SKU: XC.HRMG2442
10.5 x 6.75 inches.
A beautiful tapestry of sound awaits in this fresh new take of the well-known carol. With a returning motive based on by the medieval carol There Is No Rose, old and new are combined in lush, sweeping harmony for SATB choir. May be accompanied by piano or optional orchestra. Duration 3:35-5:50, depending on inclusion of optional introduction and optional a cappella verse.
SKU: CF.CM9716
ISBN 9781491160954. UPC: 680160919550. Key: D minor. Latin. Early Latin Text.
This text is taken from the Dies Irae Sequence from the Requiem Mass. It is a contemplation of the arrival of judgment day. The A-sections, mm. 1-29 & mm. 43-end, are a manic depiction of the fierce wrath of judgment day. They should be sung with fire, crisp consonants while always enunciating the accents in order to realize the full effect of this powerful text. The entire demeanor of the tone and facial expressions should change for the B-section, mm. 30-42 as it is a plea for mercy. The audience should realize the change in this contrasting section. Translation Dies irae, dies illa: Day of wrath, that day Solvet saeclum in favilla: shall dissolve the world into embers Teste David cum Sibylla: As David prophesied with the Sibyl. Voca me cum benedictis :Call me to be with the blessed. Salva me fons pietatis : Save me, fount of pity. The Sibyl is a reference from a Greek word, which means Prophetess. In this context, the word appears in plural, referring to many prophetesses. David, or King David, has long been considered prophetic among biblical scholars. About the Arranger D. Farrell Smith is the Director of Choirs at Hilldale Middle School, and Hilldale High School in Muskogee, Oklahoma. He holds a B.A. in Music Education and the M.A. in Theological Studies. Currently the Minister of Music at Eastern Heights Baptist Church, he has been a Music educator and Minister for 20 years. Mr. Smith studied with Dr. Gary Foster and Dr. Donald Studebaker and has performed under such notables as R. Evan Copley, Daniel Pinkham, Lloyd Pfautsch, and Bev Henson.This text is taken from the Dies Irae Sequence from the Requiem Mass. It is a contemplation of the arrival of judgment day. The A-sections, mm. 1-29 & mm. 43-end, are a manic depiction of the fierce wrath of judgment day. They should be sung with fire, crisp consonants while always enunciating the accents in order to realize the full effect of this powerful text. The entire demeanor of the tone and facial expressions should change for the B-section, mm. 30-42 as it is a plea for mercy. The audience should realize the change in this contrasting section.TranslationDies irae, dies illa: Day of wrath, that daySolvet saeclum in favilla: shall dissolve the world into embersTeste David cum Sibylla: As David prophesied with the Sibyl.Voca me cum benedictis :Call me to be with the blessed.Salva me fons pietatis : Save me, fount of pity.The “Sibyl†is a reference from a Greek word, which means Prophetess. In this context, the word appears in plural, referring to many prophetesses. David, or King David, has long been considered prophetic among biblical scholars.About the ArrangerD. Farrell Smith is the Director of Choirs at Hilldale Middle School, and Hilldale High School in Muskogee, Oklahoma.  He holds a B.A. in Music Education and the M.A. in Theological Studies. Currently the Minister of Music at Eastern Heights Baptist Church, he has been a Music educator and Minister for 20 years. Mr. Smith studied with Dr. Gary Foster and Dr. Donald Studebaker and has performed under such notables as R. Evan Copley, Daniel Pinkham, Lloyd Pfautsch, and Bev Henson.
SKU: BT.DHP-1165730-130
English-German-French-Dutch.
After the introduction, in which the landscape of Groningen with its beautiful wide views is presented, follows five variations based on the 13th-century Gregorian theme Dies Irae that is attributed to Thomas van Celano. Each variation can be seen as a stage or a scene in the rich history of the village of Grijpskerk, making this work a very exciting and expressive piece of music for a contest or a concert. Na de inleiding, waarin het Groninger landschap met zijn prachtige vergezichten wordt voorgesteld, volgen vijf variaties die zijn gebaseerd op het 13e-eeuwse gregoriaanse thema Dies Irae, dat wordt toegeschreven aan Thomas van Celano. Elke variatie is terug te voeren tot een markante gebeurtenis uit de rijke geschiedenis van de plaats Grijpskerk, waarmee dit werk een aantrekkelijk, expressief stuk muziek is waarmee je voor de dag kunt komen bij een wedstrijd of een concert.Nach der Einleitung, in der die Gegend Groningens mit ihren schönen weiten Landschaften vorgestellt wird, folgen fünf Variationen über das gregorianische Thema Dies Irae aus dem 13. Jahrhundert, das Thomas von Celano zugeschrieben wird. Jede Variation kann als eine Station oder Szene aus der bedeutenden Geschichte dieses Ortes betrachtet werden. Dieses spannende und ausdrucksvolle Werk eignet sich gut für Wettbewerbe, aber auch als Konzertstück.L’introduction, qui évoque le paysage de Groningen avec ses magnifiques vues étendues, est suivie de cinq variations basées sur le thème grégorien du XIIIe siècle, Dies Irae, qui est attribué Thomas de Celano. Chaque variation peut être considérée comme une étape ou une scène de la riche histoire du village, ce qui fait que cette œuvre formidable et expressive se prête parfaitement un concours ou un concert.
SKU: MN.56-0054
UPC: 688670220579. English.
Arranged for SATB choir, two keyboards, strings, and optional harp, with soprano, tenor (optional) and baritone soloists, this fresh and unorthodox interpretation reflects on the words of the Latin Mass by juxtaposing them with poems in English. This movement has no soprano part, it is soloist above and ATB below, giving a rich, dark quality to the music. The tenors and basses (divisi) begin this movement, declaiming “Dies irae, dies illa.†Two soloists begin in the “Flanders fields†text above. There is an option for three soloists as the piece evolves. (Soprano, tenor and baritone, the composer gives some options for this.) Soon the choir takes up the poem, yet the Latin text occasionally appears and continues, moving toward a climax on the text “We are the Dead, Short days ago We lived.†As the music descends from the high point, the English poem continues, with the choir very softly commenting “Dies irae†as the movement ends. Duration 5:36.
SKU: HL.4008730
ISBN 9798350119473. UPC: 196288195238.
The last decades we humans have witnessed a significant number of disturbing developments. If we look at the direct and persistent destructive influence of humans on nature: air and water quality are reducing, soils are depleting, crops are short of pollinators, coasts are less protected from storms, deforestation, the degradation of land, loss of biodiversity and pollution. In stark contrast we find the intelligence and boundless creativity of humans: what about all the high technological advancements? What lies ahead in the realm of Artificial Intelligence? Will we let machines make human decisions? What ethical issues arise there? This composition reflects the desperation and urgency of the human need for action. The music draws inspiration from the brutal natural forces that ravage our world as a direct consequence of human failure and selfishness. Are we heading towards a 'Judgment Day'? Or will humanity find a way to reverse negative trends towards a more livable, peaceful, and joyful environment for humans, animals, and nature? To underscore this message, composer Peter Knockaert opted for a highly classical idiom that has been used by many composers in classical music: the 'Dies Irae'. Traditionally, the Dies Irae is the third part of a requiem (funeral mass). The text used in 'Judgment DayÂ? (for optional choir) is coming from the original Latin text.
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SKU: HL.4008731
UPC: 196288195245.
SKU: CY.CC2542
Verdi dedicated his Requiem to the poet and novelist Alessandro Manzoni whom he greatly admired. The first performance was given in 1874 on the first anniversary of Manzoni's death. It was a great popular success and Verdi toured with it all over Europe.
The Latin text of the Dies irae or Day of Wrath portrays the day of judgment.
The Dies irae is, in itself, very lengthy, in nine sections. It has been greatly abridged to make it practical for performance by trombonists. Most trombonists take great pleasure and pride in their ability to play loud. However, to achieve the dramatic contrasts essential for this piece it is necessary to focus on extremely soft, but still beautiful, playing in the piano passages.
Mr. Kempton has done a great job of bringing this soul-stiring work to life. About 8 minutes in length, this work for advanced performers is most effective having more than one person on a part.
SKU: BT.DHP-1135481-020
9x12 inches. English-German-French-Dutch.
This work is based on the 13th Century Dies irae (Day of Wrath) attributed to Thomas von Celano. Many famous composers have already employed this originally Gregorian chant in their works, including Berlioz, Saint-Saëns, Mahler and Lizst. In Jan de Haan’s Song of David - the title of which is taken from the third line of the Dies Irae text - the theme is presented in unison initially and then reappears in various guises. Dit werk is gebaseerd op het 13e eeuwse Gregoriaanse Dies Irae zoals we dit ook kennen uit werken van Berlioz, Saint-Saëns, Mahler en Liszt. Voor de titel van dit werk waarin hij het thema verschillende gedaantes meegeeft, haalde Jan de Haan zijn inspiratie in de derde zin van het Dies Irae, waarin verwezen wordt naar David. Dieses Werk basiert auf dem Dies Irae (Tag des Zorns) aus dem 13. Jahrhundert, das Thomas von Celano zugeschrieben wird. Bereits mehrere berühmte Komponisten, wie Berlioz, Saint-Saëns, Mahler und Liszt, haben den ursprünglichen gregorianischen Choral in ihren Werken verwendet. In Jan de Haan Song of David, dessen Titel auf die dritte Textzeile von Dies Irae verweist, wird das Thema zunächst einstimmig präsentiert und erscheint dann in verschiedenen Gewändern.Cette Å“uvre s’inspire du Dies Irae attribué Tomaso da Celano, que l’on considère comme l’auteur de la version définitive de ce poème écrit au XIIIe siècle. Plusieurs compositeurs célèbres tels que Berlioz, Saint-Saëns, Mahler et Liszt, ont intégré des passages de chant grégorien dans leurs Å“uvres. Dans sa composition Song of David, dont le titre fait référence la troisième ligne du texte original, Jan de Haan présente un thème l’unisson qui sera repris ensuite dans différentes couleurs orchestrales.Questo brano si ispira a Dies Irae attribuito a Tommaso da Celano, considerato l’autore della versione de_x001E_finitiva di questo poema scritto nel XIII secolo. Numerosi celebri compositori quali Berlioz, Saint-Saëns, Mahler e Liszt hanno integrato passaggi di questo canto gregoriano nelle loro opere. In Song Of David (il titolo fa riferimento alla terza strofa del testo originale), Jan de Haan presenta un tema all’unisono ripreso in seguito con diverse dinamiche.
SKU: BT.DHP-1135481-140
This work is based on the 13th Century Dies irae (Day of Wrath) attributed to Thomas von Celano. Many famous composers have already employed this originally Gregorian chant in their works, including Berlioz, Saint-Saëns, Mahler and Lizst. In Jan de Haan’s Song of David - the title of which is taken from the third line of the Dies Irae text - the theme is presented in unison initially and then reappears in various guises. Dit werk is gebaseerd op het 13e eeuwse Gregoriaanse Dies Irae zoals we dit ook kennen uit werken van Berlioz, Saint-Saëns, Mahler en Liszt. Voor de titel van dit werk waarin hij het thema verschillende gedaantes meegeeft, haalde Jan de Haan zijn inspiratie in de derde zin van het Dies Irae, waarin verwezen wordt naar David. Dieses Werk basiert auf dem Dies Irae (Tag des Zorns) aus dem 13. Jahrhundert, das Thomas von Celano zugeschrieben wird. Bereits mehrere berühmte Komponisten, wie Berlioz, Saint-Saëns, Mahler und Liszt, haben den ursprünglichen gregorianischen Choral in ihren Werken verwendet. In Jan de Haan Song of David, dessen Titel auf die dritte Textzeile von Dies Irae verweist, wird das Thema zunächst einstimmig präsentiert und erscheint dann in verschiedenen Gewändern.Cette oeuvre s’inspire du Dies Irae attribué Tomaso da Celano, que l’on considère comme l’auteur de la version dé_x001C_finitive de ce poème écrit au XIIIe siècle. Plusieurs compositeurs célèbres tels que Berlioz, Saint-Saëns, Mahler et Liszt, ont intégré des passages de chant grégorien dans leurs oeuvres. Dans sa composition Song of David, dont le titre fait référence la troisième ligne du texte original, Jan de Haan présente un thème l’unisson qui sera repris ensuite dans diff_x001B_érentes couleurs orchestrales.Questo brano si ispira a Dies Irae attribuito a Tommaso da Celano, considerato l’autore della versione de_x001E_finitiva di questo poema scritto nel XIII secolo. Numerosi celebri compositori quali Berlioz, Saint-Saëns, Mahler e Liszt hanno integrato passaggi di questo canto gregoriano nelle loro opere. In Song Of David (il titolo fa riferimento alla terza strofa del testo originale), Jan de Haan presenta un tema all’unisono ripreso in seguito con diverse dinamiche.
SKU: BT.DHP-1135481-010
This work is based on the 13th Century Dies Irae (Day of Wrath) attributed to Thomas von Celano. Many famous composers have already employed this originally Gregorian chant in their works, including Berlioz, Saint-Saëns, Mahler and Lizst. In Jan de Haan’s Song of David - the title of which is taken from the third line of the Dies Irae text - the theme is presented in unison initially and then reappears in various guises. Dit werk is gebaseerd op het 13e eeuwse Gregoriaanse Dies Irae zoals we dit ook kennen uit werken van Berlioz, Saint-Saëns, Mahler en Liszt. Voor de titel van dit werk waarin hij het thema verschillende gedaantes meegeeft, haalde Jan de Haan zijn inspiratie in de derde zin van het Dies Irae, waarin verwezen wordt naar David. Dieses Werk basiert auf dem Dies Irae (Tag des Zorns) aus dem 13. Jahrhundert, das Thomas von Celano zugeschrieben wird. Bereits mehrere berühmte Komponisten, wie Berlioz, Saint-Saëns, Mahler und Liszt, haben den ursprünglichen gregorianischen Choral in ihren Werken verwendet. In Jan de Haan David’s Song, dessen Titel auf die dritte Textzeile von Dies Irae verweist, wird das Thema zunächst einstimmig präsentiert und erscheint dann in verschiedenen Gewändern.Cette oeuvre s’inspire du Dies Irae attribué Tomaso da Celano, que l’on considère comme l’auteur de la version définitive de ce poème écrit au XIIIe siècle. Plusieurs compositeurs célèbres tels que Berlioz, Saint-Saëns, Mahler et Liszt, ont intégré des passages de chant grégorien dans leurs oeuvres. Dans sa composition Song of David, dont le titre fait référence la troisième ligne du texte original, Jan de Haan présente un thème l’unisson qui sera repris ensuite dans différentes couleurs orchestrales.Questo brano si ispira a Dies Irae attribuito a Tommaso da Celano, considerato l’autore della versione definitiva di questo poema scritto nel XIII secolo. Numerosi celebri compositori quali Berlioz, Saint-Saëns, Mahler e Liszt hanno integrato passaggi di questo canto gregoriano nelle loro opere. In Song Of David (il titolo fa riferimento alla terza strofa del testo originale), Jan de Haan presenta un tema all’unisono ripreso in seguito con diverse dinamiche.
SKU: HL.44013222
After the introduction, in which the landscape of Groningen with its beautiful wide views is presented, follows five variations based on the 13th-century Gregorian theme Dies Irae that is attributed to Thomas van Celano. Each variation can be seen as a stage or a scene in the rich history of the village of Grijpskerk, making this work a very exciting and expressive piece of music for a contest or a concert.
SKU: AP.45846S
UPC: 038081523446. English.
Originally written for full orchestra and choir, this string arrangement by Laura Kenney maintains the intensity of Mozart's original Dies Irae from Requiem. With its dramatic and driving music, off-beat rhythms, and running 16th notes, this work presents a more intense style of Mozart. Challenging string parts with shifting for all sections will keep your students active and engaged. (2:15).
SKU: XC.HRMG239A
Pulsating rhythmic ostinatos, cluster harmonies, and soaring melodic lines are all present in this exciting concert work, possessing all the elements to make your band sound great. Based on the 13th-century Dies Irae chant, the exciting minor texture contrasts driving rhythms and beautiful legato playing while still remaining accessible. A perfect way to showcase your band as a concert opener, closer, or for festival use.
SKU: HF.FH-8029A
ISBN 9790203459866. 9 x 12 inches.
1. Introitus; 2. Kyrie; 3. Dies irae; 4. Sanctus; 5. Lux aeterna.
SKU: HF.FH-8029B
ISBN 9790203459873. 9 x 12 inches.
SKU: AP.35937
UPC: 038081407654. English.
Much mystery surrounds the Requiem which Mozart was writing just before his death and that mystery can be felt in this arrangement of the choral section Dies Irae (Day of Wrath). It will provide a serious and full sounding addition to your next concert or contest. Written with the young orchestra in mind, this piece will allow your students to experience Mozart's powerful final work without struggling for notes. (2:15).
SKU: HL.4001768
UPC: 884088074593. 9.0x12.0x0.068 inches.
SKU: HF.FH-8029
ISBN 9790203480297. 9 x 12 inches.
