SKU: HL.1418816

UPC: 196288197973. 6.75x10.5x0.019 inches. Luke 1:26-38.

This lesser-known carol receives special treatment in an artful rendition. Offered with the option of a charming chamber orchestration, the seasonal offering is ideal for community choir concerts or lessons and carols programs. The text presents the angelic visitation to Mary and fills an important liturgical slot for church choir directors. 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: HL.124746

UPC: 884088984175. 5x5 inches.

Sweet Angie, the Christmas Tree Angel, wishes you a very, very, merry, merry Christmas, from the tippy top of the tree! Recorded by the Andrews Sisters, this 1950's classic makes a charming holiday showcase for treble choirs of all ages!

SKU: FT.FM557

ISBN 9790570484560.

The Wounded Angel (2013) is written for piccolo, two flutes, alto flute and bass flute, and is dedicated to Christine Turellier, a professor of flute at the Lille Conservatory of Music (France) where the work was premiered. These pieces were inspired by a painting entitled The Wounded Angel (1967) by the visionary British artist Cecil Collins (1908-1990). His works have been the basis for a number of D'Angelo's compositions. For example, one of his latest pieces for orchestra takes its inspiration from Collins' painting The Angel of the Flowing Light (1968). In his extensive output the artist often used angels and fools as symbols of purity and wisdom. In the painting, the earthbound, winged, wounded angel is lying on its side with its eyes closed. Its colours blend in with the purplish colours of the earth. In the distance is a mountain shaped like a pyramid while the sky is filled with shades of orange. Just at the point where the mountain meets the bleak landscape we see the sun just rising. This angel has been injured and fallen to Earth and in its distress has to find a way of healing itself and ascending to its spiritual home. In this highly impressionistic piece the piccolo stands for the wounded angel. It has a three note motif and its wound is suggested by the semitone difference of the second note each time the motif is repeated. The piece is a voyage through all the states of mind the angel experiences. For example, there are moments of contemplation and peace where the alto and bass flutes play rocking rhythms in open fifths. The final bars of The Wounded Angel portray the gentle power of the angel to heal itself and return to the heavens. Here, following the motif of the gently rocking rhythms the piccolo plays two ascending fourths leading to a G sharp which has its resolution in the angels keynote A.

SKU: HL.1216624

ISBN 9781705195369. UPC: 196288140467. 9.0x12.0x0.069 inches.

The composer writes: â??I was delighted to be asked by Daniel Hyde and King's College, Cambridge to write this year's commission for the Festival of Nine Lessons and Carols. I have chosen to set a familiar text and tune - Angelus ad Virginem - and for it to serve as a tribute to the late great Simon Preston CBE (chorister and later organ scholar at King's). The text suggests something descriptive and exuberant, and this arrangement makes use of the original 13th century carol throughout. A colorful organ part is designed to propel the music forward, sometimes twisting and distorting the melody in unexpected ways, hopefully reflecting something of Simon's wit, vitality and stylish energy.â? - Matthew Martin.

SKU: HL.14030980

ISBN 9788759871973. 12.0x16.0x0.285 inches.

Score available: KP00250 The composer writes: 'Even when I was writing Adieu, I knew that I wished to write Angel's Music. The title existed in an incomplete form in my mind and gradually more and more ideas and a few outlines became clear. The actual work on Angel's Music was started in Rome, where I spent the autumn of 1987 staying at The Danish Academy. Whether this stay has influenced the quartet or not is impossible to say. however, it is true to say that, in the Roman churches I visited, I saw countless angels playing in the top of frescoes and altars. Without these angels, together with the many crackled-gold paintings in this city and my general fascination with the Italian renaissance painter Fra Angelico, (in fact there are only a few paintings by him in Rome, but even his name..!) I am not sure my quartet would have been what it is. Anyway I do feel that there is a bit of Italy in the piece. The angels apart there are, in the short rhythmic agitating part of the quartet, reminiscences of the Italian medieval Trotto dance, and in the most expressive part of the piece there are flashes of Puccini-like music. From the very beginning of my work on the quartet, the distant, extremely muted sound in the high register which opens the piece, was on my mind. A sound satiated with a dense heterophonic and polyphonic texture of elegiac melody and vibrating trills. I imagined that little songs (maybe angel songs) could be created in this density, these songs constantly echoing themselves. Gradually as this sound got a more and more concrete musical and instrumental form, I felt, that not only should the little songs be created, played and die out in an echo, but also that the general pattern of the quartet should give the feeling of music which, from the distance, is getting closer and closer, culminates and at last disappears like an echo. Related to this, the general pattern of Angel's Music is divided into three: a pre-echo, culmination and echo.. The relationship between the three part is 5: 6: 4. The reason why I can say this precisely and prosaically is that it was necessary to me to mark the overall guidelines before I started to compose. I had to do this in order to enable the relationships to crawl from the general pattern almost fractionally into the smallest cells of the music, or more correctly; crawl from the small cells into the general pattern.'.