SKU: HL.49045962
Famous catchy tunes of classical instrumental music have been rearranged for four-part mixed choir in the pop, swing, rock and Latinstyles. This express transfer from the 'serious' world of the original versions into the 'more modern' genres makes us smile - not least due to the not-so-serious texts. Bach, Mozart, Vivaldi, Haydn, even Beethoven: Would they have smiled too? You bet! Content text: The Quattro Stagioni-Song (Antonio Vivaldi: Violinkonzert op. 8) Siciliano Bossa Nova (J. S. Bach: Siziliano aus der Flotensonate BWV 1031) Our Little Nightmusic (W. A. Mozart: Eine kleine Nachtmusik KV 525) The Alla Turca (W. A. Mozart: Alla Turca, 3. Satz aus der Klaviersonate KV 331) Fate of Beethoven (L. van Beethoven: 5. Symphonie op. 67) Elisa's Dedication (L. van Beethoven: Fur Elise) John the Bastian (J.S. Bach) Kettledrum Song (J. Haydn).
SKU: HL.49045960
'Classic meets Jazz' is a welcome theme for many choirs, especially if the choir wants to rehearse a varied repertoire representing many styles. In these arrangements based on works by Bach (Minuet), Brahms (Wiegenlied), Schumann (Traumerei) and Susato (Rondo), different jazz styles such as Medium Swing, Ballad or Latin are used.
SKU: HL.49045961
For many choirs, 'Classic meets Jazz' is a welcome theme, especially if a choir wants to learn and rehearse a stylistically wide-ranging repertoire. These arrangements which are based on works by Schubert (serenade 'Leise flehen meine Lieder'), Brahms (Intermezzo Op. 118/6) and Chopin (Nocturne Op. 9/2) use several jazz styles such as swing, bossa nova and jazz waltz. Content text: Serenade (F. Schubert: Leise flehen meine Lieder) I'm free (J. Brahms: Intermezzo op. 118/6) Amelie's Lullaby (F. Chopin, Nocturne op. 9/2).
SKU: HL.49045959
Easily singable arrangements of 4 fresh sprituals and gospels. Content text: I Will Sing, Sing, Sing Deep River Lord, I Want to be a Christian I'm Gonna Ride in the Chariot.
SKU: HL.14006275
ISBN 9780711986237. UPC: 884088435141. 7.75x11 inches.
The first complete volume of Henry Purcell's Catches to appear in Purcell Society Edition since 1922. The new edition lays particular emphasis on accuracy and performance and includes a comprehensive commentary. Cloth edition available: NOV151103-01.
SKU: CA.210300
ISBN 9790007244668.
The Choral Collection Psalms contains over 50 settings for mixed unaccompanied choir from six centuries. It is a true treasure-trove of compositions in various styles and levels of difficulty: with some unknown new discoveries and some classics of the choral literature, the selection will enrich both worship and concerts. The 150 psalms of the Old Testament express rejoicing, joy, confidence, but also lament, grief, anger, and even doubt. The psalms are present throughout Christianity and Judaism to this day, and are sung worldwide in countless settings. The Choral Collection Psalms displays the whole stylistic and linguistic variety ranging from contemplative, simple Anglican chant through Russian Orthodox homophony to virtuoso motets with jazzy echoes. The linguistic spectrum is equally broad: English, French, German (some with added singable English translation), Estonian, Icelandic and, of course, Latin psalm settings are represented, as well as works in Church Slavonic and Hebrew (both accompanied by transliterations and a singable German text). The foreword (German / English) offers many hints regarding the performance of the psalm settings, and a detailed index will help with choosing appropriate pieces for the liturgical occasion according to the Anglican, Protestant, or Catholic calendar. Over the last ten years editor Stefan Schuck has performed two psalm compositions every week in his NoonSong series in Berlin. From the resulting 800 works, he has selected the most interesting compositions arranged according to level of difficulty. The choral director's volume includes a CD with recordings of selected works, sung by sirventes and conducted by the editor, which will help with learning and rehearsing the repertoire. over 50 psalm settings from six centuries for worship and concert use stylistic variety and mixed levels of difficulty: from Anglican Chant to virtuoso motets for four-part mixed choir, some with organ/piano accompaniment transliterations and German singing texts help with practising cross-cultural repertoire liturgical classification of all settings for Catholic, Protestant, and Anglican lectionary includes many unknown jewels such as Boze, Boze moj (Cesar Cui), Jauschew be seser eljaun (David Rubin), and Schubert's setting of Psalm 23 in the first Hebrew version CD recording (sirventes berlin, cond. Stefan Schuck) with a selection of settings helps with getting to know the pieces economical choral edition (editionchor) available.
SKU: HL.50490228
ISBN 9790080145531. UPC: 884088531638. 7.5x10.75x0.365 inches. Hungarian, English, German. Sandor Veress; Melinda Berlasz.
Volume II of the collected edition of the choral works of Veress contains seven Hungarian folksong cycles or cantatas, a choral poem in Hungarian and a choral cycle in English. In his first creative period (1929-1939), which he spent in Hungary, Sandor Veress's direct involvement in Hungarian folk music research played a decisive part: his folksong experience gained through personal collecting work found expression in his first period of composition for mixed choir. In the course of the 1960s, after his emigration, he returned on two occasions to the a cappella mixed choir genre: in 1962 he wrote a piece for mixed choir to mark the 60th birthday of the great Hungarian poet Gyula Illyes (Oda Europahoz - Ode to Europe, based on the poem by Illyes), and in 1967, at the request of the Australian Radio Company, he composed for the 'Adelaide Singers' chamber choir Songs of the Seasons, a seven-movement madrigal cycle making exceptional demands on the performers, to verses by the Australian poet Christopher Brennan (1870-1932).
SKU: MN.50-6126
UPC: 688670561269. English. Micah 6:6-8; Matthew 6:33.
This is the kind of piece that might sound more difficult than it is. Michael Trotta employs an economy of choral writing: The SATB parts are sometimes unison, move often by steps, are repeated in the outer sections, and have only occasional divisi in the treble voices. The text is an innovative combination of Old and New Testament passages, put in a question-and-answer format with the question sung in a subdued matter and the answer intensifying in range, complexity, and volume. The piano and flute parts flow more quickly than the voices—save for a short, contrasting middle section—and provide an underlying momentum to this expressive work. Duration: 4:30.
SKU: CF.CM9597
ISBN 9781491154199. UPC: 680160912698. 6.875 x 10.5 inches. Key: F major. English.
This expressive medley combines two beloved Christmas carols, creating a gentle lullaby. Even so, it has moments of joy that are sung forte, and lots of dynamic contrasts that help the lyrics come to life. As you work on this piece, try to remember the volume level that is indicated in the score. Its very easy to sing everything mezzo-forte while you are learning words, notes, and parts, then add the dynamics in later. However, when you practice this way, you will have to un-learn the medium dynamic level. Be sure to follow your director very carefully, so that the tempo changes are accomplished together. These subtle variations will create a moving experience for you and for your listener. Let the celebration of this joyous season be seen on your face and heard in your voice!.This expressive medley combines two beloved Christmas carols, creating a gentle lullaby. Even so, it has moments of joy that are sung forte, and lots of dynamic contrasts that help the lyrics come to life. As you work on this piece, try to remember the volume level that is indicated in the score. Itas very easy to sing everything mezzo-forte while you are learning words, notes, and parts, then add the dynamics in later. However, when you practice this way, you will have to aun-learna the medium dynamic level. Be sure to follow your director very carefully, so that the tempo changes are accomplished together. These subtle variations will create a moving experience for you and for your listener. Let the celebration of this joyous season be seen on your face and heard in your voice!.This expressive medley combines two beloved Christmas carols, creating a gentle lullaby. Even so, it has moments of joy that are sung forte, and lots of dynamic contrasts that help the lyrics come to life. As you work on this piece, try to remember the volume level that is indicated in the score. It's very easy to sing everything mezzo-forte while you are learning words, notes, and parts, then add the dynamics in later. However, when you practice this way, you will have to un-learn the medium dynamic level. Be sure to follow your director very carefully, so that the tempo changes are accomplished together. These subtle variations will create a moving experience for you and for your listener. Let the celebration of this joyous season be seen on your face and heard in your voice!.This expressive medley combines two beloved Christmas carols, creating a gentle lullaby. Even so, it has moments of joy that are sung forte, and lots of dynamic contrasts that help the lyrics come to life. As you work on this piece, try to remember the volume level that is indicated in the score. It's very easy to sing everything mezzo-forte while you are learning words, notes, and parts, then add the dynamics in later. However, when you practice this way, you will have to un-learn the medium dynamic level. Be sure to follow your director very carefully, so that the tempo changes are accomplished together. These subtle variations will create a moving experience for you and for your listener. Let the celebration of this joyous season be seen on your face and heard in your voice!.This expressive medley combines two beloved Christmas carols, creating a gentle lullaby. Even so, it has moments of joy that are sung forte, and lots of dynamic contrasts that help the lyrics come to life.As you work on this piece, try to remember the volume level that is indicated in the score. It’s very easy to sing everything mezzo-forte while you are learning words, notes, and parts, then add the dynamics in later. However, when you practice this way, you will have to “un-learn†the medium dynamic level.Be sure to follow your director very carefully, so that the tempo changes are accomplished together. These subtle variations will create a moving experience for you and for your listener. Let the celebration of this joyous season be seen on your face and heard in your voice!
SKU: CF.CM9635
ISBN 9781491157077. UPC: 680160915637. 6.875 x 10.5 inches. Key: E major. English, English. Abram Joseph Ryan (1838-1886).
Victor Johnson captures the mystery and nuance of the bittersweet poem, Wake Me a Song, by American poet, Abram Joseph Ryan. Nuance, text, and Johnson's rich harmonies paired with intertwining textures make this a noteworthy addition to any program. Also available for SATB Voices (CM9561).About the Author Abram Joseph Ryan was born Matthew Abraham Ryan on February 5, 1838 in Hagerstown, Maryland. As a young man, Ryan and his family moved west St. Louis, Missouri, where he was educated at the Christian Brothers School. He studied for the priesthood at Niagra University in New York State and was ordained a priest in the Vincentian order on November 1, 1856. He taught theology, first at Niagra university and then at the diocesan seminary in Cape Girardeau, Missouri, until the beginning of the war between the states. Father Ryan enlisted in the army on September 1, 1862, and served as a chaplain throughout the conflict, carrying the wounded to safety and performing last rites on the battlefield. His first piece of poetry was inspired by the death of a younger brother while serving in the army. After the war, he established a weekly literary magazine in which most of his poetry was published. He also put out several volumes of poetry, including Father Ryan's Poems and A Crown for Our Queen. Father Ryan died on April 22, 1886 at a Franciscan monastery in Louisville, Kentucky. About the Song Wake Me A Song is an inspired and sensitive setting of the 19th-century poem by Abram Joseph Ryan. It features sweeping melodic lines, rich harmonies, and a flowingly beautiful accompaniment. To master a performance of this selection, singers must perform very expressively, paying close attention to such musical aspects as phrase shaping, the rise and fall of the melodic line, blending and proper intonation between sections. One strategy that could be used to ensure proper phrasing is the idea of Painting the Phrase. The singer should make a motion as if they have a paintbrush in their hand and paint the melodic line and phrase shape as if they are painting with a nice, flowing brush stroke. One could think about painting a rainbow or an arch to show the rise and fall of the line and/or phrase. The director can also show this gesture while conducting to reinforce this concept.About the AuthorAbram Joseph Ryan was born Matthew Abraham Ryan on February 5, 1838 in Hagerstown, Maryland. As a young man, Ryan and his family moved west St. Louis, Missouri, where he was educated at the Christian Brothers School. He studied for the priesthood at Niagra University in New York State and was ordained a priest in the Vincentian order on November 1, 1856. He taught theology, first at Niagra university and then at the diocesan seminary in Cape Girardeau, Missouri, until the beginning of the war between the states.Father Ryan enlisted in the army on September 1, 1862, and served as a chaplain throughout the conflict, carrying the wounded to safety and performing last rites on the battlefield. His first piece of poetry was inspired by the death of a younger brother while serving in the army. After the war, he established a weekly literary magazine in which most of his poetry was published. He also put out several volumes of poetry, including Father Ryan's Poems and A Crown for Our Queen. Father Ryan died on April 22, 1886 at a Franciscan monastery in Louisville, Kentucky.About the SongWake Me A Song is an inspired and sensitive setting of the 19th-century poem by Abram Joseph Ryan. It features sweeping melodic lines, rich harmonies, and a flowingly beautiful accompaniment.To master a performance of this selection, singers must perform very expressively, paying close attention to such musical aspects as phrase shaping, the rise and fall of the melodic line, blending and proper intonation between sections.One strategy that could be used to ensure proper phrasing is the idea of “Painting the Phrase.†The singer should make a motion as if they have a paintbrush in their hand and “paint†the melodic line and phrase shape as if they are painting with a nice, flowing brush stroke. One could think about painting a rainbow or an arch to show the rise and fall of the line and/or phrase. The director can also show this gesture while conducting to reinforce this concept.
SKU: BT.EMBZ14553
English-German-Hungarian.
Volume II of the collected edition of the choral works of Veress contains seven Hungarian folksong cycles or cantatas, a choral poem in Hungarian and a choral cycle in English. In his first creative period (1929-1939), which he spent in Hungary, Sándor Veress's direct involvement in Hungarian folk music research played a decisive part: his folksong experience gained through personal collecting work found expression in his first period of composition for mixed choir. In the course of the 1960s, after his emigration, he returned on two occasions to the a cappella mixed choir genre: in 1962 he wrote a piece for mixed choir to mark the 60th birthday of the great Hungarian poet GyulaIllyés (Óda Európához - Ode to Europe, based on the poem by Illyés), and in 1967, at the request of the Australian Radio Company, he composed for the 'Adelaide Singers' chamber choir Songs of the Seasons, a seven-movement madrigal cycle making exceptional demands on the performers, to verses by the Australian poet Christopher Brennan (1870-1932). Der zweite Band der gesammelten Ausgabe der Chorwerke von Sándor Veress umfasst sieben ungarische Volkslied-Zyklen, bzw. Kantaten, ein Chorpoem in ungarischer Sprache und einen englischen Chorzyklus. In der ersten Schaffensperiode seines Lebens (1929-1939), die er in Ungarn verbrachte, nimmt sein unmittelbarer Kontakt zur ungarischen Volksmusikforschung eine entscheidende Rolle ein: Das Volkslied-Erlebnis seiner persönlichen Sammeltätigkeit kam in der ersten Periode seiner Kompositionen für gemischten Chor unmittelbar zur Geltung. In der Emigration, während der sechziger Jahre, kehrte er noch zweimal zur Gattung gemischter Chor a cappella zurück: 1962 komponierte ereinen gemischten Chor zum 60. Geburtstag des großen ungarischen Dichters Gyula Illyés (nach einem Gedicht von Illyés) unter dem Titel Ode an Europa. 1967 schrieb er im Auftrag der Australischen Rundfunkgesellschaft, für den Kammerchor 'Adelaide Singers' einen siebensätzigen Madrigalzyklus (Songs of the Seasons).
