SKU: CF.CM9700
ISBN 9781491160008. UPC: 680160918607. Key: A minor. Hungarian. Hungarian Folk.
In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one's homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers' longing to return home; these are interspersed with the folk song's traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version. PERFORMANCE NOTES All spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music. If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end. TEXT Transliteration Jarba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. O mers mama de pe sat, O lasat coliba goala, Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Translation Green grass, tall grass, I would like to go home, but I cannot, because I have sworn not to. Tall grass, green grass - oh, that I cannot go home! My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty. Tall grass, green grass - oh, that I cannot go home! Tall grass, green grass - I would like to go home. but I cannot, because I have sworn not to. Stacy Garrop's music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys - some simple and beautiful, while others are complicated and dark - depending on the needs and dramatic shape of the story. Garrop served as the first Emerging Opera Composer of Chicago Opera Theater's Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels. Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children's Chorus. Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one’s homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers’ longing to return home; these are interspersed with the folk song’s traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version.PERFORMANCE NOTESAll spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music.If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end.TEXTTransliterationJarba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.O mers mama de pe sat, O lasat coliba goala,Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.TranslationGreen grass, tall grass, I would like to go home, but I cannot, because I have sworn not to.Tall grass, green grass – oh, that I cannot go home!My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty.Tall grass, green grass – oh, that I cannot go home! Tall grass, green grass – I would like to go home.but I cannot, because I have sworn not to.Stacy Garrop’s music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys – some simple and beautiful, while others are complicated and dark – depending on the needs and dramatic shape of the story.Garrop served as the first Emerging Opera Composer of Chicago Opera Theater’s Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels.Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children’s Chorus.Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).ÂÂ.
SKU: CA.230500
ISBN 9790007302108.
Swiss up your choir! The choral collection Swiss Choral Music is a real treasure trove of recent choral music from Switzerland. As diverse as the country itself, this volume of 29 choral settings of varying levels of difficulty includes not only a range of musical styles, but all the Swiss national languages (Romansh, French, Swiss/German and Italian) as well as English and Latin. For pure listening pleasure or as an aid to pronunciation, all works have been sung by the Swiss Youth Choir under the direction of Nicolas Fink. Pronunciation aids for the Rhaeto-Romanic and Swiss-German texts can be accessed via a QR code. In creating their musical excursion through this mountainous country, the editors and renowned choral conductors Johannes Meister and Patrick Secchiari have not only selected familiar names such as Beat Furrer or Heinz Holliger but also up-and-coming young composers such as Sara Bucher or Grégoire May. The collection includes a number of previously unpublished pieces. •,28 choral settings of varying levels of difficulty•,for mixed choir a cappella•,As a cost-effective edition for the choir, the choral collection WITHOUT CD is available at an attractive bulk price•,Exciting compilation of contemporary choral music from Switzerland For orders from Switzerland: Members of the SCV (Swiss Choral Association) or the SFEC (Swiss Federation Europa Cantat) please order via Éditions musicales Henry Labatiaz Sà rl, St-Maurice.https://editions-henry-labatiaz.ch/en/shop.html?id=28698
SKU: CA.230510
ISBN 9790007302115.
SKU: FJ.FJH2372
ISBN 9781619283558. UPC: 241444441312. English.
A new, four-book series by composer Wynn-Anne Rossi. The Dancing with the World series is inspired by international dance, rhythms and melodies, uniting performers in the celebration of movement. A brief introduction related to the background of each dance is included for every piece, and the music can be used as the basis of a themed recital to celebrate the history and cultural significance of each dance. Book 3 is arranged at the Intermediate level and includes dances from Ireland, Israel, Romania, France, Brazil, Sweeden, Greece, Cambodia, Mexico and more!
SKU: HL.49026738
ISBN 9790001020060. Rhaeto-Romanic - German.
SKU: HL.14008451
6.75x9.75x0.01 inches.
Written for unaccompanied SATB choir. Text by W. Romanis.
SKU: HL.14069056
SKU: HL.49021073
ISBN 9790001105620.
SKU: BT.EMBZ15091
Commisioned by the municipality of Debrecen.Ãkos Zarándy was born in 1982, Budapest. He finished his studies in choir-conducting and in composition under János Vajda and Zoltán Jeney at the Franz Liszt Academy of Music. In 2009, the first parts of his first opera entitled Las dos Fridas were performed in his diploma concert. In 2011, his symphonic piece entitled Nightmare Symphony was selected and performed within the frame of UMZF, the most important Hungarian composition competition. In 2011, he was among the winners of the one-act opera competition of the National Cultural Fund in Hungary. In 2014 and 2016 he received the Kodály Composer Grant. Zarándy has regularlyparticipated in contemporary music festivals in Hungary (Music of Our Age, Budapest Autumn Festival, Con Spirito, Béla Bartók International Choir Competition, International Bartók Seminar and Festival) and also in abroad (Gaudeamus Music Week, Ostrava Days). Many of his pieces have been performed in Austria, the Czech Republic, Finland, France, Germany, Italy, Poland, Romania, Serbia, Sweden, Turkey, the United States and Mexico.
SKU: HL.14023639
UPC: 884088814373. 8.0x12.0 inches.
The composer made this arrangement of the Third String Quartet for string orchestra in March 2003. The first performance was given by the Eos Orchestra, New York, conducted by Ken Selden in the Concert Hall, Ethical Cultural Society, New York City on 24 April 2003.Quoting composer: In the summer of 1989 I composed a choral work, Out of the Ruins, for Agnieszka Piotrowska's BBC2 documentary which dealt with the physical and emotional responses of some of the inhabitants of Leninakhan to the earthquake which devastated Armenia the previous December. When he heard the recording of the work that I made with the Holy Echmiadzin Chorus under the fervent conducting of Khoren Meykhanejian, Alex Balanescu suggested turning Out of the Ruins into a string quartet. There seemed no reason or opportunity to do this until I felt the need to add to the intensity of my experiences in Armenia the no less profound experience of witnessing the images of the Romanian revolution on television during the latter part of December 1989.Just as the structure of my Third String Quartet (1990) may connect it with the First, so they also share a debt to Thurston Dart (my professor at King's College, London, between 1961 and 1965). It was Dart who had the inspiration to send me to Romania in 1965, ostensibly to study folk music. The volumes of transcriptions that I brought back with me had remained unopened until, with this proposed 'celebratory' string quartet (though at the time it was difficult to know quite what to celebrate in postrevolutionary Romania), an occasion arose where I could use this material in what seemed to me was a non-exploitative manner. The compositional procedure was as follows: to take Out of the Ruins as a template on which the Romanian vocal or instrumental music would be superimposed, quite often stretched into new intervallic shapes through the demands of the completely pre-formed harmonic structure.