Lamentate

SKU: HL.14017467

UPC: 884088814069. 0.06 inches. Lyrics by William Shakespeare.

The set of parts for the updated version of Miranda's Lament. Composed in 1997 and revised in 2000, the piece is part of 'The Tempest Songbook' and was dedicated as a birthday present for Paavo Heininen. The score for this edition is available with catalogue number CH69938-01. The score and parts for Saariaho's original 1997 edition are also available using catalogue numbers CH61440 and CH61440-01 respectively.

SKU: HL.35029350

UPC: 884088955731. 5x5 inches.

Uses: Good Friday, Holy Week

Scripture: Isaiah 53:3; John 1:11; Matthew 26:21-22; John 3:16-17; Galatians 2:20

A moving choral lamentation for the crucified Christ is presented in this anthem for Good Friday. From the shadows of Golgotha, this poignant paean weeps with emotion through expressive music and cries of “Kyrie Eleison.” The anthem is dependent on two soloists that soar above the dramatic choral. The classic chorale “Ah, Holy Jesus” is a sensitive ending to the piece. StudioTrax CD has 3 tracks - Accompaniment, Split, Performance.

SKU: HL.14004445

ISBN 9788759881170. 9.5x14.25x0.078 inches. Danish.

Bent Sorensen THE BIRDS OF LAMENTMany years ago I heard the Irish myth about the Bird of Lament, the bird whose cries at night augur the death of a sailor at sea. My piece is full of 'lamento' whereas traces of birds only occur sporadically.'The Birds of Lament' is the third piece in my trombone trilogy which also contains 'The Bells of Vineta' for trombone solo and 'Birds and Bells' for trombone and ensemble.The piece was written for the Ensemble L'Itiniraire as a commission from the Gulbenkian Foundation.Bent Sorensen.

SKU: GI.G-6115

English. Text Source: Based on the Lamentations of Jeremiah. Text by Timothy Valentine. Scripture: Lamentations 2:2, 10–14, 18–19.

For cantor or soloist. Piano or guitar. Flute or cello. Wooden flute is preferred.

SKU: CF.CM9718

ISBN 9781491160978. UPC: 680160919574. Key: D major. English. Manmohan Ghose.

Manmohan Ghose was a professor, poet, and brilliant scholar from Eastern India in the late 19th century. He was educated in London, and was one of the first poets originally from India to publish poetry in English. A Lament is one of his earliest published poems; it progresses with vivid, scenic language from lullaby to permanent goodbye. Much later in life, Manmohan experienced a series of family tragedies that gave him a unique perspective on grief. After returning to India to mourn his father's death and eventually the passing of his wife, he never again made it back to England as he had wished to before his own death. The text of this piece has been paired with a mixolydian modal structure and a blend of musical elements designed to invoke a nostalgic, dream-like atmosphere. In the words of the composer: I like to think of this piece as a metaphorical hall of mirrors. The original 'image' of the melody becomes the source for multiple echoes and imitations that blossom into layers of polyphonic movement. As a nod to the poet's birth place, notes reminiscent of the kan-swar grace note technique of Hindustani classical music add ornamental interest to the piano and voices. This piece functions as an excellent educational introduction or further study into the concept of modes. When presenting this piece to a choir, directors may find it helpful to identify G as the tonal center and follow up with an explanation that G mixolydian has the same key signature as the key of C, because it naturally has no sharps or flats.
Manmohan Ghose was a professor, poet, and brilliant scholar from Eastern India in the late 19th century. He was educated in London, and was one of the first poets originally from India to publish poetry in English. “A Lament” is one of his earliest published poems; it progresses with vivid, scenic language from lullaby to permanent goodbye. Much later in life, Manmohan experienced a series of family tragedies that gave him a unique perspective on grief. After returning to India to mourn his father’s death and eventually the passing of his wife, he never again made it back to England as he had wished to before his own death. The text of this piece has been paired with a mixolydian modal structure and a blend of musical elements designed to invoke a nostalgic, dream-like atmosphere. In the words of the composer: “I like to think of this piece as a metaphorical hall of mirrors. The original ‘image’ of the melody becomes the source for multiple echoes and imitations that blossom into layers of polyphonic movement.” As a nod to the poet’s birth place, notes reminiscent of the kan-swar grace note technique of Hindustani classical music add ornamental interest to the piano and voices. This piece functions as an excellent educational introduction or further study into the concept of modes. When presenting this piece to a choir, directors may find it helpful to identify G as the tonal center and follow up with an explanation that G mixolydian has the same key signature as the key of C, because it naturally has no sharps or flats.