SKU: LP.AN-2646
ISBN 0834192306.
SKU: LO.30-2351L
UPC: 000308221664.
Instr umentation: Flute, Oboe, Clarinet, Bassoon, F Horn, 2 Trumpets, 2 Trombones, Tuba, Harp, Percussion, Timpani, Violin 1 & 2, Viola, Cello, Bass.
SKU: LP.OR-2257
SKU: AU.978-1-5064-8489-1
ISBN 9781506484891. 7 x 10.25 inches.
Thom Pavlechko groups three of his new hymns into a creative and flexible collection for choir, congregation, keyboard, and instruments. These short hymns can be repeated several times with voices and instruments gradually added with each repetition. Hymns include Calm to the Waves (ELW), In the Peace of God Find Rest (ACS), and Seek First God's Kingdom._x000D_.
SKU: MN.50-6126
UPC: 688670561269. English. Micah 6:6-8; Matthew 6:33.
This is the kind of piece that might sound more difficult than it is. Michael Trotta employs an economy of choral writing: The SATB parts are sometimes unison, move often by steps, are repeated in the outer sections, and have only occasional divisi in the treble voices. The text is an innovative combination of Old and New Testament passages, put in a question-and-answer format with the question sung in a subdued matter and the answer intensifying in range, complexity, and volume. The piano and flute parts flow more quickly than the voices—save for a short, contrasting middle section—and provide an underlying momentum to this expressive work. Duration: 4:30.
SKU: MH.0-931329-53-1
ISBN 9780931329531.
Jour ney back to ancient Greece and view a place of long-gone legend. Follow the trail to the Kingdom of Ithaca, from the heroic palace, to a place of tranquility, to a reckless dance of abandon, to the return of Odysseus. The melodic material used in 200 B.C. is from a two thousand year old Greek hymn to Apollo. The legendary adventures of Odysseus as described by Homer in the Odyssey (ca. 700 B.C.) provide the programmatic material. The music is freely based upon the First Delphic Hymn (or Paen to Apollo), composed ca. 200 B.C. The source is a transcription appearing on pages 363 - 367 of Ancient and Oriental Music, Edited by Egon Wellesz (Oxford University Press: London, 1957). Each movement of the work depicts a key event in the epic Homeric poem, as described below. Movement I: Intrada - The first four notes of this movement, C - Bb - G - Bb, are the melodic and harmonic foundation for the entire work. These pitches, introduced in a simple and direct manner, are subsequently developed in more complex fashions throughout the suite. Following this stately introduction is a militaristic fanfare that introduces the dotted-eighth and sixteenth-note figure later reprised in the second and fourth movements. Indeed, all the musical ideas which will be central to the remaining movements first appear in the Intrada. This movement depicts the grandeur of Odysseus and his kingdom in Ithaca, and establishes the heroic mood of the entire work. Movement II: Ballad - After a brief restatement of the opening dotted-eighth-and-sixteen th fanfare, the second movement extracts the falling third (Bb to G) from the C - Bb - G - Bb motif and extends it and expands it into a haunting solo for alto saxophone. The C - Bb - G - Bb motif appears again (see measures 23 - 33 in trumpets) as counterpoint to this melody, now pulsing through the thick texture of the band. Many performers have come to view the Ballad as the emotional epicenter of the entire suite; my conception of the Ballad is to achieve a union of pathos and strength. Programmatically, this movement depicts Odysseus's son, Telemachos, as he both longs for Odysseus's return and stoically defends his father's kingdom. Movement III: Dance - It will take Odysseus twenty years to return to Ithaca. During his absence, noblemen besiege his palace, violating the sanctity of the household and seeking the hand of his wife, Penelope. This movement depicts the wanton revelries that result. The original four-note motif is chromatically altered and the meter is made irregular. The rapid tempo, driving percussion, and angular meter and melodies combine in an explosion of reckless abandon. Movement IV: March Building from a delicate woodwind ensemble accompanied by finger cymbals to a fully orchestrated statement replete with thundering percussion, this is a resounding march of victory. Odysseus has returned in triumph to restore dignity to his household and to reclaim the throne of the Kingdom of Ithaca. Ensemble instrumentation: 1 Piccolo, 8 Flute 1 - 2, 2 Oboe 1 - 2, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 1 Eb Alto Clarinet, 3 Bb Bass Clarinet, 2 Bassoon 1 - 2, 3 Eb Alto Saxophone 1, 3 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 F Horn 1-2, 2 F Horn 3-4, 2 Trombone 1, 2 Trombone 2, 2 Trombone 3, 3 Euphonium (B.C.), 2 Euphonium T.C., 4 Tuba, 1 Timpani, 2 Mallet Percussion: Bells, Xylophone, 2 Percussion 1: Snare Drum, Tambourine, 2 Percussion 2: Crash Cymbals, Suspended Cymbal, Tom-Tom, Finger Cymbals, 1 Percussion 3: Bass Drum.
SKU: CA.401000
ISBN 9790007006563.
SKU: HL.48025377
UPC: 196288194385.
This short but beautifully crafted motet for upper voices was composed for the combined girls choirs of Godolphin & Latymer School whilst Kerensa Briggs was Composer in Residence there in 2019. The well-known biblical text (Matthew 6: 33–4), often used as a hymn,is set with a reflective character in a largely homophonic texture using the composer's signature rich harmonies. Essentially in three parts, there is further division which adds colour and expression. Suitable for intermediate upper voice choirs looking to expand their repertoire and bring new life to a familiar text.
SKU: JK.01461
Joseph Smith--History 1:14-20, 25, James 1:5.
Peaceful anthem for mixed chorus (SATB) and piano, relating the story of Joseph Smith's First Vision, with original words and music: If you seek wisdom, come unto God's throne and kingdom. He will hear your sweet entreaty, if you ask with faith complete. Composer: Robert Millett Lyricist: Robert Millett Difficulty: Medium Performance time: 2:53Reference: Joseph Smith--History 1:14-20, 25, James 1:5.
