(Seasonal Solos for Medium-low Voice). By Linda Spevacek. For medium low voice, ...(+)
(Seasonal Solos for
Medium-low Voice). By
Linda Spevacek. For
medium low voice, piano.
Christmas. Vocal Score
and Accompaniment CD.
Published by Heritage
Music Press
Condensed Score. By Johann Sebastian Bach. Arranged by Mayhew Lake. (score). Ha...(+)
Condensed Score. By
Johann Sebastian Bach.
Arranged by Mayhew Lake.
(score). Hal Leonard
Concert Band Series.
Grade 4. Size 9x12
inches. 24 pages.
Published by G. Schirmer,
Inc.
SATB choir, congregation and orchestra accompaniment SKU: LP.765762082502 ...(+)
SATB choir, congregation
and orchestra
accompaniment
SKU:
LP.765762082502
Arranged by Marty Parks.
Choral. Any Choir Series.
Easter, Sacred and
Choral. Full score and
set of performance parts.
With optional spoken
script, call to worship
(for leader and
congregation) and chord
names. Published by
Lillenas Publishing
Company
(LP.765762082502).
UPC:
765762082502.
Compl
ete parts for
accompaniment by live
orchestra. Includes full,
transposed conductor's
score and parts for
instruments which you may
reproduce for added
players.
Pacem Noel Piano Quatuor: piano, violon, alto, violoncelle [Conducteur et Parties séparées] Carl Fischer
Arranged by Larry Clark, Rae Moses. For full score, violin I, violin II, violin ...(+)
Arranged by Larry Clark,
Rae Moses. For full
score, violin I, violin
II, violin III (viola
T.C.), cello, bass,
piano. Score and parts.
78 pages. Published by
Carl Fischer
Choral (Studiotrax CD) SKU: HL.334951 Composed by Heather Sorenson. Shawn...(+)
Choral (Studiotrax CD)
SKU: HL.334951
Composed by Heather
Sorenson. Shawnee Sacred.
General Worship, Sacred.
CD. Duration 310 seconds.
Published by Shawnee
Press (HL.334951).
UPC: 840126910728.
5.0x5.0x0.151 inches.
Colossians 1:27, I Peter
5:10, Jeremiah
29:11.
Speaking
timeless truths to
troubled times, this new
sacred song envelops the
listener in the promise
of security and hope. An
impressive ballad-styled
melody and accompaniment
are only the beginning
with this piece.
Shimmering chords
punctuate the solo
writing and add a level
of beauty rarely seen in
this style. The challenge
to embrace a hopeful
world and work together
to bring about the
peaceable kingdom is a
challenge that every
church needs to hear.
Ministry and artistry!
Score and Parts (fl 1-2,
ob, cl 1-2, bn, hn 1-2,
tpt 1-3, tbn 1-2, perc
1-2, timp, pno, vn 1-2,
va, vc, db) available as
a digital download.
Sing Lullaby Chorale SATB [Conducteur et Parties séparées] Shawnee Press
Choral (SATB) SKU: HL.422599 Arranged by Heather Sorenson. Shawnee Sacred...(+)
Choral (SATB)
SKU:
HL.422599
Arranged by
Heather Sorenson. Shawnee
Sacred. Christmas.
Octavo. 16 pages.
Duration 270 seconds.
Published by Shawnee
Press (HL.422599).
ISBN 9781705161425.
UPC: 196288061519.
6.75x10.5x0.036 inches.
Isaiah 7:14, Luke 2:11,
Matthew
2:1-11.
Drawing
from folk traditions,
this lovely manger moment
is blessed with flowing
vocal lines and pristine
piano patterns. All is
calm and peace in this
lush setting utilizing
the full richness of the
choir. Score and Parts
(chm, tmp, perc, solo vn,
vn 1-2, va, vc, db)
available as a digital
download.
Jesus! Chorale SATB SATB, Piano Lorenz Publishing Company
(The Advent of the Messiah). Composed by Mary McDonald. For SATB choir and piano...(+)
(The Advent of the
Messiah). Composed by
Mary McDonald. For SATB
choir and piano.
Cantatas. Christmas.
Choral score. Lorenz
Publishing Company
#65/2077L. Published by
Lorenz Publishing Company
(A Christmas Musical). By Joel Raney. For SATB choir and piano. This edition: Co...(+)
(A Christmas Musical). By
Joel Raney. For SATB
choir and piano. This
edition: Complete.
Christmas, Cantata.
Christmas, Sacred. Score.
84 pages. Published by
Hope Publishing Company
SATB choir, flute, and piano, with optional violin and drum - Intermediate SK...(+)
SATB choir, flute, and
piano, with optional
violin and drum -
Intermediate
SKU:
MN.50-4999
Composed
by Karen Marrolli.
Instrument parts.
MorningStar Music
Publishers #50-4999.
Published by MorningStar
Music Publishers
(MN.50-4999).
UPC:
688670549991.
English.
This
setting incorporates the
traditional Irish tune
ST. PATRICK. The
instrumental parts have
the feel of an Irish folk
song and the original
text is a prayer for
unity and peace.
By Charles E. Callahan, Jr. (1951-). For organ. Collection. Lent, General. Moder...(+)
By Charles E. Callahan,
Jr. (1951-). For organ.
Collection. Lent,
General. Moderately Easy.
Organ score. 19 pages.
Published by MorningStar
Music Publishers
Composed by Anna Laura Page. For handbells (2-3 octaves) (with optional 2 octave...(+)
Composed by Anna Laura
Page. For handbells (2-3
octaves) (with optional 2
octave handchimes).
General, Holy Communion.
Level 2. Handbell score.
Lorenz Publishing Company
#20/1894L. Published by
Lorenz Publishing Company
Concert Band (Score) - Grade 3 SKU: HL.4007900 Composed by Michael Sweene...(+)
Concert Band (Score) -
Grade 3
SKU:
HL.4007900
Composed
by Michael Sweeney.
MusicWorks Grade 3.
Softcover. 20 pages.
Duration 230 seconds.
Published by Hal Leonard
(HL.4007900).
UPC:
196288112150.
9.0x12.0x0.068
inches.
Jovian
Farewell is a carefully
paced memorial work, with
the title referring to
the planet Jupiter and
the music incorporating
the famous chorale by
Gustav Holst. The
familiar melody is hinted
at early, then developed
through a series of
layers and phases with
building intensity. The
full chorale emerges near
the end, then tapers
peacefully to a tender
close. Dur: ca. 3:50.
Orchestra Bass Clarinet, Bassoon I, Bassoon II, Bassoon III, Clarinet I, Clarine...(+)
Orchestra Bass Clarinet,
Bassoon I, Bassoon II,
Bassoon III, Clarinet I,
Clarinet II, Clarinet
III, Contra Bassoon,
English Horn, Flute I,
Flute II, Flute III, Horn
I, Horn II, Horn III,
Horn IV, Oboe I, Oboe II,
Oboe III, Piccolo,
Trumpet I, Trumpet II
SKU: CF.O5171
Composed by Elie
Siegmeister. First
performance: Stamford
Symphony Orchestra, Roger
Nierenberg, conductor and
music director, on
October 19, 1985 in
Stamford, Connecticut.
Full score. With Standard
notation. 107 pages.
Duration 21 minutes. Carl
Fischer Music #O5171.
Published by Carl Fischer
Music (CF.O5171).
SSATB chorus, piano - Grade 3 SKU: CA.928200 Composed by Henri Duparc. Ar...(+)
SSATB chorus, piano -
Grade 3
SKU:
CA.928200
Composed by
Henri Duparc. Arranged by
Denis Rouger. Carus
digital: Notenausgabe als
PDF. Full Score. Composed
1880. Duration 5 minutes.
Carus Verlag #928200.
Published by Carus Verlag
(CA.928200).
ISBN
9790007300869. Key: C
minor / c major. French.
Text: Baudelaire,
Charles.
Sounds,
colors and scents can
conjure up places of
longing. During the
Romantic period, the
desire to travel and see
other places was seen as
an expression of some
inner state of mind. In
L'invitation au voyage,
the boundaries between
what is real and
imaginary seem to
dissolve in the lyrical
perception of a journey
to the inner self: There
we find nothing but order
and beauty, splendor,
peace, and
delightâ€. This is
unattainable perfection
as a place of longing,
where we are freed from
all earthly cares. A
never-ending
sixteenth-note figure in
the piano accompaniment
flickers like a
shimmering veil over
these words, which in
their poetry seem to
remove us far from our
earthly existence.
“The world falls
asleep in a warm
light!
This art
song was originally
composed not for chamber
choir, but for solo voice
and piano. Denis Rouger
has carefully adapted it
to suit the requirements
and expressive
possibilities offered by
a larger ensemble,
without losing any of the
qualities of the
original. Each part in
the choir has a melodic
line drawn from the
harmonic and rhythmic
framework. In the
process, the variety and
refinement of the choral
language combines with an
enormous flexibility in
form and expression, as
French melodies or German
art songs demand from a
soloist and
pianist.
The songs
have been recorded by the
figure humaine chamber
choir on the CD ... wo
die Zitronen blühn
(Carus 83.514).
Score and Parts.
Composed by Mohammed
Fairouz. Sws. Score and
parts. With Standard
notation. 68 pages.
Duration 25 minutes.
Theodore Presser Company
#114-41903. Published by
Theodore Presser Company
(PR.114419030).
ISBN
9781491114124. UPC:
680160669851. 9 x 12
inches.
A
fascination with
polycultural synergy
between diverse literary
textsdrives the
inspiration for much of
Mohammed Fairouz’s
prodigiouscreative
output, including
instrumental music as
well as vocal. Inhis
profound and extensive
essay preceding the
score, Fairouz shedslight
on how Edgar Allen
Poe’s “Israfel”
relates to the
prophetsand prophesies of
the Quran, Old Testament,
and New Testament.The
eight-movement quartet
may be heard as a
dramatic galleryof
portraits and of
story-telling,
flourishing in a
post-traditionallanguage
that is at once
vernacular and spiritual,
Middle Easternand
Western. The complete set
of score and parts is
included in
thispublication. (See
pages 2-3 of score for
clear distinction of
paragraphs,
etc.)Prophesies, by
Mohammed FairouzEdgar
Allen Poe’s rendition
of Israfel was the point
of departure for the
final movement of my
previous stringquartet
which is titled The Named
Angels. At the opening of
his poem, Poe evokes the
Quran:“And the angel
Israfel, whose
heartstrings are a lute,
and who has the sweetest
voice of all God’s
creatures.”This informs
the first lines of the
poem that, in turn, gave
me the title for the
final movement of The
Named
Angels,“Israfel’s
Spell”:In Heaven a
spirit doth dwell“Whose
heartstrings are a
lute”None sing so
wildly wellAs the angel
Israfel,And the giddy
stars (so legends
tell),Ceasing their
hymns, attend the spellOf
his voice, all mute.It is
the end of that poem,
however, that is the
starting point for the
current quartet,
Prophesies, which
concernsitself with
mortal prophets rather
than eternal Angelic
spirits.If I could
dwellWhere IsrafelHath
dwelt, and he where I,He
might not sing so wildly
wellA mortal melody,While
a bolder note than this
might swellFrom my lyre
within the sky.Islamic
thought has asked us to
look at the example of
the prophets. That’s
significant because of
the fact thatJoseph and
all the prophets were
human beings with the
flaws of human beings. No
prophet was perfect,
andIslamic tradition has
never asked its followers
to aspire to the example
of the Angels, the
perfected ones. Instead
weare given the gift of
our prophets. While The
Named Angels drew on the
motion and energy of
everlasting
spirits,Prophesies is a
depiction of the
movements within our own
mortal coil.This quartet
is a continuation of a
long tradition of Muslim
artists telling their
stories and singing their
songs.Many of these
renditions are, in fact,
figurative and (contrary
to popular belief) the
Quran contains no
“Islamicedict”
prohibiting figurative
renditions of the figures
described in the Old
Testament, New Testament,
or Quran.The majority of
artists, however, have
preferred eternal and
abstract forms such as
words and their
calligraphicrepresentatio
ns, poems (Yusuf and
Zuleikha or the
Conference of Birds come
immediately to mind),
architecture,and many
other non-figurative art
forms to the
representation of man.
These cold, ancient, and
everlasting shapesof
unending time flourished,
and the divine infinity
of representing geometric
forms gained favor over
the placementof the
explicit representation
of mankind and our own
likeness at the center of
the universes.Adding the
string quartet to these
forms which express the
recursive spheres of
heavens and earth
abstractly shouldexplain
why I have chosen to
render higher things
through the use of music
without the addition of
words or anyother
art-form. It is the
abstract art of pure
form, in which all is
form and all is content,
which compels me.
Thisquartet should be
seen as no more
programmatic than the
arches of the Great
Mosque at Cordoba.The
first movement, Yāqub
(Jacob), is slow, quiet
and prayerful. It evokes
the patient sorrow of a
slow choraledeveloping
over time as it coaxes
our pulse out of the
ticking of a clock-like
meter that defines our
day-to-day livesand into
a divine eternity.The
second, Saleh, imagines
the spirit of that
desert-prophet through
the use of a Liwa; the
dance-sequence that
hasbeen such a prevalent
form of expression in the
Arabian Peninsula for
much of our recorded
history.The third
movement is titled
Dawoōd, and it is
emblematic of the beloved
Prophet, King, and
Psalmist, David.Though it
has no lyrics, the
movement functions as a
dabkeh (an ancient dance
native to the Levant) and
also “sets”the
opening of Psalm 100
(Make a joyful noise unto
the Lord, all ye lands).
This line is never set to
music or sung inthe
quartet but is evoked
through the rhythmic
shape of the violin part
which imitates the
phonology and rhythmof my
speaking the opening line
in the Hebrew and
develops the contours of
that line incessantly
throughout
themovement.3The fourth
movement is an ode to
Yousef (Joseph) and
relates to the first
movement in tempo and
tone just as
Josephrelates to Jacob,
his father. Together, the
first and fourth
movements provide a sort
of Lamentation and
relief.Joseph had the
appearance of a noble
angel, but he was very
much a human being. And
the story of this
particularprophet had
tragic beginnings many
years before he found
himself in a position of
power in Egypt. Back in
his youth,still among the
Israelites, Joseph
experienced a series of
revelations through his
dreams that spoke of his
impendingcareer in
prophecy. He confided his
dreams to his father, the
Prophet Jacob, who told
his son of the greatness
thatawaited him in his
future only to have his
brothers throw him into a
well and leave him for
dead. Joseph
eventuallyfound his way
from Israel to Egypt and
rose out of slavery into
a position of power.
Meanwhile, famine engulfs
Israel.Forty years pass,
and back in the land of
Jacob and Rachel, of
Joseph’s brothers and
Abraham’s tribe, Israel
wasnot spared the effects
of the famine. They
sorely lacked Joseph’s
prophecy and his vision.
The Qur’an then tells
usthat Jacob, sensing
Joseph, sends the other
brothers to Egypt
instructing them to come
back with food and
grain.Arriving in Egypt,
they unwittingly appear
before Joseph. They
don’t recognize their
little brother who has
risen toa position of
might, dressed in his
Egyptian regalia. They
ask for the food and the
grain.After some
conversation, Joseph is
no longer able to contain
his emotion. Overcome, he
reveals himself to his
nowterrified brothers. He
embraces them. He asks
them eagerly, “How is
our father?” Joseph
gives them the gift of
thefood and the grain
that they came in search
of. He relieves them from
hunger and alleviates
their fear. He sendsthem
back with proof that he
is alive, and it is this
joyful proof from the
miraculous hands of a
prophet that bringsback
the ancient Jacob’s
vision after 40 years of
blindness.In this story,
I am struck by the fact
that Joseph may not have
made the decision to
forgive his brothers on
thespot, but that
something inside the
prophet’s soul found
forgiveness and peace for
the brothers who had so
gravelywronged him at
some point along his
journey. I would suspect
this point to have been
present at Joseph’s
inception,even before he
had ever been
wronged.This is proof, if
we needed it, that
Joseph’s angel-like
beauty was not only
physical and external,
but also internalas well:
Joseph possessed a
profound loveliness of
spirit that bound his
appearance and his soul.
In Joseph, formand soul
are one.Time is to
musicians what light is
to a painter. In this
way, the story of Joseph
also shows us that time
can affectour perception
of even the most tragic
wounds. In fact, the most
common Arabic word for
“human being” is
insaan,which shares its
roots with the word
insaa, “to forget.”
While our ability to
remember is essential to
how we learnabout
ourselves, our capacity
to “forgive and
forget” may also be one
of our great gifts as
human beings.The fifth
movement follows my ode
to Joseph with a
structural memory of
Mūsa (Moses). The
movement consistsentirely
of descending motifs
which I constructed as an
indication of Moses’
descending movement as he
emergedto his people from
the heights of Mt. Sinai.
The music is constructed
in five phrases which
function as a
formalreference to the
five books of Moses, the
Pentateuch. The movement
is placed as the fifth of
the quartet for the
samereason.While Joseph
is always evoked as
supremely beautiful in
the Books of Judaism,
Christianity, and Islam,
Suleiman(Solomon) is
described as surpassing
in his quicksilver
intelligence. This
movement is composed of a
seven-partriddle which
passes by in an instant
but can be caught by the
attentive listener. From
Solomon, we work our
wayback to Yishak (Isaac)
in a seventh movement
that evokes Isaac’s
literal meaning in Arabic
and Hebrew: laughter.The
eighth and final movement
of this quartet is named
for the Patriarch of the
entire Book: Ibrahim
(Abraham). Itrelates to
Isaac just as Joseph
relates to Jacob; they
are father and son. The
lines are prayerful and
contemplative;the form of
the music evolves from a
fugue joining together
many different forms of
prayer into a single
tapestry ofcounterpoint,
to the cyclical form of
this entire quartet which
is rendered through the
motion of pilgrims
circling theKaaba (cube)
in Mecca — a structure
which was built by
Abraham for Hagaar and
their son Ismail.These
are just some of the
figures that are
cherished by all three of
the Middle Eastern
monotheisms
(Judaism,Christianity,
and Islam) that the
Qur’an refers to
collectively as Ahl
Al-Kitab. This Arabic
phrase is most
commonlytranslated as
“The People of the
Book,” but here the
most common translation
is a flawed one: the
Arabic word“ahl”
means “family” and
not just “people.” A
better translation would
be “Family of the
Book.” Each of the
eightmovements of
Prophesies grows from a
single musical cell.This
quartet is a family
album.—Mohammed Fairouz
(2018.
(Music, Movement and More! The Music Magazine for Grades K-6). Composed by Kris ...(+)
(Music, Movement and
More! The Music Magazine
for Grades K-6). Composed
by Kris Kropff. For
unison choir, Orff
Instrument. Games and CD.
Published by Heritage
Music Press
Soprano, Chorus and
Orchestra. Composed
by Robert Schumann.
Edited by Ute Scholz.
This edition:
Paperback/Soft Cover.
Sheet music. Study Score.
Classical. Softcover. Op.
71. Eulenburg Edition
#ETP1710. Published by
Eulenburg Edition
(HL.49019435).
ISBN
9783795772420. UPC:
841886019386.
6.0x8.75x0.226 inches.
German.
Even if
Schumann falls back on
the hymnbook when
choosing the text of his
'Adventlied' (Advent
Song), the composition
was probably politically
motivated and, still
under the impressions of
the revolutionary years
of 1848/49, owed to the
longing for peace. The
'Adventlied' (Advent
Song), like the
'Neujahrslied' (New
Year's Song), is 'a
strange mixed genre
between sociable,
covertly political and
religious chant'.
Choral Soprano I, Soprano II, Alto I, Alto II SKU: PR.312418590 For Ch...(+)
Choral Soprano I, Soprano
II, Alto I, Alto II
SKU: PR.312418590
For Children's Choir
and String Quartet.
Composed by Chen Yi. Self
Cover. Premiered by the
SFGC and Cypress String
Quartet, San Francisco
Conservatory, CA. Secular
choral. Vocal Score. With
Standard notation.
Composed 2010. 16 pages.
Duration 15 minutes.
Theodore Presser Company
#312-41859. Published by
Theodore Presser Company
(PR.312418590).
UPC:
680160595785. 8.5 x 11
inches. Text by Chen
Yi.
Often called
the Ellis Island of the
West, Angel Island in San
Francisco was used as an
immigration station in
the first half of the
20th century, processing
some one million Asian
immigrants. Because of
U.S. policy of the time,
many spent years on Angel
Island awaiting entry.
Recently named a National
Historical Landmark,
Angel Island and its
history is the
inspiration behind Chen
Yi's Angel Island
Passages, commissioned by
the San Francisco Girls
Chorus. Chen explores the
experiences of the
immigrants, even using
poems carved in the
walls, to express the
mood, the patient
yearning, and the
ultimate release and
embrace of a new country.
Angel Island Passages was
premiered June 4-5, 2010
by the SFGC and the
Cypress String Quartet at
the San Francisco
Conservatory. For
advanced performers.
Duration:
15'. Commissioned by
San Francisco Girls
Chorus (Executive
Director Melanie Smith),
and premiered by the SFGC
and Cypress String
Quartet on June 4, 2010,
conducted by
SFGC’s Artistic
Director Susan McMane, at
San Francisco
Conservatory, CA, the
3-movement song cycle
Angel Island Passages is
written for
children’s chorus
and string quartet, with
multimedia projection on
the walls of the concert
hall, produced by visual
artist Felicia Lowe.Â
The creative idea of this
work was initiated by Dr.
McMane, who invited me to
write the music, and sent
me the book
“Island, poetry and
history of Chinese
Immigrants on Angel
Island, 1910-1940â€,
by Him Mark Lai, Genny
Lim, and Judy Yung for
reference in 2009; also
inspired by the Angel
Island stories, and
through cooperation with
Felicia, who shared with
me her film “Carved
in Silence†and
video productions
“Chinatownâ€
and “Road to
Restorationâ€.I
named the first movement
of my work as
“1882â€, which
reflected the dark mood
under the Chinese
Exclusion Act of
1882. The collective
poems carved on the
wooden walls in Angel
Island expressed deep
emotion in sorrow and
anxiety. The music in
the second movement
“Longing†is
sad and sentimental.Â
The third movement is
called “We Are
Americaâ€, which is
ever-moving, energetic
and optimistic. The
text sung in the
beginning in Chinese
means “I am an
Americanâ€.Â
It’s sung in
Cantonese dialect, then
in Mandarin. As the
music develops, from
homophonic to polyphonic
with increasing layers,
the climax is reached
when the text is turned
to English “We Are
Americaâ€, which
symbolizes the
flourishing society with
the great contribution
from thousands of
immigrants during the
years. The music
fades out towards the
ending of the work, which
pushes the scene to a
remote picture, to look
forward to the future
peace of the world.I am
grateful to have the
opportunity to work with
such inspiring creative
artists in this project,
and hope the work is
meaningful to our new
society after the
premiere
performance.—Chen
Yi.
For
Children's Choir and
String Quartet.
Composed by Chen Yi.
Folio. Premiered by the
SFGC and Cypress String
Quartet, San Francisco
Conservatory, CA. Secular
choral. Score and parts.
With Standard notation.
Composed 2010. 36 pages.
Duration 15 minutes.
Theodore Presser Company
#312-41859M. Published by
Theodore Presser Company
(PR.31241859M).
UPC:
680160595792. 8.5 x 11
inches. Text by Chen
Yi.
Often called
the Ellis Island of the
West, Angel Island in San
Francisco was used as an
immigration station in
the first half of the
20th century, processing
some one million Asian
immigrants. Because of
U.S. policy of the time,
many spent years on Angel
Island awaiting entry.
Recently named a National
Historical Landmark,
Angel Island and its
history is the
inspiration behind Chen
Yi's Angel Island
Passages, commissioned by
the San Francisco Girls
Chorus. Chen explores the
experiences of the
immigrants, even using
poems carved in the
walls, to express the
mood, the patient
yearning, and the
ultimate release and
embrace of a new country.
Angel Island Passages was
premiered June 4-5, 2010
by the SFGC and the
Cypress String Quartet at
the San Francisco
Conservatory. For
advanced performers.
Duration:
15'. Commissioned by
San Francisco Girls
Chorus (Executive
Director Melanie Smith),
and premiered by the SFGC
and Cypress String
Quartet on June 4, 2010,
conducted by SFGC’s
Artistic Director Susan
McMane, at San Francisco
Conservatory, CA, the
3-movement song cycle
Angel Island Passages is
written for children’s
chorus and string
quartet, with multimedia
projection on the walls
of the concert hall,
produced by visual artist
Felicia Lowe.xa0 The
creative idea of this
work was initiated by Dr.
McMane, who invited me to
write the music, and sent
me the book “Island,
poetry and history of
Chinese Immigrants on
Angel Island,
1910-1940”, by Him Mark
Lai, Genny Lim, and Judy
Yung for reference in
2009; also inspired by
the Angel Island stories,
and through cooperation
with Felicia, who shared
with me her film
“Carved in Silence”
and video productions
“Chinatown” and
“Road to
Restoration”.I named
the first movement of my
work as “1882”, which
reflected the dark mood
under the Chinese
Exclusion Act of 1882.xa0
The collective poems
carved on the wooden
walls in Angel Island
expressed deep emotion in
sorrow and anxiety.xa0
The music in the second
movement “Longing” is
sad and sentimental.xa0
The third movement is
called “We Are
America”, which is
ever-moving, energetic
and optimistic.xa0 The
text sung in the
beginning in Chinese
means “I am an
American”.xa0 It’s
sung in Cantonese
dialect, then in
Mandarin.xa0 As the music
develops, from homophonic
to polyphonic with
increasing layers, the
climax is reached when
the text is turned to
English “We Are
America”, which
symbolizes the
flourishing society with
the great contribution
from thousands of
immigrants during the
years.xa0 The music fades
out towards the ending of
the work, which pushes
the scene to a remote
picture, to look forward
to the future peace of
the world.I am grateful
to have the opportunity
to work with such
inspiring creative
artists in this project,
and hope the work is
meaningful to our new
society after the
premiere
performance.—Chen
Yi.
Choir (SATB choir) SKU: AP.48899 Arranged by Mark Burrows. Performance Mu...(+)
Choir (SATB choir)
SKU: AP.48899
Arranged by Mark Burrows.
Performance Music
Ensemble; Single Titles.
Alfred Choral Designs.
Folk; Peace/Brotherhood;
Sacred; Traditional.
Choral Octavo. 12 pages.
Alfred Music #00-48899.
Published by Alfred Music
(AP.48899).
UPC:
038081562230. English.
Traditional Shaker
Song.
This creative
arrangement of the
well-known Shaker song
passes the traditional
tune to every voice part,
using the others to
support the buoyant
melody. Scored for a
mixed choir with congas,
claves, and maracas,
Mark's setting opens with
a bit of suspense that
soon breaks into a bright
a cappella feature. Some
rhythmic augmentation
provides a warm center
before returning to the
vibrant feel. Fans will
note a few additional
lyrics that celebrate the
gift to be loving, light,
hopeful, and true. A
final flourish fans out
from the only unison
measure into a resounding
G major chord.
About Alfred
Choral
Designs
Th
e Alfred Choral Designs
Series provides student
and adult choirs with a
variety of secular choral
music that is useful,
practical, educationally
appropriate, and a
pleasure to sing. To that
end, the Choral Designs
series features original
works, folk song
settings, spiritual
arrangements, choral
masterworks, and holiday
selections suitable for
use in concerts,
festivals, and
contests.
Composed
by Patricia Hurlbutt.
Handbell score.
SoundForth #20/2112SF.
Published by SoundForth
(S2.20-2112SF).
ISBN
9780787765071.
This
gospel song exclaims the
wonders of the name of
Jesus Christ. His name is
a beautiful name that
brings life, hope, peace,
and joy—a name that is
matchless to the
believer. This
arrangement is simple in
its presentation, yet its
chromatic nature will
offer a satisfying
challenge for your
ringers.