SKU: BT.DHP-1094785-070
ISBN 9789043132206. 9x12 inches. English-German-French-Dutch.
In this composition Peter Kleine Schaars transforms a chorale into a selection of jazz styles.Instrumentation: 1x Clarinet E b, 4x B Clarinets, 1x Alto Clarinet, 1x Bass Clarinet, 1x Contra-Bass (opt.) Eine Originalkomposition, in der ein Choral in Jazz-Stile transformiert wird. Besetzung:1 x Klarinette in Es4 x Klarinette in B1 x Altklarinette1 x Bassklarinette1 x Kontrabassklarinette (opt.).
SKU: CA.3135100
ISBN 9790007181598.
In good time for the Reformation anniversary year 2017, this edition offers four distinctive movements from Johann Sebastian Bach's Reformation cantatas in arrangements for choir and organ. From the cantata Ein feste Burg ist unser Gott BWV 80 the ornate opening chorus, the fifth movement Und wenn die Welt voll Teufel war, with its impressive musical depiction of the battle between heavenly and evil powers, and the final chorale Das Wort sie sollen lassen stahn are included. These are joined by the festive chorale Nun danket alle Gott from the Reformation cantata Gott der Herr ist Sonn und Schild BWV 79. The transcription of Bach's orchestral writing for organ offers performers plenty of opportunity for artistic interpretation, and enables the movements to be performed in an attractive way even with limited resources.
SKU: HL.14019014
ISBN 9788759863732. Danish.
Per Norgard LIBRALIBRA was originally a commission-work for guitar, but during the compositional process a vocal part was liberated from the musical material, a part which could be provided with words from the Rudolf Steiner's poem Libra. Gradually two choruses and ten movements were created around this part and texts from David's Psalms were added.LIBRA is one of the most characteristic works in the row of the composer's hierachic music works: Slow and rapid versions of the same melodies, series of accords are coupled in continuously new constellations but always based in harmony. This is only possible because of the hierachic nature of this music.Per Norgard.
SKU: HL.14023411
ISBN 9788759866191. 10.25x14.5x0.083 inches. Danish.
3 Hymniske Ansatser (3 Hymnic Dispositions) for mixed choir SATB was composed by Per Norgard in 1985-86. The work consists of music composed to 3 poems, e.g. Gunnar Ekelof 'Komposition (Composition), Thoger Larsen 'Strandvalmue'('Beach Poppy') Rainer Maria Rilke 'Die Parke'('The Parks') Programme note Just as the three movements in their succession move from the sea (Ekelof), across the beach (Larsen) and into the country, to the parks (Rilke), in an analogous way each of the three movements in their point of departure is hymnic in character - but later on moves into the more varied and complex tone paths of the inner regions of themind. 3 Hymniske Ansatser (3 Hymnic Dispositions) is sung in Swedish (1. Komposition”, Gunnar Ekelof), in Danish (2. Strandvalmue”, Thoger Larsen) and in German (3. “Die Parke”, R.M. Rilke). The work could be performed in a programme with 'Prelude to Breaking', performed after this instrumental piece. Per Norgard .
SKU: CF.CM9585
ISBN 9781491154076. UPC: 680160912575. 6.875 x 10.5 inches. Key: G major. English. Original.
Good friends see the best in us. They tend to downplay our faults while applauding our strengths. In short, they encourage us to be the best we can be, maybe even a little more. The text of Paint Me was born out of the desire to be that person my best friend thinks I am. To Mary Jo, my sister and best friend. May I really be that person you see and love. In setting the text of Paint Me to music, I tried to let the cadence of the words dictate the rhythm of the music. Use rubato, word stress and syllabic stress to enhance this. Remember, no two eighth notes are alike, so dont be afraid to let the interior part of a phrase move along, while relaxing the beginning and ending. I would recommend a straight tone as opposed to vibrato for the held notes, since the accompaniment plays around with other harmonies while choral chords are being held. Diction is so important in this song. You have a great opportunity to paint the words, as well as making every idea understood. Enjoy adding the color and shading to make this piece of art your own.Good friends see the best in us. They tend to downplay our faults while applauding our strengths. In short, they encourage us to be the best we can be, maybe even a little more. The text of Paint MeA was born out of the desire to be that person my best friend thinks I am. To Mary Jo, my sister and best friend. May I really be that person you see and love. In setting the text of Paint Me to music, I tried to let the cadence of the words dictate the rhythm of the music. Use rubato, word stress and syllabic stress to enhance this. Remember, no two eighth notes are alike, so donat be afraid to let the interior part of a phrase move along, while relaxing the beginning and ending. I would recommend a straight tone as opposed to vibrato for the held notes, since the accompaniment plays around with other harmonies while choral chords are being held. Diction is so important in this song. You have a great opportunity to apainta the words, as well as making every idea understood. Enjoy adding the color and shading to make this piece of art your own.Good friends see the best in us. They tend to downplay our faults while applauding our strengths. In short, they encourage us to be the best we can be, maybe even a little more. The text of Paint Me was born out of the desire to be that person my best friend thinks I am. To Mary Jo, my sister and best friend. May I really be that person you see and love. In setting the text of Paint Me to music, I tried to let the cadence of the words dictate the rhythm of the music. Use rubato, word stress and syllabic stress to enhance this. Remember, no two eighth notes are alike, so don't be afraid to let the interior part of a phrase move along, while relaxing the beginning and ending. I would recommend a straight tone as opposed to vibrato for the held notes, since the accompaniment plays around with other harmonies while choral chords are being held. Diction is so important in this song. You have a great opportunity to paint the words, as well as making every idea understood. Enjoy adding the color and shading to make this piece of art your own.Good friends see the best in us. They tend to downplay our faults while applauding our strengths. In short, they encourage us to be the best we can be, maybe even a little more. The text of Paint Me was born out of the desire to be that person my best friend thinks I am. To Mary Jo, my sister and best friend. May I really be that person you see and love. In setting the text of Paint Me to music, I tried to let the cadence of the words dictate the rhythm of the music. Use rubato, word stress and syllabic stress to enhance this. Remember, no two eighth notes are alike, so don't be afraid to let the interior part of a phrase move along, while relaxing the beginning and ending. I would recommend a straight tone as opposed to vibrato for the held notes, since the accompaniment plays around with other harmonies while choral chords are being held. Diction is so important in this song. You have a great opportunity to paint the words, as well as making every idea understood. Enjoy adding the color and shading to make this piece of art your own.Good friends see the best in us. They tend to downplay our faults while applauding our strengths. In short, they encourage us to be the best we can be, maybe even a little more. The text of Paint Me was born out of the desire to be that person my best friend thinks I am.To Mary Jo, my sister and best friend. May I really be that person you see and love.In setting the text of Paint Me to music, I tried to let the cadence of the words dictate the rhythm of the music. Use rubato, word stress and syllabic stress to enhance this. Remember, no two eighth notes are alike, so don’t be afraid to let the interior part of a phrase move along, while relaxing the beginning and ending. I would recommend a straight tone as opposed to vibrato for the held notes, since the accompaniment plays around with other harmonies while choral chords are being held. Diction is so important in this song. You have a great opportunity to “paint†the words, as well as making every idea understood.Enjoy adding the color and shading to make this piece of art your own.
SKU: SU.91480570
Text: Angier Brock.
SATB Chorus, Organ Duration: 7' Text: Angier Brock Composed: 2010 Published by: Subito Music Publishing YouTube: Ms. Brock’s moving poem is lyrical throughout. Even in its beautiful originality, the poem invokes The Book of Common Prayer and biblical scripture (the latter through references to dust and breath from Genesis 2 to the final line of the poem invoking the opening of Psalm 62). Ms. Brock’s poetry is also filled with wonderful twists on traditional texts (such as in the creative and reverse naming of the Trinity in speaking of Inventing Wind, Generous Christ, and Luminous God). Musically, the main melodic material of the piece is immediately heard on a solo organ color accompanied by organ strings over a recurring pedal pulse on the pitch C. The chorus soon enters with the first stanza of the text. As this stanza unfolds, the harmony starts to gradually change as the pulsing pedal rhythm begins to move upward by step. An organ interlude, reflective of the opening introduction, soon emerges (though now over a C-sharp recurring pedal pulse), and leads to a similar choral setting as found in stanza one. As the poem’s second stanza moves forward, it eventually folds into the more harmonically rich stanza three. A fast, dance-like section evolves at Inventing Wind, what a lively dance your energy creates! eventually bringing the work to its climax point. The spirit of dance soon subsides and leads to a quiet and gentle close on the words …for you alone my soul in silence waits. Minimum order quantity: 8 copies. To order quantities fewer than 8, please email customer service at sales@subitomusic.com.
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.
