SKU: HL.14015727
6.5x9.75x0.089 inches.
Work for Speaker, SATB Choir, Timpani, Organ (Optional Brass), setting the text of John Donne.
SKU: HL.373764
ISBN 9781705149836. UPC: 196288016489. 6.75x9.25x0.162 inches.
These five anthems, covering 130 years, are all mainstays of the British church and cathedral choir canon. The name SAM-Klang takes the three voice parts from the arrangements -- Soprano, Alto and Men -- and combines it with the Scandinavian and German words for “sound†to create the portmanteau word “sound together†or “harmony.†The series offers basic and advanced choral repertoire. In addition to new repertoire and new arrangements, you will also find essential parts of the classical German, Scandinavian, French and English SATB repertoire, carefully and considerately reworked for SAM. The arrangements retain the characteristic features of the original movements and have almost the same richness of timbre, resulting in works which sound nearly unchanged to an audience. Piano reductions of all choral movements facilitate rehearsal preparation. The arrangements offer development opportunities for all voice sections, bringing new life and new quality to SAM choir work. SAM-Klang enables youth choirs to gain access to classical choral literature and ensures that mixed choirs who face challenges in finding singers for all male voice parts continue to have access to well-loved repertoire.
SKU: HL.49031974
ISBN 9790001063173. German.
SKU: HL.49031973
ISBN 9790001063166. German.
SKU: HL.49013624
ISBN 9790001014793. 7.5x11.0x0.011 inches. German.
SKU: HL.49005960
ISBN 9790001064552. UPC: 073999354744. 9.0x12.0x0.118 inches. German - English.
Mixed Choir (SAATBB) and 2 Pianos. Ger/Eng.
SKU: HL.49005961
ISBN 9790001064569. 9.0x12.0x0.039 inches. German - English.
Mixed choir (SAATBB) and 2 pianos. Score - German/English.
SKU: HL.49025053
SKU: HL.49025052
SKU: HL.49025054
SKU: PR.342402020
ISBN 9781598064995. UPC: 680160616084. 8.5 x 11 inches. English. Text: William Shakespeare; Aurelius Prudentius Clemens; Aeschylus. Aurelius Clemens, William Shakespeare, Aeschylus. Texts from Aurelius Prudentius Clemens, Aeschylus, and William Shakespeare.
When Tim Sharp, Executive Director of the ACDA, offered Stucky the Brock Memorial Commission, it was decided that the text would commemorate the 50th anniversary of the assassination of John F. Kennedy, since the annual convention would take place in Dallas of that year. To that end, Stucky chose four different but pertinent texts to honor the occasion, although never referencing JFK by name. Take Him, Earth was premiered at the ACDA convention in March, 2013. Originally scored for chorus and chamber ensemble of nine instruments (available on a rental basis), Take Him, Earth is presented here in piano reduction. For advanced choirs. Duration: 13'.When Tim Sharp, Executive Director of the American Choral Directors Association, very kindlyoffered me the Raymond W. Brock Memorial Commission for 2013, he suggested that because thepremiere would take place at the national conference in Dallas in the 50th year since the assassinationof John F. Kennedy in that city, the text might refer in some way to that grim anniversary. Hesuggested, too, that I consider using a chamber ensemble or chamber orchestra to accompany thechorus.I took these suggestions to heart, but at the same time I wanted to write something universal enoughto be appropriate on other occasions, in other settings. Thus the score is dedicated to PresidentKennedy’s memory, but otherwise he is never referred to by name. Instead, I assembled a group oftexts that are associated with him in some way, but that also stand alone as a more general eulogy.As a refrain, there are a few lines from the early Christian burial hymn that begins “Take him,Earth, for cherishing†— lines that were earlier set to music by Herbert Howells in his classic motetcommissioned for Kennedy’s memorial service in 1963. The lines of Aeschylus “Drop, drop — inour sleep, upon the heart sorrow falls†from Agamemnon were quoted by Robert F. Kennedy uponthe death of Martin Luther King in April 1968. The celebrated “When he shall die, cut him out inlittle stars†from Act III of Shakespeare’s Romeo and Juliet was cited by RFK a few months after hisbrother’s murder.
SKU: BT.ALHE31660
French.
French composer and teacher, Darius Milhaud (1892-1974) was a prolific composer of the 20th century as a member of 'Les Six'. His compositions remain highly regarded, Jacob's Dreams being no exception. Milhaud's compositions areinfluenced by jazz and polytonality, as exemplified in Jacob's Dreams. Composed in 1949, Jacob's Dreams is a dance suite, written for Oboe, Violin, Viola, Cello and Double Bass. It is an alternative, exciting suite, based on thedreams of Jacob in the Bible and made up of five movements - 1) Jacob's Pillow, 2) The first dream (the angel's ladder), 3) Prophecy, 4) Second dream (fight with the dark angel and benediction), and 5) Israel (Hymn). Milhaud makesuse of variation in articulation, complex rhythms, chromaticism, accidentals, harmonics, altering tempos, variation in dynamics and a wide tessitura, amongst other aspects. Milhaud's Jacob's Dream is essential to all advancedensembles seeking modern and exciting repertoire.
SKU: MN.50-9114
UPC: 688670591143.
This arrangement adds an immediately appealing freshness to a familiar hymn tune FOUNDATION, while keeping its colonial American flavor. Each verse is set differently: the first in simple hymn-style, the second in the manner of a bold fugato, the third as a lilting canon, and the fourth as a repeat of the first with a soaring descant.
SKU: AU.9781506486505
ISBN 9781506486505. 7 x 10.25 inches.
Imaginative text painting brings added depth to this well-loved carol arranged by Tom Trenney. Lyrical writing is mixed with lush chordal harmonies along with a full piano accompaniment or optional instrumental setting. The final stanza concludes with the words the whole world gives back the song which now the angels sing and appropriately the assembly is invited to join the choir with the sopranos singing a glorious descant.
SKU: HL.49031563
ISBN 9790001052061. German.
SKU: HL.49031562
ISBN 9790001052054. German.
SKU: HL.49031564
ISBN 9790001052078. German.
SKU: HL.49004890
ISBN 9781423492450. UPC: 884088600280. 9.0x12.0x0.042 inches. German.
3 new keys. Now available in 5 keysNewly researched and engraved collections, including the original Schirmer ?24? plus four additional songs. With International Phonetic Alphabet, word for word translations,and historical information on each song and composer. CDs feature accompaniments and recorded diction lessons.Newly researched and engraved collections based on the editions by Alessandro Parisotti, including the original Schirmer '24' plus four additional songs.3 new keys. Now available in 5 keysNewly researched and engraved collections, including the original Schirmer ?24? plus four additional songs. With International Phonetic Alphabet, word for word translations,and historical information on each song and composer. CDs feature accompaniments and recorded diction lessons.
SKU: GI.G-9610
UPC: 785147961000. Latin. Text Source: Attr. Ambrose of Milan, 340–397. Text by Ambrose of Milan.
Composer's Notes When I met Kelsey Rose in Oxford in St. Stephen’s House chapel over the summer of 2017, we had both just attended a very moving candlelit concert by Westminster Williamson Voices, featuring my setting of “Tenebrae lumini.†I was delighted to be asked to write a piece for compline in Princeton University Chapel, celebrating the 150th anniversary of the Anglican/Episcopal chaplaincy at Princeton University. “Aurora†is the result of that meeting. Composing by commission often throws up some interesting challenges. The piece had to fit both as an accompanying piece to the plainchant of compline, whilst simultaneously being a celebratory anthem. I was instantly drawn back to the poetry and hymns of St. Ambrose of Milan, particularly “Aurora iam spargit polum.†Fragments of chant (both real and imagined) are used to create the powerful imagery of the descending golden light of dawn. The piece reaches its climax with the plea for the despair of night to “vanish,†which it then does, leaving the sopranos alone on a high G.