SKU: HL.49044491
ISBN 9790001201872. 7.5x10.75x0.013 inches. German.
Like almost all of his predecessors, the long-time choir director at St. Thomas Church in Leipzig, Georg Christoph Biller, has composed a plethora of major sacred choral works. The fact that the passionate choir director is perfectly familiar with the human voice also shows in his arrangement of Martin Luther's chorale 'Verleih uns Frieden' for four-part men's a-cappella choir (TTBB). This church music gem, which is ideal for church services and can well be mastered even by amateur choirs, reveals once again Biller's credo of conveying a message with his music that can be understood by everyone. He uses a clear tonal language which combines tradition and modern music in an artistic, yet at the same time intuitive way.
SKU: HL.49046123
Twelve choir and piano movements for the Christmas season: classics such as Jingle Bells and Silent Night, as well as unknown international Christmas carols. The individual arrangements can be used flexibly; they work in three-part mixed, but also in one or two voices, with piano accompaniment or a cappella. At the same time, the individual pieces are designed so differently that they are suitable for joint use in concert. With modern and popular harmony and varied rhythm, this Christmas collection is ideal for young choirs.
SKU: HL.49045212
ISBN 9790001158596. UPC: 841886026803. 7.5x11.0x0.063 inches. English.
Another lullaby for insomniacs! Matthew Brown sets the poem of Alicia E. Stallings for mixed choir with piano accompaniment in his usual colourful manner. Partly forceful, partly sleepy, this piece is suitable for choirs who wish to feel their way slowly towards modern choral music.
SKU: GI.WW1792
UPC: 785147023661. Latin. Text Source: Traditional Latin.
With a free chant opening flowing into modern harmonies, this beautiful work from Jacob Narverud will become a favorite of your singers and audiences. Narverud's ability to craft a beautiful and timeless melody shines here in this work for more advanced mixed choirs. A great addition for any program, especially when a reverberant acoustic is availble.
SKU: WD.080689546174
UPC: 080689546174.
Some music is ageless; unrestricted and unaffected by time.TIMELESSThere are songs which naturally fit that description, and there are songs that don’t. The impressive list of songs in this new Integrity Choral Collection should never be described in any other way...TIMELESS.Praise & Worship as a musical genre has evolved into diverse and far-ranging styles and textures; there literally is “something for everyone.†But just as certain hymns have stood the test of time and remain in the forefront of today’s Church repertoire, certain “first and second generation†praise & worship songs continue to enjoy similar longevity, popularity, and staying power.Singing the latest and greatest, the newest and most cutting-edge songs don’t stand in the way of including some of these iconic classics in your praise & worship selections…songs like Give Thanks, Worthy, There Is None like You, Awesome in this Place, You Are Worthy, I Worship You, Almighty God, Above All, and more! In addition to incorporating them into your worship sets, add these gems to the repertoire of your modern worship choir for a fresh, new wave of inspiring and powerful choral arrangements, as you lead your congregation into His presence.David Wise and David Shipps team up once again to bring you 10 uplifting arrangements for choir and orchestra, featuring 12 of Integrity’s most beloved and well-known songs. Worship Leading Choirs everywhere will find these TIMELESS classics a breath of fresh air and a soul-stirring complement to today’s church worship services!
SKU: HL.49045282
ISBN 9781495078996. UPC: 888680651473. 9.0x12.0x0.138 inches. English.
Prayer is one of the composer's most original and sophisticated works. The typical African-American church service seems to be a source for this piece with its interplay of sections and colors, yet the work in form and rhythmic choices is clearly 'classical' and never breaks out into easy imitations of, for example, gospel music.The work opens with the choir singing the spiritual 'My Lord, What a Mornin'' in octaves, sung flat-out a cappella, as might happen in church. The instrumental section following this opening feels very much like a thoughtful response by the congregation. Instruments seem to behave like individual churchgoers, colorfully dressed and answering various episodes with individual thoughts. As for any fears that the mighty organ might drown out the proceedings, Singleton puts that to rest by employing it almost like another choir or section of the choir. The trumpet soloist does not blast us into heaven, it tends to sing and, we find out later, is preparing us for the spiritual 'Where Shall I Be When the Firs' Trumpet Soun'?' Even the tenor soloist behaves much like just another (but still important) instrument.The composer has chosen to not only feature spirituals, but also to set a poetic text called A Christian Prayer, whose main message, almost like some modern-day Kyrie, calls out 'save us teach us ' and extols the importance of humility and the defeat of violence. Singleton has always been a composer who has simultaneously answered the call to carry out what he feels is his duty to his fellow humans while using the finest of his art to do so, and Prayer finds him at the top of his game.- Carman Moore.
SKU: PR.362034230
ISBN 9781598069556. UPC: 680160624225. Letter inches. English.
When the Texas Choral Consort asked Welcher to write a short prologue to Haydn's The Creation, his first reaction was that Haydn already presents Chaos in his introductory movement. As he thought about it, Welcher began envisioning a truer void to precede Haydn's depiction of Chaos within the scope of 18th-century classical style - quoting some of Haydn's themes and showing human voices and inhuman sounds in a kind of pre-creation melange of color, mood, and atmosphere. Welcher accepted this challenge with the proviso that his prologue would lead directly into Haydn's masterpiece without stopping, and certainly without applause in between. Scored for mixed chorus and Haydn's instrumentation, Without Form and Void is a dramatically fresh yet pragmatic enhancement to deepen any performance of Haydn's The Creation. Orchestral score and parts are available on rental.When Brent Baldwin asked me to consider writing a short prologue to THE CREATION, my first response was “Why?â€Â THE CREATION already contains a prologue; it’s called “Representation of Chaosâ€, and it’s Haydn’s way of showing the formless universe. How could a new piece do anything but get in the way? But the more I thought about it, the more it made sense. The Age of Enlightenment’s idea of “Chaos†was just extended chromaticism, no more than Bach used (in fact, Bach went further).Perhaps there might be a way to use the full resources of the modern orchestra (or at least, a Haydn-sized orchestra) and the modern chorus to really present a cosmic soup of unborn musical atoms, just waiting for Haydn’s sure touch to animate them. Perhaps it could even quote some of Haydn’s themes before he knew them himself, and also show human voices and inhuman sounds in a kind of pre-creation mélange of color, mood, and atmosphere. So I accepted the challenge, with the proviso that my new piece not be treated as some kind of “overtureâ€, but would instead be allowed to lead directly into Haydn’s masterpiece without stopping, and certainly without applause. I crafted this five minute piece to begin with a kind of “music of the spheres†universe-hum, created by tuned wine glasses and violin harmonics. The chorus enters very soon after, with the opening words of Genesis whispered simultaneously in as many languages as can be found in a chorus. The first two minutes of my work are all about unborn human voices and unfocused planetary sounds, gradually becoming more and more “coherent†until we finally hear actual pitches, melodies, and words. Three of Haydn’s melodies will be heard, to be specific, but not in the way he will present them an hour from now. It’s almost as if we are listening inside the womb of the universe, looking for a faint heartbeat of worlds, animals, and people to come. At the end of the piece, the chorus finally finds its voice with a single word: “God!â€, and the orchestra finally finds its own pulse as well. The unstoppable desire for birth must now be answered, and it is----by Haydn’s marvelous oratorio. I am not a religious man in any traditional sense. Neither was Haydn, nor Mozart, nor Beethoven. But all of them, as well as I, share in what is now called a humanistic view of how things came to be, how life in its many forms developed on this planet, and how Man became the recorder of history. The gospel according to John begins with a parody of Genesis: “In the beginning was the Word, and the Word was with God, and the Word was God.â€Â  I love that phrase, and it’s in that spirit that I offer my humble “opener†to the finest work of one of the greatest composers Western music has ever known. My piece is not supposed to sound like Haydn. It’s supposed to sound like a giant palette, on which a composer in 1798 might find more outrageous colors than his era would permit…but which, I hope, he would have been delighted to hear.
SKU: WD.080689092190
UPC: 080689092190.
Songwriters and producers Greg Nelson and Bob Farrell have collaborated on a masterful work to create a message and music with great passion and great truth. Arranged for choir and soloists, Saviour has a classic sound that combines elements of inspirational, pop and traditional styles. The arrangements are powerful and provocative, the orchestrations majestic and awe-inspiring.
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.49017958
ISBN 9790001170017. UPC: 884088520014. 0.066 inches. Latvian.
Peteris Vasks' strong attachment to his Latvian home country shows particularly in his choral music. Nature, customs and traditions as well as the idea of freedom are the central themes of the texts he sets to music, while carefully using modern techniques of choral singing as well. Alternating with traditional, even archaic singing, the music creates a multi-faceted, immediately effective sound image in the listener's mind.These three songs for female choir centre on the themes of man, nature and transience, and home in aphoristic brevity. Vasks wrote music on these folk poems which contains rewarding tasks for the choir and opens up a fascinating world of sound to the listener.
SKU: BR.PB-5210
In 1821 Sigismund Ritter von Neukomm closed Mozart's Requiem with the liturgically obligatory Libera me, Domine
ISBN 9790004209417. 9 x 12 inches.
We sought to alter as little as possible the reconstruction of Freystadtler, Eybler and Sussmayr, and to present Mozart's largest sacred work as it was 'arranged' by his grieving and devoted pupils (1791-1792). (H. C. Robbins Landon)The Landon version of the Mozart Requiem, published by Mozart expert H. C. Robbins Landon, was a milestone. In his meticulously edited work, Landon incorporated latest research in an attempt to take the contributions of all the three Mozart pupils Franz Xaver Sussmayr, Joseph Eybler and Franz Jakob Freystadtler into account for the first time. The edition presents the unfinished masterpiece in a version that comes as close as possible to the state in which it was found in 1791/92, a concept that has proven itself repeatedly in performance. The Landon version is ideal for all who want to perform Mozart's Requiem today in this historical form and wish to use neither the traditional Sussmayr version nor modern-day reconstructions or new compositional attempts. NB: piano reduction and choral score can be used for both versions.In 1821 Sigismund Ritter von Neukomm closed Mozart's Requiem with the liturgically obligatory Libera me, Domine.
SKU: BR.PB-5326
One already finds echoes of the 'Magic Flute' in this fragment, which Mozart wrote in 1785.
ISBN 9790004210680. 9 x 12 inches.
Thanks to the Mozart specialist Franz Beyer, the cantata Dir, Seele des Weltalls has been completed in its original scoring and with an unerring feeling for stylistic accuracy. One already finds echoes of the Magic Flute in this fragment, which Mozart wrote in 1785. The two introductory and two closing bars added by Beyer along with the full orchestration of the piece allow musicians to discover a Mozart cantata that will ring familiar with many modern-day listeners. - The traditional version by Maximilian Stadler (for soprano solo, mixed chorus and orchestra without organ) continues to remain availableOne already finds echoes of the 'Magic Flute' in this fragment, which Mozart wrote in 1785.
SKU: BR.OB-5210-11
ISBN 9790004330746. 12.5 x 10 inches.
SKU: FG.55011-749-5
ISBN 9790550117495.
Antti Auvinen's Delfiinimeditaatio (A Dolphin Meditation) is set to Harry Salmenniemi's short story. The work was a commission by the Dominante Choir, for its 45th anniversary.The text is in Finnish. Salmennime's prose gets a modern treatment by Auvinen: repetitions of words and syllables, cutting, onomatopoetism, hissing and sprachgesang methods are employed.
SKU: HL.49003214
ISBN 9790220117282. UPC: 888680784249. 8.25x11.75x0.052 inches. Latin.
Glorious Hill may be performed by a male choir.Text by Pico della Mirandola (1463-1497) from De Hominis Dignitate.Glorious Hill was commissioned by the Hilliard Ensemble and first performed by them at its summer Festival of Voices in Lewes, Sussex, in August 1988. It was the first piece I wrote for the ensemble and I focused on the singers' unique ability to move with ease from early music to tonal music of the present day. There were techniques which I asked for which I hardly needed to notate - the staggered breathing of the two tenors to supply a continuous unbroken held note for example - and the piece moves between passages for solo voices and sections of highly chromatic homophony, almost as if the music were switching between the 12th century of Perotin and the 16th century of Gesualdo. Each of the four voices is given its own solo passage, sometimes accompanied, sometimes quietly supported by the other voices.The title, Glorious Hill comes from the name of the small-town Mississippi setting of Tennessee Williams' Summer and Smoke. I wrote the music for the 1987 production of this play at the Leicester Haymarket Theatre, the first time I had written any incidental music for the stage. Williams makes very specific demands in terms of music and there is one particularly powerful scene, the penultimate one, throughout which music and atmospheric sound effects are continuous. The principle character Alma argues passionately about the vital importance of human choice with the man to whom she has, too late, admitted her love. I watched this section every night throughout the 4 week run of the play watching the different ways in which the actress, Frances Barber, played the scene. There is a powerful emotional and philosophical connection between the imagery of this scene and a passage from the Renaissance philosopher Pico della Mirandola's Oration on the Dignity of Man which forms the text of Glorious Hill. This passage has been described as one of the few passages in Renaissance philosophy to treat human freedom in a modern way. The text, which is sung in Latin, is addressed by God to Adam before the fall from grace.Gavin Bryars.
SKU: LO.10-5816MD
ISBN 9780787789602.
The classic recording from The New Young Messiah has been adapted and arranged by Cliff Duren in this dynamic choral work. Featuring modernized music from Handel’s Messiah, this challenging choral setting is truly unique and special and usable at Christmastime and Easter.
SKU: HP.C6292R
UPC: 763628262921.
A modernized take on a classic hymn From One Sonic Society featuring Mike Weaver, here is a brand new take on Great Is Thy Faithfulness, combining the beloved hymn with an original refrain, Beginning to End. This was one of the top 10 most performed praise songs in contemporary worship last year. The addition addition of a rhythm band makes it even more authentic to the intended style.
SKU: HP.C6292
UPC: 763628162924.
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: GI.WW1830
UPC: 785147031468. Latin. Text by Titus Lucretius.
Lucretius' ancient words describe strickingly modern notions about nature, humanity, and creation. Contemporary harmonies are interwoven with passages evoking Renaissance motents, chant, and madrigals. A challenging and artistic work from Jason Saunders.
SKU: C4.9790-902250511
ISBN 9790902250511. 8.27 x 11.7 inches.
A perky new interpretation of an old favourite; Drury's setting is firmly in the accessible modern-school.
SKU: HL.49045159
ISBN 9790001160490. UPC: 841886028029. Latin. Author: Thomas Aquinas.
Winner of the International Composition Competition Musica Sacra Nova 2012. The homophonic modern beginning is followed by a polyphonic section with Romantic elements. With its English style and Nordic influences a valuable addition to the chamber choir repertoire.
SKU: GI.WW1752
UPC: 785147014362. English. Text by Stephen C. Foster.
A simple expression of empathy for those less fortunate, Hard Times, offers a universal message that we can perservere through difficult times. This setting for men's chorus with guitar and strings is a dynamic and modern interpretation. The arrangement can be used with a soloist or with a section of tenors. Guitar lead sheet available for free download. Recording: University of Kentucky Men's Chorus, Jefferson Johnson, conductor, Eric Poore, soloist.
SKU: CF.CM9366
ISBN 9780825894121. UPC: 798408094126. 6.875 x 10.5 inches. Key: F# minor. Latin. Psalm 112.
Carl Fischer is excited to publish the music of relative unknown composer Stanislao Mattei, a student of Padre Martini. Prolific editor Martin Banner's modern performing edition of Mattei's Beatus Vir is based upon a hand-copied score found in Bologna, Italy and adheres closely to the original source. Advanced mixed ensembles of all sizes will enjoy singing this choral gem from the Classical period.
SKU: BR.CHB-5271-02
ISBN 9790004412121. 7.5 x 10.5 inches.
Thanks to the Mozart specialist Franz Beyer, the cantata Dir, Seele des Weltalls has been completed in its original scoring and with an unerring feeling for stylistic accuracy. One already finds echoes of the Magic Flute in this fragment, which Mozart wrote in 1785. The two introductory and two closing bars added by Beyer along with the full orchestration of the piece allow musicians to discover a Mozart cantata that will ring familiar with many modern-day listeners. - The traditional version by Maximilian Stadler (for soprano solo, mixed chorus and orchestra without organ) continues to remain available.One already finds echoes of the 'Magic Flute' in this fragment, which Mozart wrote in 1785.
SKU: GI.WW1917
UPC: 785147035664. English. Text by Charles Anthony Silvestri.
Written in memory of choral singer, clarinetist, and friend George Olin, this is a modern arrangement of the LOBE DEN HERREN hymn tune, with a new, ecumenical text written by poet Charles Anthony Silvestri. The text focuses on the richness of life and creation and the joy that is found in all aspects of life.
SKU: PE.EP68159
ISBN 9790300754604. English.
A new arrangement of the classic carol for S(S)ATB
SKU: AP.49739
UPC: 038081568263. English.
Here's a rhythmic modern-day showstopper with the heart of a timeless classic. This spectacular opening number from the Netflix movie, Jingle Jangle has unmistakable theatrical flair---no surprise since the movie was originally conceived for the stage. The brightly optimistic lyrics will shine at any time of year, not just the holidays! What I got in my hands could be the spark that turns it all around . . . 'Cause all my life I've waited for this day. Don't miss the impressive SoundTrax accompaniment and a flexible SoundPax orchestration for rhythm and synth. (or optional horns).
SKU: HL.244368
UPC: 888680707989. 6.75x10.5x0.018 inches.
This is a classic pop/rock song first recorded in the 1950s by Tony Bennett and subsequently made popular by Bobby Vinton. This arrangement is lush, with modern harmonies and optional strings. A great ballad for your pop concert or show choir.