SKU: GI.G-9035

UPC: 785147903505. English. Text Source: Stream of Life, verse 69 from Gitanjali, 1912. Text by Rabindranath Tagore.

I have recently been incredibly inspired by the writings of the great Bengali mystic Rabindranath Tagore, whose monumental collection of poetry Gitanjali won the Nobel Prize in Literature in 1913. This book introduces the reader to a new awareness of the world that surrounds us, deepening the connection between nature and the human spirit that we all yearn for. Verse 69 is particularly joyful and life-affirming: an ecstatic realization of the energies that move in ceaseless ebb and flow through us, our lives, and our natural environment. Each individual line of this verse has a unique character and color, so I have placed each in a key that I feel suits the mood of the text. The constantly flowing ostinati that weave their way throughout are collectively a musical representation of the “stream of life” to which Tagore refers. This flowing line can be found even in the subdued third line of text, which makes reference to the “ocean-cradle of birth and of death.” In similar fashion, the more complex rhythmic cells found within the stream (e.g., measures 21–40) are a product of Tagore’s ecstatic tone. Ultimately this piece is simply meant to be an expression of joy. It is dedicated with great admiration to the commissioning ensemble, the Fort Myers High School Greenwave Singers, and their conductor Matt Koller. This tremendous ensemble is a prime example of choral music education in practice in the United States, and I feel honored to have been given this opportunity to work with them. —Thomas LaVoy.

SKU: XC.HRMG1830

UPC: 785147101956. Text by Rabindranath Tagore.

A heartfelt expression of thanks for guidance, this a cappella work speaks to seeking and finding a loving presence that is all around us.  This text from Rabindranath Tagore is expressively set with gently moving harmonies and a soaring optional descant or solo. You guided me all day long. Let all the strains of joy now mingle in my song.  .

SKU: CA.739400

ISBN 9790007186067. Language: English. Text: Tagore, Rabindranath.

The same stream of life for mixed choir (SSAATTBB), lyrics by Bengali poet and philosopher Rabindranath Tagore, was commissioned by the conductor of the New Dublin Voices, Bernie Sherlock. The New Dublin Voices were awarded for the piece, from the Arts Council Ireland. The piece was premiered at the Unitarian Church on Sunday 11th September 2016 in Dublin. It was performed at leading festivals and competitions including the International Chamber Choir Competition in Marktoberdorf in June 2017, and the World Symposium on Choral Music in Barcelona (July 2017).

SKU: XC.HRMG1835.5

Say not in greif that life is no more, but say in thankfulness that life was. This moving selection is for the choir looking to explore the judicious use of close harmonies within conservative vocal ranges. The text from Rabindrnath Tagore and John Donne reflects on the promise of the consolation of the afterlife. Movement 5 from Trotta's major work Light Shines in the Darkness.

SKU: HL.49018099

ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.

On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.

SKU: SU.80101484

Awake, Thou World-Filling Light! (2020), a toccata for organ, is dedicated to Jan Lehtola. The image of the world-filling light comes from the Bengali writer Rabindranath Tagore. Instrumentation: Organ Duration: 5' Composed: 2020 Published by: Zimbel Press.

SKU: HL.1473313

UPC: 196288213994.

This dynamic piece features a tenor-bass choir, a percussion ensemble with five players, and piano. The evocative text, penned by Bengali poet Rabindranath Tagore, is drawn from his collection of poems titled �??Fruit Gatherings,�?� published in 1916. It paints vivid imagery of darkness, light, and triumph over death. Serving as an exceptional contemporary piece for your tenor-bass choirs, this composition offers both excitement and challenge, with its expertly crafted symphony of percussive sounds.

SKU: XC.HRMG1835

UPC: 785147105855. English. Fiona Macleod Rabindranath Tagore John Donne Virgil Vahcel Lindsey Text Source: Elizabeth Frye. Scripture: Psalm 23, John 1 :13, Isaiah 60:1, Revelation 21:1, Isaiah :7.

Designed to be accessible for the choir looking to prepare a larger work within the constraints of limited rehearsal time, this work provides conservative ranges and straightforward rhythms that allow time to craft a more artistic performance. Cast in eight movements, this major work draws on texts that examine the many facets of death, the pain of transitions, and the hope and joy of a better place. The work is scored for choir, organ or piano, and optional string orchestra. Each of the movements is available separately; the work as a whole or as individual parts is recommended for concert or liturgical service use. Movements: 1. Do Not Stand at My Grave and Weep; 2. I Seek a Faith; 3. The Lord Is My Shepherd; 4. A Light Shines in the Darkness; 5. Death Shall Be No More; 6. I Saw a New Heaven; 7. Love Conquers All; 8. Gaelic Blessing (Deep Peace).