Tuba Mirum

SKU: SU.90810191

SATB chorus (divisi); picc, 2fl, 2ob, 2cl, 2bn; 2hn, 2tpt, 2tbn, tba; timp, 4perc; strings Duration: 55' Study Score: available for sale (#90810190) Full Score & Parts: available on rental Composed: 2004 Published by: Subito Music Publishing Galbraith's Requiem is a masterpiece that had the audience members on their feet at the end, cheering with tears in their eyes. —Pittsburgh Tribune-Review ...a piece with universal appeal. Its seven sections included the powerful chords of the Tuba Mirum and a tender Lacrimosa, indicating the scope and breadth of Galbraith's vision in a work that built, movement by movement, a contemporary spiritual connection. —Pittsburgh Post-Gazette.

SKU: AP.48280

UPC: 038081551036. English.

PianoTrax 12 CD contains accompaniment tracks for the following choral publications: Are You Proud of Me? * The Bicycle * Carnival of the Animals: Choral Set I * Clap Your Hands! * The Cloud * Dandelion Child * Desperta Ferro! * Dixit Dominus * Dona Nobis Pacem * Enter with Song! * Follow the Drinking Gourd * Friendship Canon * Gaudeamus Hodie * Gloria in Excelsis Deo * Grow Your Garden * Hava Nagila (Let Us Rejoice) * Hodie * I Lift My Lamp * In the Bleak Midwinter * Lovely Rainbow * Marvelous, Magical World * Music Is . . . * O Wind * One Can Hear the Falling Snow * Out of the Silence * The Road Not Taken * Ständchen * Tuba Mirum * The Turtle Dove * Twilight * Un Poquito Cantas * Vanitas Canon * Words of Wisdom.

About Alfred Choral Designs

The Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.

SKU: CA.5165214

ISBN 9790007313876. Key: D minor. Latin.

The English conductor and composer Howard Arman has presented us with a completed version of Mozart’s Requiem. “Another one?” you might ask, since this publication is only the latest in a long line reaching back to the traditional Süßmayr version. Yet such is the enormous power of Mozart’s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Arman’s additions to Mozart’s great original show the requisite care and respect while incorporating many new insights.

Arman’s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozart’s brilliant composing style: The masterly compositional technique, the search for innovative solutions to every problem, and even the terse treatment of the text with extremely suggestive harmonies. All of this leads to a number of new listening experiences. In the Tuba mirum, for example, we enjoy a warm, cohesive ensemble sound, supported by the bassoons, which depart from the bass line. The Confutatis presents a quite different picture: Even the basset horns are drawn down into the infernal depths. This effect is reinforced by the independence of the trombones; rather than simply following the choral parts, the instrument’s unique sound is given an opportunity to shine. Arman’s Lacrimosa achieves a lively Mozartian feel by granting the voices considerable freedom rather than following a rigid pattern. And he concludes the movement with a fugal Amen, whereby the focus is not so much on the counterpoint itself, but rather – in the spirit of Mozart – on creating a sense of drama and illuminating the theme in all its possible facets. Mozart’s fragment ends with the Hostias, and so does Arman’s completion.

For the four following movements (Sanctus to Communio) we have nothing from Mozart, and so here, where the master is silent, Arman finally returns to Süßmayr, the man who was closest to Mozart at the time of his death and whose efforts to fill the blank manuscripts still garner our respect today.

Arman’s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike – and celebrated as offering a scholarly, entirely fresh perspective on Mozart’s masterpiece.

- World premiere by the Bavarian Radio Choir
- Enthusiastically received by audience and press.

SKU: CA.5165209

ISBN 9790007313838. Key: D minor. Latin.

The English conductor and composer Howard Arman has presented us with a completed version of Mozart’s Requiem. “Another one?” you might ask, since this publication is only the latest in a long line reaching back to the traditional Süßmayr version. Yet such is the enormous power of Mozart’s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Arman’s additions to Mozart’s great original show the requisite care and respect while incorporating many new insights.

Arman’s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozart’s brilliant composing style: The masterly compositional technique, the search for innovative solutions to every problem, and even the terse treatment of the text with extremely suggestive harmonies. All of this leads to a number of new listening experiences. In the Tuba mirum, for example, we enjoy a warm, cohesive ensemble sound, supported by the bassoons, which depart from the bass line. The Confutatis presents a quite different picture: Even the basset horns are drawn down into the infernal depths. This effect is reinforced by the independence of the trombones; rather than simply following the choral parts, the instrument’s unique sound is given an opportunity to shine. Arman’s Lacrimosa achieves a lively Mozartian feel by granting the voices considerable freedom rather than following a rigid pattern. And he concludes the movement with a fugal Amen, whereby the focus is not so much on the counterpoint itself, but rather – in the spirit of Mozart – on creating a sense of drama and illuminating the theme in all its possible facets. Mozart’s fragment ends with the Hostias, and so does Arman’s completion.

For the four following movements (Sanctus to Communio) we have nothing from Mozart, and so here, where the master is silent, Arman finally returns to Süßmayr, the man who was closest to Mozart at the time of his death and whose efforts to fill the blank manuscripts still garner our respect today.

Arman’s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike – and celebrated as offering a scholarly, entirely fresh perspective on Mozart’s masterpiece.

- World premiere by the Bavarian Radio Choir
- Enthusiastically received by audience and press.

SKU: AP.48286

UPC: 038081551098. English. Sally K. Albrecht.

One of the most dramatic Latin texts from the Requiem Mass, powerfully rendered! The minor melody gradually unfolds before being traded antiphonally between voices. Optional trumpet and snare drum parts heighten the mood. Riveting in any voicing.

SKU: CA.2730800

ISBN 9790007254667. Latin.

Verdi's Requiem is one of those works that almost every choir would like to have sung (at least) once. This arrangement for chamber orchestra means that smaller choirs and choirs with more limited space or financial means also now have the opportunity of performing this popular work. The scoring, with seven different wind and brass instruments (flute, oboe, clarinet, bassoon, horn, trumpet, and trombone) plus strings, timpani and bass drum, guarantees a wide dynamic range and a nuanced sonority. The four offstage trumpet parts can be played either as in the original, reduced to two trumpets, or even omitted. The relevant passages in the Tuba mirum also contain ossia passages for the orchestral brass, so that they can play their parts in performance without the need for offstage trumpets. All the vocal parts (soloists and chorus) are identical to the original version, so the vocal score, vocal score XL, and chorus scores of the existing Carus edition can be used by the chorus.
Michael Betzner-Brandt's successful arrangement of the Requiem (Carus 27.303/50) radically reduces the scoring to five instrumentalists and transfers the work to a different sonority, but in the arrangement by Joachim Linckelmann the symphonic character is retained.

*wind and brass parts reduced to just seven single instruments
*maximum flexibility in the use of offstage trumpets
*vocal scores and chorus scores from the original version can be used
*carus plus: the work (original version) is available in carus music, the choir app, and in the practice series Carus Choir Coach.