Matériel : Vocal Score
Uses: General Hymn Arrangement Reformation Scripture: Numbers 12:6; Psalm 16:5-8; Psalm 61:1-5 This sensitive setting of a beloved Irish hymn is truly a worshipful experience. A contrasting a cappella section adds interest and emotional depth while optional use of harp and cello brings the concept to a beautiful level of expressivity. It is a work that your choir and congregation will ask for again and again and we are proud to offer this best-selling anthem in a variety of new voicings.Stunning! Instrumental parts (vc hp) available as a digital download.
SKU: OU.9780193413092
ISBN 9780193413092. 12 x 9 inches.
For SATB and small orchestra Full score for John Rutter's anthem of haunting simplicity and rich orchestral colours.
About John Rutter Anniversary Edition
Th e John Rutter Anniversary Edition celebrates the 70th birthday of one of Britain's leading composers and the 30th anniversary of his choir, The Cambridge Singers. Featuring mainly earlier pieces from the composer's catalog, this series presents seminal works for mixed chorus in brand new editions and with accompanying notes on both the music and performance, written by the composer himself. The Anniversary Edition provides the most comprehensive and authoritative performance materials (including full scores and parts) for over 30 of the composer's favorite anthems, carols, and songs.
SKU: HL.49046475
ISBN 9781705102701. UPC: 842819108702. 7.5x10.75x0.05 inches.
Mother Teresa liked to surprise people she met by giving them a small card printed with five concise sentences instead of a calling card. The brief text on the card beginning with the line “The fruit of silence is prayer†was a summary of her vision of devout, peace-promoting philanthropy in poetical form. In 2013, I created a musical setting of Mother Teresa's “Prayer of Peace†which was commissioned by the Schleswig-Holstein Music Festival for mixed choir a cappella (C 55851) in the form of a densely woven elegiac sound stream. Slightly later, I extended the work to produce a version with piano (C 56345) which in turn became the basis for a setting scored for mixed choir with string orchestra which was first performed in Riga in October 2014. In 2015, the versions for piano quintet (ED 22450) and string quartet (ED 22723) also permitted my musical setting of Mother Teresa's words to be performed without choir in two traditional genres of chamber music. The current published version for mixed choir and organ extends the work series through a further conventional scoring.
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.