Ambience

SKU: PR.14440265S

UPC: 680160027910.

The Second and Third Quartets were conceived at the same time; indeed, their composition intermingled, over half of No. 3 being sketched before No. 2 was completed. Accordingly, they share similar material but, like the intertwining blood of cousins, their natures differ: No. 2 being somewhat acerbic and declamatory, No. 3 more lyric and gentler. An annunicatory 'leaping motive' (derived from a motto generated by my name) opens Quartet No. 2 and inhabits the course of the piece as a cyclical binding-force. A five-note motive, usually very deliberate, also keeps recurring like an insistent caller. All three movements are based on tonal centers (I on B and E, II on D, III on C) and the harmonic 'grammar' spoken tends to recall the jazz world of my youth. To hopefully achieve a certain classical ambience was one of the goals of this piece, and all three movements have traditional forms. The first movement is a modified Sonata-Allegro design, with a severely-truncated recapitulation balanced by a lengthy, and decaying Coda. The second movement is a set of strophic variants and an epilogue interspersed with both solo ritornelli and first-movement material (the motto and the five-note motive) in the nature of a fantasia-like 'call-and-response.' It is dedicated to the memory of the American mezzo-soprano Jan DeGaetani. The third movement is a modified Rondo (ABACBA) which evolves out of the opening motto. All three movements make much use of canonic stretti, similar gestures, and repetition. For example, the climax of movement III's Rondo throws the first movement back at us again, as if the players were reluctant to let it go, so that the entire piece could perhaps be viewed as a single large, extended, Sonata movement, with introduction and Coda.
The Second and Third Quartets were conceived at the same time; indeed, their composition intermingled, over half of No. 3 being sketched before No. 2 was completed.  Accordingly, they share similar material but, like the intertwining blood of cousins, their natures differ: No. 2 being somewhat acerbic and declamatory, No. 3 more lyric and gentler.An annunicatory ‘leaping motive’ (derived from a motto generated by my name) opens Quartet No. 2 and inhabits the course of the piece as a cyclical binding-force.  A five-note motive, usually very deliberate, also keeps recurring like an insistent caller.  All three movements are based on tonal centers (I on B and E, II on D, III on C) and the harmonic ‘grammar’ spoken tends to recall the jazz world of my youth.To hopefully achieve a certain classical ambience was one of the goals of this piece, and all three movements have traditional forms.  The first movement is a modified Sonata-Allegro design, with a severely-truncated recapitulation balanced by a lengthy, and decaying Coda.  The second movement is a set of strophic variants and an epilogue interspersed with both solo ritornelli and first-movement material (the motto and the five-note motive) in the nature of a fantasia-like ‘call-and-response. ’  It is dedicated to the memory of the American mezzo-soprano Jan DeGaetani.  The third movement is a modified Rondo (ABACBA) which evolves out of the opening motto.All three movements make much use of canonic stretti, similar gestures, and repetition.  For example, the climax of movement III’s Rondo throws the first movement back at us again, as if the players were reluctant to let it go, so that the entire piece could perhaps be viewed as a single large, extended, Sonata movement, with introduction and Coda.

SKU: CA.5526109

ISBN 9790007310981. English.

Music for the ages: the coronation anthems Zadok the priest, Let thy hand be strengthened, The King shall rejoice and My heart is inditing, which Handel composed for the coronation of George II in 1727, are true masterpieces of the choral literature. My heart is inditing was probably played at the end of the coronation ceremony in London's Westminster Abbey. For the Carus edition, available either individually or as a set, musicologist, composer and flutist Alon Schab has returned to the original manuscripts, paying special attention to the specific circumstances that played a role in the creation of the anthems. Befitting such a festive occasion, Handel’s choir in 1727 was a large ensemble composed of singers from two institutions. This six- or seven-voice ensemble had to be carefully balanced to perform the passages for four or five voices. Handel’s autograph score shows how he adapted his composition, originally conceived for a four- or five-voice choir, to the particular circumstances of the premiere: The manuscript is peppered with surprising vocal doublings, insertions, and rests, intended to ensure that, for example, the few tenors were not overpowered by the more numerous altos and basses, the boy sopranos harmonized with the mature voices, and the chorus blended well with the instruments in the rich ambience of Westminster Abbey.This edition traces these ad hoc additions to reveal a score that is startlingly similar to Handel’s familiar and beautifully direct choral style. All editorial decisions are thoroughly documented in the critical report.

SKU: CA.5526103

ISBN 9790007252106. English.

Music for the ages: the coronation anthems Zadok the priest, Let thy hand be strengthened, The King shall rejoice and My heart is inditing, which Handel composed for the coronation of George II in 1727, are true masterpieces of the choral literature. My heart is inditing was probably played at the end of the coronation ceremony in London's Westminster Abbey. For the Carus edition, available either individually or as a set, musicologist, composer and flutist Alon Schab has returned to the original manuscripts, paying special attention to the specific circumstances that played a role in the creation of the anthems. Befitting such a festive occasion, Handel’s choir in 1727 was a large ensemble composed of singers from two institutions. This six- or seven-voice ensemble had to be carefully balanced to perform the passages for four or five voices. Handel’s autograph score shows how he adapted his composition, originally conceived for a four- or five-voice choir, to the particular circumstances of the premiere: The manuscript is peppered with surprising vocal doublings, insertions, and rests, intended to ensure that, for example, the few tenors were not overpowered by the more numerous altos and basses, the boy sopranos harmonized with the mature voices, and the chorus blended well with the instruments in the rich ambience of Westminster Abbey.This edition traces these ad hoc additions to reveal a score that is startlingly similar to Handel’s familiar and beautifully direct choral style. All editorial decisions are thoroughly documented in the critical report.

SKU: CA.5525911

ISBN 9790007311070. English.

Music for the ages: the coronation anthems Zadok the priest, Let thy hand be strengthened, The King shall rejoice and My heart is inditing, which Handel composed for the coronation of George II in 1727, are true masterpieces of the choral literature. Let thy hand be strengthened was probably performed at the beginning of the coronation ceremony in London's Westminster Abbey.For the Carus edition, available either individually or as a set, musicologist, composer and flutist Alon Schab has returned to the original manuscripts, paying special attention to the specific circumstances that played a role in the creation of the anthems. Befitting such a festive occasion, Handel’s choir in 1727 was a large ensemble composed of singers from two institutions. This six- or seven-voice ensemble had to be carefully balanced to perform the passages for four or five voices. Handel’s autograph score shows how he adapted his composition, originally conceived for a four- or five-voice choir, to the particular circumstances of the premiere: The manuscript is peppered with surprising vocal doublings, insertions, and rests, intended to ensure that, for example, the few tenors were not overpowered by the more numerous altos and basses, the boy sopranos harmonized with the mature voices, and the chorus blended well with the instruments in the rich ambience of Westminster Abbey.This edition traces these ad hoc additions to reveal a score that is startlingly similar to Handel’s familiar and beautifully direct choral style. All editorial decisions are thoroughly documented in the critical report.

SKU: CA.5525813

ISBN 9790007311018. English.

Music for the ages: the coronation anthems Zadok the priest, Let thy hand be strengthened, The King shall rejoice and My heart is inditing, which Handel composed for the coronation of George II in 1727, are true masterpieces of the choral literature. Zadok the priest was performed for the anointing of the new King and more recently for the coronation of Charles III in 2023.For the Carus edition, available either individually or as a set, musicologist, composer and flutist Alon Schab has returned to the original manuscripts, paying special attention to the specific circumstances that played a role in the creation of the anthems. Befitting such a festive occasion, Handel’s choir in 1727 was a large ensemble composed of singers from two institutions. This six- or seven-voice ensemble had to be carefully balanced to perform the passages for four or five voices. Handel’s autograph score shows how he adapted his composition, originally conceived for a four- or five-voice choir, to the particular circumstances of the premiere: The manuscript is peppered with surprising vocal doublings, insertions, and rests, intended to ensure that, for example, the few tenors were not overpowered by the more numerous altos and basses, the boy sopranos harmonized with the mature voices, and the chorus blended well with the instruments in the rich ambience of Westminster Abbey.This edition traces these ad hoc additions to reveal a score that is startlingly similar to Handel’s familiar and beautifully direct choral style. All editorial decisions are thoroughly documented in the critical report.

SKU: HL.130745

UPC: 888680022631. 5.0x5.0x0.185 inches.

Uses: Lent, Holy Week, Maundy Thursday, Good Friday, Communion, All Saints Scripture: John 3:16; John 15:13 A true American hymn classic is given special attention in this sensitive treatment. Unfolding gradually with expansive phrases and thoughtful harmonies, the organic qualities of the text and melody are gracefully presented in the choral writing. The optional chamber orchestration is a truly inspiring addition to the spiritual and musical ambience of the piece. Moving! Score and Parts (fl 1-2, ob, cl 1-2, bn, perc 1-2, hp, vn 1-2, va, vc, db) available as a digital download.

SKU: CA.5525900

ISBN 9790007252014. English.

Music for the ages: the coronation anthems Zadok the priest, Let thy hand be strengthened, The King shall rejoice and My heart is inditing, which Handel composed for the coronation of George II in 1727, are true masterpieces of the choral literature. Let thy hand be strengthened was probably performed at the beginning of the coronation ceremony in London's Westminster Abbey.For the Carus edition, available either individually or as a set, musicologist, composer and flutist Alon Schab has returned to the original manuscripts, paying special attention to the specific circumstances that played a role in the creation of the anthems. Befitting such a festive occasion, Handel’s choir in 1727 was a large ensemble composed of singers from two institutions. This six- or seven-voice ensemble had to be carefully balanced to perform the passages for four or five voices. Handel’s autograph score shows how he adapted his composition, originally conceived for a four- or five-voice choir, to the particular circumstances of the premiere: The manuscript is peppered with surprising vocal doublings, insertions, and rests, intended to ensure that, for example, the few tenors were not overpowered by the more numerous altos and basses, the boy sopranos harmonized with the mature voices, and the chorus blended well with the instruments in the rich ambience of Westminster Abbey.This edition traces these ad hoc additions to reveal a score that is startlingly similar to Handel’s familiar and beautifully direct choral style. All editorial decisions are thoroughly documented in the critical report.

SKU: HL.1108733

ISBN 9781705178119. UPC: 196288103585. 6.75x10.5x0.029 inches. Deuteronomy 2:7, Matthew 4:1-25, Psalm 107:4.

This reflection is an excellent choice for the beginning of Lent as we contemplate our spiritual journey. Set in minor, the theme rises and falls like a gentle prayer, simply at first, then enriched by full chords. The delicate piano writing adds a sonic ambience to the work.

SKU: CA.5526011

ISBN 9790007310936. English.

Music for the ages: the coronation anthems Zadok the priest, Let thy hand be strengthened, The King shall rejoice and My heart is inditing, which Handel composed for the coronation of George II in 1727, are true masterpieces of the choral literature. The King shall rejoice was probably played during the crowning of the king in London's Westminster Abbey.For the Carus edition, available either individually or as a set, musicologist, composer and flutist Alon Schab has returned to the original manuscripts, paying special attention to the specific circumstances that played a role in the creation of the anthems. Befitting such a festive occasion, Handel’s choir in 1727 was a large ensemble composed of singers from two institutions. This six- or seven-voice ensemble had to be carefully balanced to perform the passages for four or five voices. Handel’s autograph score shows how he adapted his composition, originally conceived for a four- or five-voice choir, to the particular circumstances of the premiere: The manuscript is peppered with surprising vocal doublings, insertions, and rests, intended to ensure that, for example, the few tenors were not overpowered by the more numerous altos and basses, the boy sopranos harmonized with the mature voices, and the chorus blended well with the instruments in the rich ambience of Westminster Abbey.This edition traces these ad hoc additions to reveal a score that is startlingly similar to Handel’s familiar and beautifully direct choral style. All editorial decisions are thoroughly documented in the critical report.

SKU: HL.35031202

UPC: 888680640736. 5.0x5.0x0.155 inches.

Uses: General, Wedding Scripture: Luke 6:31; Romans 12:9; I Corinthians 13:4-8 The Word becomes song in this scripture-based anthem for choirs seeking an expressive vehicle for worship. A melodically pleasing gesture with wide intervals opens simply before taking on a rich and effective harmonization. A significant developmental B section explores the color of the choir and builds to a passionate restatement of the main theme. The lush orchestration adds greatly to the overall sonic ambience, making this a stellar choice for concert presentations. Score and Parts (fl 1-2, ob, cl 1-2, bn, hn 1-2, tpt 1-3, tbn 1-2, btbn/tba, timp, perc 1-2, hp, pno, vn 1-2, va, vc, db) available as a digital download.

SKU: CA.5526119

ISBN 9790007311124. English.

Music for the ages: the coronation anthems Zadok the priest, Let thy hand be strengthened, The King shall rejoice and My heart is inditing, which Handel composed for the coronation of George II in 1727, are true masterpieces of the choral literature. My heart is inditing was probably played at the end of the coronation ceremony in London's Westminster Abbey. For the Carus edition, available either individually or as a set, musicologist, composer and flutist Alon Schab has returned to the original manuscripts, paying special attention to the specific circumstances that played a role in the creation of the anthems. Befitting such a festive occasion, Handel’s choir in 1727 was a large ensemble composed of singers from two institutions. This six- or seven-voice ensemble had to be carefully balanced to perform the passages for four or five voices. Handel’s autograph score shows how he adapted his composition, originally conceived for a four- or five-voice choir, to the particular circumstances of the premiere: The manuscript is peppered with surprising vocal doublings, insertions, and rests, intended to ensure that, for example, the few tenors were not overpowered by the more numerous altos and basses, the boy sopranos harmonized with the mature voices, and the chorus blended well with the instruments in the rich ambience of Westminster Abbey.This edition traces these ad hoc additions to reveal a score that is startlingly similar to Handel’s familiar and beautifully direct choral style. All editorial decisions are thoroughly documented in the critical report.

SKU: CA.5526019

ISBN 9790007310974. English.

Music for the ages: the coronation anthems Zadok the priest, Let thy hand be strengthened, The King shall rejoice and My heart is inditing, which Handel composed for the coronation of George II in 1727, are true masterpieces of the choral literature. The King shall rejoice was probably played during the crowning of the king in London's Westminster Abbey.For the Carus edition, available either individually or as a set, musicologist, composer and flutist Alon Schab has returned to the original manuscripts, paying special attention to the specific circumstances that played a role in the creation of the anthems. Befitting such a festive occasion, Handel’s choir in 1727 was a large ensemble composed of singers from two institutions. This six- or seven-voice ensemble had to be carefully balanced to perform the passages for four or five voices. Handel’s autograph score shows how he adapted his composition, originally conceived for a four- or five-voice choir, to the particular circumstances of the premiere: The manuscript is peppered with surprising vocal doublings, insertions, and rests, intended to ensure that, for example, the few tenors were not overpowered by the more numerous altos and basses, the boy sopranos harmonized with the mature voices, and the chorus blended well with the instruments in the rich ambience of Westminster Abbey.This edition traces these ad hoc additions to reveal a score that is startlingly similar to Handel’s familiar and beautifully direct choral style. All editorial decisions are thoroughly documented in the critical report.

SKU: PR.11540425S

UPC: 680160688142.

My� � work Labyrinth for Ithaca College could have easily been titled as my Third Symphony. The work is larger in scope than every other work of mine for winds, save perhaps my first symphony. The piece is cast in two main parts, each consisting of two movements. As it happened I wrote the movements backwards (fitting for something called Labyrinth). The size of the band is on par with that of Karel Husa’s Music for Prague 1968 with one exception, there is an electric keyboard part which lends certain moments in the piece an other-worldly ambience... sounds that are altogether different from anything possible from acoustic instruments. At the risk of sounding obvious or mundane, I had two words floating around my brain during the composing of this work — HUGE and melodic. My predisposition to create inherently melodic music is inescapable at this point in my composing career. This is the kind of music I have gravitated towards since beginning at the piano so long ago. I don’t write ambient or spectral music, nor do I write music replete with extended techniques. The crafting of melodies with gravitas has always made my process of composing the most satisfying. The very last movement of Labyrinth is a gargantuan crescendo the likes of the last movement of Respighi’s The Pines of Rome or Ravel’s Bolero and should leave the audience and players sonically drenched by the end. I’m so honored to have this opportunity to compose for Ithaca College’s 50th Anniversary of that seminal work of Karel Husa’s. I have known Music for Prague 1968 as long as I’ve known serious music for winds. It is my aim that every moment of Labyrinth offers the players as much to bite their teeth on as it leaves the audience in its throng from start to finish. -CP.

SKU: CA.5525912

ISBN 9790007311087. English.

Music for the ages: the coronation anthems Zadok the priest, Let thy hand be strengthened, The King shall rejoice and My heart is inditing, which Handel composed for the coronation of George II in 1727, are true masterpieces of the choral literature. Let thy hand be strengthened was probably performed at the beginning of the coronation ceremony in London's Westminster Abbey.For the Carus edition, available either individually or as a set, musicologist, composer and flutist Alon Schab has returned to the original manuscripts, paying special attention to the specific circumstances that played a role in the creation of the anthems. Befitting such a festive occasion, Handel’s choir in 1727 was a large ensemble composed of singers from two institutions. This six- or seven-voice ensemble had to be carefully balanced to perform the passages for four or five voices. Handel’s autograph score shows how he adapted his composition, originally conceived for a four- or five-voice choir, to the particular circumstances of the premiere: The manuscript is peppered with surprising vocal doublings, insertions, and rests, intended to ensure that, for example, the few tenors were not overpowered by the more numerous altos and basses, the boy sopranos harmonized with the mature voices, and the chorus blended well with the instruments in the rich ambience of Westminster Abbey.This edition traces these ad hoc additions to reveal a score that is startlingly similar to Handel’s familiar and beautifully direct choral style. All editorial decisions are thoroughly documented in the critical report.

SKU: CA.5525811

ISBN 9790007310998. English.

Music for the ages: the coronation anthems Zadok the priest, Let thy hand be strengthened, The King shall rejoice and My heart is inditing, which Handel composed for the coronation of George II in 1727, are true masterpieces of the choral literature. Zadok the priest was performed for the anointing of the new King and more recently for the coronation of Charles III in 2023.For the Carus edition, available either individually or as a set, musicologist, composer and flutist Alon Schab has returned to the original manuscripts, paying special attention to the specific circumstances that played a role in the creation of the anthems. Befitting such a festive occasion, Handel’s choir in 1727 was a large ensemble composed of singers from two institutions. This six- or seven-voice ensemble had to be carefully balanced to perform the passages for four or five voices. Handel’s autograph score shows how he adapted his composition, originally conceived for a four- or five-voice choir, to the particular circumstances of the premiere: The manuscript is peppered with surprising vocal doublings, insertions, and rests, intended to ensure that, for example, the few tenors were not overpowered by the more numerous altos and basses, the boy sopranos harmonized with the mature voices, and the chorus blended well with the instruments in the rich ambience of Westminster Abbey.This edition traces these ad hoc additions to reveal a score that is startlingly similar to Handel’s familiar and beautifully direct choral style. All editorial decisions are thoroughly documented in the critical report.

SKU: CA.5526112

ISBN 9790007311148. English.

Music for the ages: the coronation anthems Zadok the priest, Let thy hand be strengthened, The King shall rejoice and My heart is inditing, which Handel composed for the coronation of George II in 1727, are true masterpieces of the choral literature. My heart is inditing was probably played at the end of the coronation ceremony in London's Westminster Abbey. For the Carus edition, available either individually or as a set, musicologist, composer and flutist Alon Schab has returned to the original manuscripts, paying special attention to the specific circumstances that played a role in the creation of the anthems. Befitting such a festive occasion, Handel’s choir in 1727 was a large ensemble composed of singers from two institutions. This six- or seven-voice ensemble had to be carefully balanced to perform the passages for four or five voices. Handel’s autograph score shows how he adapted his composition, originally conceived for a four- or five-voice choir, to the particular circumstances of the premiere: The manuscript is peppered with surprising vocal doublings, insertions, and rests, intended to ensure that, for example, the few tenors were not overpowered by the more numerous altos and basses, the boy sopranos harmonized with the mature voices, and the chorus blended well with the instruments in the rich ambience of Westminster Abbey.This edition traces these ad hoc additions to reveal a score that is startlingly similar to Handel’s familiar and beautifully direct choral style. All editorial decisions are thoroughly documented in the critical report.

SKU: PR.11540425L

UPC: 680160688159.

My� � work Labyrinth for Ithaca College could have easily been titled as my Third Symphony. The work is larger in scope than every other work of mine for winds, save perhaps my first symphony. The piece is cast in two main parts, each consisting of two movements. As it happened I wrote the movements backwards (fitting for something called Labyrinth). The size of the band is on par with that of Karel Husa’s Music for Prague 1968 with one exception, there is an electric keyboard part which lends certain moments in the piece an other-worldly ambience... sounds that are altogether different from anything possible from acoustic instruments. At the risk of sounding obvious or mundane, I had two words floating around my brain during the composing of this work — HUGE and melodic. My predisposition to create inherently melodic music is inescapable at this point in my composing career. This is the kind of music I have gravitated towards since beginning at the piano so long ago. I don’t write ambient or spectral music, nor do I write music replete with extended techniques. The crafting of melodies with gravitas has always made my process of composing the most satisfying. The very last movement of Labyrinth is a gargantuan crescendo the likes of the last movement of Respighi’s The Pines of Rome or Ravel’s Bolero and should leave the audience and players sonically drenched by the end. I’m so honored to have this opportunity to compose for Ithaca College’s 50th Anniversary of that seminal work of Karel Husa’s. I have known Music for Prague 1968 as long as I’ve known serious music for winds. It is my aim that every moment of Labyrinth offers the players as much to bite their teeth on as it leaves the audience in its throng from start to finish. -CP.