used
in mm. 24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance: theraphosa
[teh-rah-fo-sa] a genus
of tarantula spiders
bellicose
[beh-lee-ko-sah] hostile;
aggressive odiosa
[o-dee-o-sa] hateful;
vexation tenebrosa
[teh-neh-bro-sa]
creeping; dark nemorosa
[neh-mo-ro-sa] wooded;
shady lapidosa
[lah-pee-do-sa] stony
area; gritty The
convergence, then, of the
medieval tarantella
(spider dance), the
writings of a brilliant
poet who bordered on the
absurd, and the infusion
of strong, descriptive
and otherwise random,
rhyming words,
synthesizes to make
dramatic lyrics for this
work. About the Composer
Z. Randall Stroope is an
American composer and
conductor. He has served
as Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico. Performance Notes
Text: In Latin, the r is
flipped; use s instead of
z on endings such as
phosa, cosa, and so on;
the Latin o is a cross
between oh and aw; in the
transliteration above, I
chose to simply use an o
for consistency. The
director will blend the
oh and aw in the
rehearsals to his/her own
preference. Lastly,
tarantula is pronounced
tah-rah-n-too-lah (avoid
teh-ran-choo-luh) within
the confines of this
text. Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano. The
tarantella is a popular
southern Italian dance
with origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(“little
spiderâ€), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the
“poison,†the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately
courtship.Christopher
Smart (1722-1771), also
known as “Kit
Smart†or
“Jack Smart,â€
was born in Kent, England
and suffered from what is
now believed to be acute
asthma and other health
issues as a child. As
such, he did not work in
the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke’s
Hospital for Lunatics,
though this was based on
his mounting debt, and
not on insanity.
(Confinement, or
debtor’s prison,
was common during this
period if one’s
debts could not be paid.)
During his confinement,
he worked on two of his
most famous works,
Jubilate Agno and A Song
of David. (Part of
Jubilate Agno
[“Rejoice in the
Lambâ€] was set to
music by English
composer, Benjamin
Britten.) Smart’s
writing style (which, at
times, bordered on the
absurd), along with his
many obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of
Smart’s Jubilate
Agno were used in mm.
24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance:The convergence,
then, of the medieval
tarantella (spider
dance), the writings of a
brilliant poet who
bordered on the absurd,
and the infusion of
strong, descriptive and
otherwise random, rhyming
words, synthesizes to
make dramatic lyrics for
this work.Z. Randall
Stroope is an American
composer and conductor.
He has served as
Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico. In Latin, the
“r†is
flipped; use
“s†instead
of “z†on
endings such as
“phosa,â€
“cosa,†and
so on; the Latin
“o†is a
cross between
“oh†and
“awâ€; in the
transliteration above, I
chose to simply use an
“o†for
consistency. The director
will blend the
“oh†and
“aw†in the
rehearsals to his/her own
preference. Lastly,
“tarantulaâ€
is pronounced
“tah-rah-n-too-lah
€ (avoid
“teh-ran-choo-luhâ
€) within the
confines of this
text.Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano. The
tarantella is a popular
southern Italian dance
with origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(“little
spiderâ€), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the
“poison,†the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately
courtship.Christopher
Smart (1722-1771), also
known as “Kit
Smart†or
“Jack Smart,â€
was born in Kent, England
and suffered from what is
now believed to be acute
asthma and other health
issues as a child. As
such, he did not work in
the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke’s
Hospital for Lunatics,
though this was based on
his mounting debt, and
not on insanity.
(Confinement, or
debtor’s prison,
was common during this
period if one’s
debts could not be paid.)
During his confinement,
he worked on two of his
most famous works,
Jubilate Agno and A Song
of David. (Part of
Jubilate Agno
[“Rejoice in the
Lambâ€] was set to
music by English
composer, Benjamin
Britten.) Smart’s
writing style (which, at
times, bordered on the
absurd), along with his
many obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of
Smart’s Jubilate
Agno were used in mm.
24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance:The convergence,
then, of the medieval
tarantella (spider
dance), the writings of a
brilliant poet who
bordered on the absurd,
and the infusion of
strong, descriptive and
otherwise random, rhyming
words, synthesizes to
make dramatic lyrics for
this work.Z. Randall
Stroope is an American
composer and conductor.
He has served as
Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico.In Latin, the
“r†is
flipped; use
“s†instead
of “z†on
endings such as
“phosa,â€
“cosa,†and
so on; the Latin
“o†is a
cross between
“oh†and
“awâ€; in the
transliteration above, I
chose to simply use an
“o†for
consistency. The director
will blend the
“oh†and
“aw†in the
rehearsals to his/her own
preference. Lastly,
“tarantulaâ€
is pronounced
“tah-rah-n-too-lah
€ (avoid
“teh-ran-choo-luhâ
€) within the
confines of this
text.Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano.
Composed by Basque Carol.
Arranged by Christopher
Thomas. 12 pages.
Duration 2 minutes, 37
seconds. Carl Fischer
Music #CM9734. Published
by Carl Fischer Music
(CF.CM9734).
ISBN
9781491161142. UPC:
680160919734. Key: A
minor. English. Basque
Carol.
A Basque
Carol (also known as
Gabriel's Message) holds
a special place in
Western music. The carol
originates from Basque
country around the 13th
century, based on the
Latin hymn, Angelus ad
Virginem (likely of
Franciscan origin). The
tune quickly spread
throughout Europe,
finding popularity in
Britain where it was even
referenced in Chaucer's
Canterbury Tales: Playing
so sweetly that the
chamber rang; / and
Angelus ad virginem he
sang. . .. Interestingly,
the melody we know and
love today is derived
from the original Basque
version. In my view, this
tune is a perfect example
of melody-crafting. It is
at once hauntingly
beautiful, yet warm and
joyous. Its contours are
complex, dramatic, yet
singable. I believe this
melodic accessibility is
the key to the song's
lasting popularity. I
would also attribute A
Basque Carol's continued
popularity to its elegant
translation into English
(by Sabine Baring-Gould,
who rediscovered the
original Basque tune).
Translations often risk
sounding unimaginative,
coarse, and blunt. This
translation is strikingly
different. It was graced
with an especially poetic
translation including
lines such as his wings
as drifted snow, his eyes
as flame. I am very
excited to offer a new
perspective on this
classic carol, joining
the tradition of
composers preserving and
reimagining a priceless
medieval melody. My first
goal was to create a
flowing, richly-textured,
even cinematic string
accompaniment for the
choir. This approach was
very much inspired by the
dense, string-writing
style of English composer
Ralph Vaughan Williams.
My second goal was to
make the arrangement
flexible enough to be
performed with only
choir, only strings, or
(best of all) both
ensembles combined. To
further complement this
approach, I've added an
obligato line for a solo
recorder (solo flute or
violin work just as
well). If you listen
carefully, you will hear
a quote from my other
favorite holiday carol,
Jesu Bambino. I hope you
enjoy performing A Basque
Carol. I especially hope
that you sense the
ancient magic cast into
this tune, hearing the
ineffable qualities that
have compelled us to
sustain it for nearly a
millennium. Whether
you're a choir, a string
orchestra, or a combined
ensemble, this
arrangement of A Basque
Carol will surely be a
haunting and lovely
addition to your next
holiday program!. A
Basque Carol (also known
as Gabriel’s
Message) holds a special
place in Western music.
The carol originates from
Basque country around the
13th century, based on
the Latin hymn, Angelus
ad Virginem (likely of
Franciscan origin). The
tune quickly spread
throughout Europe,
finding popularity in
Britain where it was even
referenced in
Chaucer’s
Canterbury Tales:Â
“Playing so sweetly
that the chamber rang; /
and Angelus ad virginem
he sang. .
.â€.Interestingly,
the melody we know and
love today is derived
from the original Basque
version. In my view, this
tune is a perfect example
of melody-crafting. It is
at once hauntingly
beautiful, yet warm and
joyous. Its contours are
complex, dramatic, yet
singable. I believe this
melodic accessibility is
the key to the
song’s lasting
popularity. I would also
attribute A Basque
Carol’s continued
popularity to its elegant
translation into English
(by Sabine Baring-Gould,
who rediscovered the
original Basque tune).
Translations often risk
sounding unimaginative,
coarse, and blunt. This
translation is strikingly
different. It was graced
with an especially poetic
translation including
lines such as “his
wings as drifted snow,
his eyes as
flame.â€I am very
excited to offer a new
perspective on this
classic carol, joining
the tradition of
composers preserving and
reimagining a priceless
medieval melody. My first
goal was to create a
flowing, richly-textured,
even cinematic string
accompaniment for the
choir. This approach was
very much inspired by the
dense, string-writing
style of English composer
Ralph Vaughan Williams.
My second goal was to
make the arrangement
flexible enough to be
performed with only
choir, only strings, or
(best of all) both
ensembles combined. To
further complement this
approach, I’ve
added an obligato line
for a solo recorder (solo
flute or violin work just
as well). If you listen
carefully, you will hear
a quote from my other
favorite holiday carol,
Jesu Bambino.I hope you
enjoy performing A Basque
Carol. I especially hope
that you sense the
ancient magic cast into
this tune, hearing the
ineffable qualities that
have compelled us to
sustain it for nearly a
millennium. Whether
you’re a choir, a
string orchestra, or a
combined ensemble, this
arrangement of A Basque
Carol will surely be a
haunting and lovely
addition to your next
holiday program!