Format : Octavo
SKU: CF.CM9778
ISBN 9781491164495. UPC: 680160923403. Key: D major. Latin. Traditional Latin.
The text of Exsultate Justi in Domino compels the singer to sing with gladness and joy. Many choral compositions feature this text and it is often used in religious settings on feast days such as Easter and All Saints Day. The joyful conversation of the text is especially apparent in the middle section of this piece, as each phrase with one voice part, followed by the other voice part quickly echo and join together for the end of the phrase.With a chorus as catchy as this, students and teachers alike will likely find the melody playing over and over in their heads long after the concert!Latin vowels are pure, meaning there are no diphthongs:A=AW  E=EH   I=EE   O=OH (with AW color) U=OOUPPER CASE syllables should receive more stress than those that are lower case.Exsultate               justi     in    Domino,EHk-zool-TAW-teh  YOO-stee een DOH-mee-nohRejoice, you righteous ones, in the Lord, Alleluia!aw-leh-LOO-yawPraise the Lord! Rectos       decet          collaudatio.REHK-tohs  DEH-cheht  KOH-lAWoo-DAW-tsee-ohIt is fitting for the upright ones to give praise. Confitemini                   Domino,KOHN-fee-TEH-mee-nee  DOH-mee-nohAcknowledge the Lord,Cantate            hodie,      canticum          novum.kawn-TAW-teh  OH-dee-eh KAWN-tee-koom NOH-voomSing a new song to him today. from Psalm 32:11; Psalm 33: 1-3.
SKU: HL.35006236
UPC: 747510066248. 6.75x10.5 inches.
This new edition of “Exsultate lusti in Domino” was prepared from Denkmaler der Tonkunst in Osterreich. An excellent example of eighteenth-centuray choral writing, this work is a wonderful teaching tool as well as an impressive performance piece. The double choir effect of women and men creates a rich texture, which routinely alternates between major and minor modes. The result is a complex sounding, yet only moderately difficult work, accessible to high school, college, and church choirs.
SKU: CA.965400
ISBN 9790007164898. Language: Latin.
Reflecting the psalm text, the composer Matsushita constantly finds new ways of expressing the praise of God. In the swinging rhythm of the 6/8 meter, with its dotted rhythms full of brio and binary pulse in counterpoint, with flashing dissonances through the almost oriental use of chromatic intervals, with sharply juxtaposed bitonal chords, and with the consonant-rich text, rapidly sung, the composer achieves an impressive, virtuoso showpiece which accomplished choirs can use to show off the full range of their abilities. Along the way Matsushita never writes unnecessarily complicated music, but music which is always based on his own practical experience as a choral director. In a rondo-like form he finds a parallel for the repetitions of unceasing praise. Matsushita sets the text syllabically throughout, but uses its tonal colors to give character to the individual sections. For example, the fanfare-like opening motif alternates with a crescendo section, which draws its energy from the contrast between declamatory vocal parts over a pedal point in diminished and augmented leaps of a third, fourth and fifth. Voice range: S: c' - b'' / A: asdeg - e'' / T: cdeg - gis' / B: F- e'.
