Format : Score and Parts
SKU: CA.4000405
ISBN 9790007057374. Key: E minor. Language: Latin/English.
The Credo belongs to that large group of church works which Vivaldi composed in Venice between 1713 and 1717 for the Ospedale della Pieta, then his primary place of employment. The composition, conceived solely for choir and strings, is characterized by a two-layered formal design: a continuous, basic motivic idea, i.e., a constant rhythmic impulse with rapid tone repetition builds an instrumental layer, while on the other hand the writing for choir renders the text in a blocklike structure in chordal declamation. This structure will only be abandoned briefly in the concluding section of work, where the text Et vitam venturi saeculi is embedded in a concise fugue. Score available separately - see item CA.4000400.
SKU: BT.EMBZ8377
English-German-Hungarian.
The idea of composing 'Games' was suggested by children playing spontaneously, children for whom the piano still means a toy. They experiment with it, caress it, attack it and run their fingers over it. They pile up seemingly disconnected sounds, and if this happens to arouse their musical instinct they look consciously for some of the harmonies found by chance and keep repeating them. Thus this series does not provide a tutor, nor does it simply stand as a collection of pieces. It is a possibility for experimenting and not for learning to play the piano.Pleasure in playing, the joy of movement - daring and if need be fast movement over the entire keyboard right from the firstlessons instead of clumsy groping for keys and the counting of rhythms - all these rather vague ideas lay at the outset of the creation of this collection. Playing - is just playing. It requires a great deal of freedom and initiative from the performer. On no account should the written image be taken seriously but the written image must be taken extremely seriously as regards the musical process, the quality of sound and silence. We should trust the picture of the printed notes and let is exert its influence upon us. The graphic picture conveys an idea about the arrangement in time of even the most free pieces. We should make use of all that we know and remember of free declamation, folk-music parlando-rubato, of Gregorian chant and of all that improvisational musical practice has ever brought forth.Let us tackle bravely even the most difficult task without being afraid of making mistakes: we should try to create valid proportions, unity and continuity out of the long and short values - just for our own pleasure! (BMC CD 139).
SKU: ST.MB33
ISBN 9790220206207.
A collection of songs by English composers of the generation following the lute-song writers, with music of the Stuart court forming an important element. This corpus of work is of interest for its typically English compromise with the new European styles of declamation and recitative.
SKU: CF.SPS26
ISBN 9780825861871. UPC: 798408061876. 9 X 12 inches.
Unforgotten Friends is a three-movement work for wind ensemble celebrating the human spirit and that which causes people to respond to adversity with acts of bravery, selflessness, compassion and generosity. It is a magnum opus for composer Sean O'Loughlin.
SKU: MN.56-0076
UPC: 688670220791. Latin.
This mass setting was commissioned by the Friends of Christ Church Cathedral, Oxford and first performed on Ascension Sunday, 1994. Suitable for both church and concert use, the music is both lyrical and dramatic. The ââ¬ÅBenedictusââ¬Â is for SATB divisi and begins with a short 6/8 declamation, then moves into a section where the rhythmic idea is set in a sort of off-the-beat fashion, with all parts divisi playing against each other. A unison section with the off-the-beat motif follows. A majestic ââ¬ÅHosannaââ¬Â follows. The ââ¬ÅAgnus Deiââ¬Â is set in a rubato triple meter in a homophonic style with close chords (also divisi.) At the ââ¬Åmiserere,ââ¬Â the choir 1/choir 2 call and response motif from the ââ¬ÅGloriaââ¬Â returns. That same motif continues into the ââ¬Ådona nobis pacem,ââ¬Â as the movement (and the entire Mass) ends with a long decrescendo into a quiet call, ââ¬ÅPacem.ââ¬Â Duration 7:33.
SKU: MN.10-438
UPC: 688670104381.
The partita is in five movements, each based on a text verse which is quoted before the movement. The first movement, smooth and flowing, depicts starlight, everlasting light, and a call to Christ. The second movement pastorale takes its cue from the text ...not as a monarch, but the child of Mary... and quotes GREENSLEEVES. The third movement is a firm declamation, At your great name...all knees must bend. The fourth movement is strong and dramatic with chromatic flourishes painting the text, ...holy might...defend us...from all assaults. The final movement is a fiery toccata over a pedal melody.
SKU: BR.CHB-3142-02
ISBN 9790004403471. 7.5 x 10.5 inches.
Palestrina's Missa Iste confessor is contained in the Missarum liber quintus, the composer's fifth book of masses which was first printed in Rome in 1590 and reprinted the following year in Venice. Palestrina dedicated this book of masses to the art-loving Duke Wilhelm V of Bavaria, the lord and patron of his famous contemporary Orlando di Lasso.The thematic substance of the mass is based on the old, eponymous hymn melody from the Commune Confessorum. The various parts of the hymn not only constitute the melodic framework for the principal themes of the different movements, but are also heard in melodic and rhythmic variations at a great number of places within the movements.The Missa Iste corifessor had been published several decades ago by Breitkopf & Hartel in a practical edition prepared by Hermann Bauerle. Our edition is based on the print of 1590, a copy of which was consulted at the Bayerische Staatsbibliothek in Munich. For today's choral practice, it seemed preferable to transpose the mass, which was originally in the eighth church mode. The note values were reduced by a half and, departing from the original, the closing notes are reproduced uniformly as longae.The Missa Iste confessor has long ranked as one of the most widely admired masses of the Roman master. The compact dimensions, the simplicity and suaveness of the melodic lines, the model vocal declamation all constitute assets which elevate this mass to an exemplary level and reveal the hand of the great master in spite of its brevity.Rudolf Ewerhart, May 1961 Munster/Westfalen.
SKU: CA.4000413
ISBN 9790007057404. Key: E minor. Language: Latin/English.
The Credo belongs to that large group of church works which Vivaldi composed in Venice between 1713 and 1717 for the Ospedale della Pieta, then his primary place of employment. The composition, conceived solely for choir and strings, is characterized by a two-layered formal design: a continuous, basic motivic idea, i.e., a constant rhythmic impulse with rapid tone repetition builds an instrumental layer, while on the other hand the writing for choir renders the text in a blocklike structure in chordal declamation. This structure will only be abandoned briefly in the concluding section of work, where the text Et vitam venturi saeculi is embedded in a concise fugue. Score and part available separately - see item CA.4000400.
SKU: MN.80-325
UPC: 688670803253. English.
The text is from The Book of Common Prayer, the music is original. A melismatic chant-like opening builds steadily to a dramatic declamation of the text Therefore let us keep the feast. Then the chant line continues softly in the accompaniment as the final alleluias are sung. The organ accompaniment is quite sufficient but can be augmented with Brass Quintet. From Mass of the Resurrection (ECS 8325).
SKU: BT.EMBZ14002
SKU: BA.BA08866-90
ISBN 9790006577200. 27 x 19 cm inches. Text: Gautier de Montdorge, Antoine-César / Bersin, Louise-Angélique.
The ballet â??Les Fêtes d'Hbâ? deals with the talents that are usually the subject of the Opra and are placed at the service of love on stage: poetry and declamation (1st entre, La Posie), song and harmony (2nd entre, La Musique) and finally dance and choreography (3rd entre, La Danse); hence the alternative title of the ballet â??Les Talents lyriquesâ?. In this ballet opera, Rameau consistently gives priority to the female roles. The prologue glorifies Hb, the goddess of youth, and her alliance with love, while â??La Posieâ? praises the poetress Sappho, who sings almost throughout, and â??La Musiqueâ? concentrates on the omnipresent princess Iphise; finally, â??La Danseâ? has as its main character the shepherdess Ã?gl, who excels in dance and song.Since the premiere, the text of the libretto has been perceived as rather unbalanced. Rameau compensates for these poetic shortcomings with musical boldness and innovations of the highest order. Be it the overture that throws Lully's model overboard, the varied choral movements such as that of the Thessalians â??Que jusqu'au fond de nos grottes profondesâ?, the virtuoso arias such as Sappho's air â??Un jour pass dans les tourmentsâ? or the magnificent monologues for Iphise and Tirte â?? the originality and beauty of the music testify to incredible ingenuity.Audio sample on Youtube
SKU: CA.966300
ISBN 9790007167684. Language: Latin.
Matsushita has conceived his setting of the Pentecost sequence entirely in the Renaissance polychoral tradition. He employs the full choir (within individual choirs divisi passages also occasionally occur) solely for magnificent sounding climaxes at conclusions, prior to these occurrences he repeatedly combines groups of voices or he allows individual choirs to sing, effectively, in alternation. This type of reduction is even carried over to quasi Gregorian passages sung by one voice in unison. The piece is tonal throughout, with occasional diatonic seasoning. The consistently homophonic setting is oriented towards the declamation of the Latin text. Melodically it is in the style of modal, Gregorian structures, without quoting the well-known sequence. A fast, rhythmically syncopated declamatory section introduces, the dramaturgically appropriate climax to the solemn conclusion, which, molto legato, returns once again with large upward swings to the text of the first strophe. Matsushita writes in a comfortable vocal range so that the work can be sung, at the same time, in both a relaxed and grandiose manner. For large choirs, even for oratorio choirs with only limited experience in a cappella singing, this piece is aptly suited for performance and the music is both grateful and brings much joy for singers.
SKU: PR.11140159M
UPC: 680160003181. Text: Kenneth Rexroth. Kenneth Rexroth. Kenneth Rexroth.
Four Songs after Rexroth is a night cycle of poems and Chinese translations by Kenneth Rexroth that were chosen so that they might present a linear, nocturnal musical experience. The first song begins in the aura of twilight, before proceeding in the next two songs into a night of innermost thoughts and remembrances. In the last song, at dawn, transfiguration and transcendence is attained. The musical settings seek to evoke the beauty, mystery, anxiety, and sadness of the texts; this leads, in the third song - the emotional crux of the cycle - to the abandoment of conventional text declamation in favor of a non-verbal expression.
SKU: CA.964200
ISBN 9790007143510. Text language: Latin.
Matsushita's composition draws on elements of the Gregorian antiphon. It begins in unison Gregorian chant, as was typical of Renaissance motets, and the beginning of new lines of text are also derived from Gregorian material. Matsushita juxtaposes a syllabic, rhythmic declamation with this melody, constantly alternating bars with even and odd numbers of beats, the octave C' - C'' constantly repeated by the outer parts and leading towards the climax at the text nomen Jesu. After ascending D major arpeggios, the central word Jesu radiates into F sharp major, the following repetition in the compass of an octave on C is more tranquil, ending peacefully with an F major chord, ppp.
SKU: MN.56-0056
UPC: 688670220593. Latin.
Arranged for SATB choir, two keyboards, strings, and optional harp, with soprano, tenor (optional) and baritone soloists, this fresh and unorthodox interpretation reflects on the words of the Latin Mass by juxtaposing them with poems in English. Like movement 2, also called ââ¬ÅRevelation,ââ¬Â this movement is a rapid, homophonic declamation of the Latin text set for SATB and accompaniment. The music is a dynamic crescendo from pianissimo to fortissimo, painting the text. Duration 1:18.
SKU: CA.4000449
ISBN 9790007245108. Key: E minor. Language: Latin/English.
SKU: PR.111401600
UPC: 680160003204. Text: Kenneth Rexroth. Kenneth Rexroth. Kenneth Rexroth.
Four Songs after Rexroth is a night cycle of poems and Chinese translations by Kenneth Rexroth that were chosen so that they might present a linear, nocturnal musical experience. The first song begins in the aura of twilight, before proceeding in the next two songs into a night of innermost thoughts and remembrances. In the last song, at dawn, transfiguration and transcendence is attained. The musical settings seek to evoke the beauty, mystery, anxiety, and sadness of the texts; this leads, in the third song - the emotional crux of the cycle - to the abandonment of conventional text declamation in favor of a non-verbal expression.