SKU: HL.14009823
English.
The biblical easter story retold with seven new songs and a whole tone instrumental piece. Suitable for Key Stages 2 and 3, for performance in schools and churches. If you need to license a school/youth theatre performance of this product, please use the online application form.
SKU: CA.3100613
ISBN 9790007041755. Key: C minor / g minor. Language: German/English.
Bac h composed the cantata Stay with us, for it draws on toward evening BWV 6 for Easter Monday 1725. In fact, it is certain that a chorale cantata had been planned for that feast day, but for some unknown reason, the annual cycle of chorale cantatas broke off just before Easter 1725. For BWV 6, Bach fell back on a text by an author whose texts he had already set numerous times in his first Leipzig annual cycle of cantatas (which are conspicuous by their ever constant structure and use of two chorale settings). From the gospel for Easter Monday, the story of the Emmaus disciples, only the disappearing daylight and the fear of being left alone are made the subject of discussion. A truly magnificent choral movement opens the cantata. The first chorale for soprano and violoncello piccolo, which Bach later included in his Schubler-Chorale, is also well-known outside of the cantata. Score and part available separately - see item CA.3100600.
SKU: CA.3100614
ISBN 9790007041762. Key: C minor / g minor. Language: German/English.
SKU: CA.3100609
ISBN 9790007041724. Key: C minor / g minor. Language: German/English.
Bac h composed the cantata Stay with us, for it draws on toward evening BWV 6 for Easter Monday 1725. In fact, it is certain that a chorale cantata had been planned for that feast day, but for some unknown reason, the annual cycle of chorale cantatas broke off just before Easter 1725. For BWV 6, Bach fell back on a text by an author whose texts he had already set numerous times in his first Leipzig annual cycle of cantatas (which are conspicuous by their ever constant structure and use of two chorale settings). From the gospel for Easter Monday, the story of the Emmaus disciples, only the disappearing daylight and the fear of being left alone are made the subject of discussion. A truly magnificent choral movement opens the cantata. The first chorale for soprano and violoncello piccolo, which Bach later included in his Schubler-Chorale, is also well-known outside of the cantata. Score and parts available separately - see item CA.3100600.
SKU: CA.3100611
ISBN 9790007041731. Key: C minor / g minor. Language: German/English.
SKU: CA.3100612
ISBN 9790007041748. Key: C minor / g minor. Language: German/English.
SKU: GI.G-3087
SKU: GI.G-7797CD
UPC: 785147779728. English, Latin.
The cornerstone of your choral library Compiled from GIA's best sellers and newer gems, each volume in the CHORAL ESSENTIALS series highlights a particular season and includes pieces in a variety of styles, voicings, and instrumentation.   Invaluable as a planning tool…    …affordable enough to purchase copies for your entire choir!  Included in this edition: G-3064 Pentecost Psalm - Richard Proulx G-3915 Send Down the Fire - Marty Haugen G-4433 That Easter Day - Burton Bumgarner G-5133 Concertato on Go to the World! - Ralph Vaughan Williams, arranged James Chepponis G-5272 Come, Holy Spirit - Christopher Tye, edited William Tortolano G-5420 Alleluia, Christ Is Risen - Carol Browning G-5576 Two Songs for Easter: Surrexit Christus and Jubilate, Servite - Taizé Community G-5630 Let in Joy This Easter Day - Peter Niedmann G-5650 Neither Death nor Life - Marty Haugen G-6139 Psalm and Gospel Acclamation for Easter: This Is the Day - Stephen Pishner G-6266 Easter Days - Alice Parker G-6665 Concertato on Christ Is the World's Redeemer - John Ferguson G-6951 Rise to Sing! The Light Is Breaking - William P. Rowan, arranged Carlton R. Young G-6952 Go Out - Ian Callanan G-7307 This Is the Day - Chris de Silva  .
SKU: HL.14021104
UPC: 884088433321. 9.75x13.75 inches.
The composer writes: Pilgrim was inspired, it will be no surprise to learn, by reading Bunyan's Pilgrim's Progress - Vaughan Williams's great opera on the subject had fascinated me from its first performance, yet it was a long time before I caught up with this essential item in any well-stocked library of English classics. It made a great impression, not least because of its theme of a journey of self-discovery, and a rediscovery or renewal of faith. These are ideas which have a strong interest for me, not in religious terms but in their application to every aspect of human life (including great journeys), and this piece reflects my response in musical terms to this concern. The tempo of the whole piece, which lasts about 18 minutes, is basically slow. There are two quick episodes, but these act somewhat like the trio sections of a classical scherzo, save that the tempo relationships are inverted (the classical trios would have been slower, not quicker) and the canvas is much larger, being that of a single, substantial, slow movement. The form of the whole is perhaps fantasia-like rather than having any relationship to classical forms such as sonata or rondo - some motifs and themes are varied as the work develops, and the opening chords are of primary importance throughout the work. There has been no attempt to convey any pictorial elements deriving from Bunyan's great book. There is, however, one feature which, upon completion of the score, struck me with some force, which is that almost all the thematic material is essentially striving upwards - there is a constant upward movement (sometimes over a lengthy period) throughout the work. Pilgrim was commissioned by the Luton Music Club for the Raphael Ensemble with funds provided by the Eastern Arts Board and Bedfordshire County Council, and is dedicated to the Luton Music Club. The first performance was given in Luton on February 10th 1997 and followed, as part of a joint scheme, by performances in the same week at the Music Clubs of Bedford and Leighton Buzzard.
