200 New Last Verses

SKU: CF.CM9625

ISBN 9781491156988. UPC: 680160915545. 6.875 x 10.5 inches. Key: Bb major. English, English. William Butler Yeats.

The Everlasting Voices is the perfect blend of textural variety and harmonic interest for the advanced treble ensemble. Employing a powerful text, Baas' vocal layering coupled with piano and optional cello make this compelling piece a programming must!.
O sweet everlasting Voices, be still; Go to the guards of the heavenly fold And bid them wander obeying your will, Flame under flame, till Time be no more; Have you not heard that our hearts are old, That you call in birds, in wind on the hill, In shaken boughs, in tide on the shore? O sweet everlasting Voices, be still. This SSAA choral work by Jimmy Baas was comissioned by the Lumberton HS Varsity Treble Choir. The opening and closing lines of the poem, O sweet everlasting voices, be still provide the perfect bookends for two larger sections of the poem. These two sections are equally divided into verses. The opening line is used once again as a transition between the verses. The previously mentioned lines, O sweet everlasting voices, are overlapped as different layers of voices enter and sustain. A fifth and sixth voice, the cello and piano accompaniment take part in these layers as well. The words be still are very much a part of the mood each time as the everlasting voices become quiet and still. The two verses feature different voices within the SSAA choir. Verse 1, the sopranos, and verse 2 the altos. There are many moments in this piece to explore the full range and color of the SSAA choir. The piano and cello play an important part throughout, making this piece an excellent choice for any festival women's chorus.
O sweet everlasting Voices, be still;Go to the guards of the heavenly foldAnd bid them wander obeying your will,Flame under flame, till Time be no more;Have you not heard that our hearts are old,That you call in birds, in wind on the hill,In shaken boughs, in tide on the shore?O sweet everlasting Voices, be still.This SSAA choral work by Jimmy Baas wascomissioned by the Lumberton HS Varsity Treble Choir.The opening and closing lines of the poem, “O sweeteverlasting voices, be still” provide the perfect bookendsfor two larger sections of the poem. These two sectionsare equally divided into verses. The opening line is usedonce again as a transition between the verses.The previously mentioned lines, “O sweet everlastingvoices,” are overlapped as different layers of voices enterand sustain. A fifth and sixth voice, the cello and pianoaccompaniment take part in these layers as well.The words “be still” are very much a part of the moodeach time as the everlasting voices become quietand still.The two verses feature different voices within the SSAAchoir. Verse 1, the sopranos, and verse 2 the altos. Thereare many moments in this piece to explore the full range andcolor of the SSAA choir. The piano and cello play an importantpart throughout, making this piece an excellent choice for anyfestival women’s chorus.

SKU: CA.3106212

ISBN 9790007043629. Key: B minor. Language: German/English. Text: Luther, Martin. Text: Martin Luther.

Bach's second cantata starting with the text Come now, God's chosen saviour (II) BWV 62 was first performed in 1724 on the 1st Advent Sunday (which, at that time, was the only Advent Sunday with church music in Leipzig) and belongs to the annual cycle of chorale cantatas. As was usual for chorale cantatas, the unknown librettist used the first and last verses of Martin Luther's hymn verbatim for the opening chorus and the concluding chorale but adapted the texts of the inner verses. After two contrasting arias - the one dance-like, the second almost heroic - an almost enraptured accompagnato (Wir ehren diese Herrlichtkeit, und nahen nun zu deiner Krippen), in which the soprano and contralto mostly sing in parallel thirds and sixths, leads to a simple concluding chorale. Score and part available separately - see item CA.3106200.

SKU: CA.3106207

ISBN 9790007043599. Key: B minor. Language: German/English. Text: Luther, Martin. Text: Martin Luther.

Bach's second cantata starting with the text Come now, God's chosen saviour (II) BWV 62 was first performed in 1724 on the 1st Advent Sunday (which, at that time, was the only Advent Sunday with church music in Leipzig) and belongs to the annual cycle of chorale cantatas. As was usual for chorale cantatas, the unknown librettist used the first and last verses of Martin Luther's hymn verbatim for the opening chorus and the concluding chorale but adapted the texts of the inner verses. After two contrasting arias - the one dance-like, the second almost heroic - an almost enraptured accompagnato (Wir ehren diese Herrlichtkeit, und nahen nun zu deiner Krippen), in which the soprano and contralto mostly sing in parallel thirds and sixths, leads to a simple concluding chorale. Score available separately - see item CA.3106200.

SKU: CA.3106249

ISBN 9790007043650. Key: B minor. Language: German/English. Text: Luther, Martin. Text: Martin Luther.

Bach's second cantata starting with the text Come now, God's chosen saviour (II) BWV 62 was first performed in 1724 on the 1st Advent Sunday (which, at that time, was the only Advent Sunday with church music in Leipzig) and belongs to the annual cycle of chorale cantatas. As was usual for chorale cantatas, the unknown librettist used the first and last verses of Martin Luther's hymn verbatim for the opening chorus and the concluding chorale but adapted the texts of the inner verses. After two contrasting arias - the one dance-like, the second almost heroic - an almost enraptured accompagnato (Wir ehren diese Herrlichtkeit, und nahen nun zu deiner Krippen), in which the soprano and contralto mostly sing in parallel thirds and sixths, leads to a simple concluding chorale. Score and part available separately - see item CA.3106200.

SKU: CA.3106209

ISBN 9790007043605. Key: B minor. Language: German/English. Text: Luther, Martin. Text: Martin Luther.

Bach's second cantata starting with the text Come now, God's chosen saviour (II) BWV 62 was first performed in 1724 on the 1st Advent Sunday (which, at that time, was the only Advent Sunday with church music in Leipzig) and belongs to the annual cycle of chorale cantatas. As was usual for chorale cantatas, the unknown librettist used the first and last verses of Martin Luther's hymn verbatim for the opening chorus and the concluding chorale but adapted the texts of the inner verses. After two contrasting arias - the one dance-like, the second almost heroic - an almost enraptured accompagnato (Wir ehren diese Herrlichtkeit, und nahen nun zu deiner Krippen), in which the soprano and contralto mostly sing in parallel thirds and sixths, leads to a simple concluding chorale. Score and parts available separately - see item CA.3106200.

SKU: CA.3106214

ISBN 9790007043643. Key: B minor. Language: German/English. Text: Luther, Martin. Text: Martin Luther.

Bach's second cantata starting with the text Come now, God's chosen saviour (II) BWV 62 was first performed in 1724 on the 1st Advent Sunday (which, at that time, was the only Advent Sunday with church music in Leipzig) and belongs to the annual cycle of chorale cantatas. As was usual for chorale cantatas, the unknown librettist used the first and last verses of Martin Luther's hymn verbatim for the opening chorus and the concluding chorale but adapted the texts of the inner verses. After two contrasting arias - the one dance-like, the second almost heroic - an almost enraptured accompagnato (Wir ehren diese Herrlichtkeit, und nahen nun zu deiner Krippen), in which the soprano and contralto mostly sing in parallel thirds and sixths, leads to a simple concluding chorale. Score and part available separately - see item CA.3106200.

SKU: CA.3106211

ISBN 9790007043612. Key: B minor. Language: German/English. Text: Luther, Martin. Text: Martin Luther.

Bach's second cantata starting with the text Come now, God's chosen saviour (II) BWV 62 was first performed in 1724 on the 1st Advent Sunday (which, at that time, was the only Advent Sunday with church music in Leipzig) and belongs to the annual cycle of chorale cantatas. As was usual for chorale cantatas, the unknown librettist used the first and last verses of Martin Luther's hymn verbatim for the opening chorus and the concluding chorale but adapted the texts of the inner verses. After two contrasting arias - the one dance-like, the second almost heroic - an almost enraptured accompagnato (Wir ehren diese Herrlichtkeit, und nahen nun zu deiner Krippen), in which the soprano and contralto mostly sing in parallel thirds and sixths, leads to a simple concluding chorale. Score and part available separately - see item CA.3106200.

SKU: CA.3106205

ISBN 9790007043582. Key: B minor. Language: German/English. Text: Luther, Martin. Text: Martin Luther.

Bach's second cantata starting with the text Come now, God's chosen saviour (II) BWV 62 was first performed in 1724 on the 1st Advent Sunday (which, at that time, was the only Advent Sunday with church music in Leipzig) and belongs to the annual cycle of chorale cantatas. As was usual for chorale cantatas, the unknown librettist used the first and last verses of Martin Luther's hymn verbatim for the opening chorus and the concluding chorale but adapted the texts of the inner verses. After two contrasting arias - the one dance-like, the second almost heroic - an almost enraptured accompagnato (Wir ehren diese Herrlichtkeit, und nahen nun zu deiner Krippen), in which the soprano and contralto mostly sing in parallel thirds and sixths, leads to a simple concluding chorale. Score available separately - see item CA.3106200.

SKU: CA.3106213

ISBN 9790007043636. Key: B minor. Language: German/English. Text: Luther, Martin. Text: Martin Luther.

Bach's second cantata starting with the text Come now, God's chosen saviour (II) BWV 62 was first performed in 1724 on the 1st Advent Sunday (which, at that time, was the only Advent Sunday with church music in Leipzig) and belongs to the annual cycle of chorale cantatas. As was usual for chorale cantatas, the unknown librettist used the first and last verses of Martin Luther's hymn verbatim for the opening chorus and the concluding chorale but adapted the texts of the inner verses. After two contrasting arias - the one dance-like, the second almost heroic - an almost enraptured accompagnato (Wir ehren diese Herrlichtkeit, und nahen nun zu deiner Krippen), in which the soprano and contralto mostly sing in parallel thirds and sixths, leads to a simple concluding chorale. Score and part available separately - see item CA.3106200.

SKU: BT.AMP-340-140

9x12 inches. English-German-French-Dut ch.

Of Skies, Rivers, Lakes and Mountains was commissioned by the Northern California Band Directors' Association to honour their 50th Anniversary in 2012. The first performance was given by the Association’s 2012 Honor Band, conducted by Dr Royce Trevis, in the Harlen Adams Theater, California State University, Chico, California, on 4th February that year.The brief for the commission asked for a piece that celebrated the United States’ natural resources and composer Philip Sparke turned to Katharine Lee Bates’s lyrics for the song America the Beautiful, of which the first and last verses are:O beautiful for spacious skies,For amber waves of grain,For purplemountain majestiesAbove the fruited plain!America! America!God shed His grace on thee,And crown thy good with brotherhoodFrom sea to shining seaThe three movements each take their title from these verses:1. O Beautiful for Spacious Skies: Opening with filigree woodwind figuring, this movement aims to recreate the light and lightness of a spring sky, birds and blossoms floating on gentle breezes.2. From Sea to Shining Sea: A vivacious celebration of water bubbling in streams, rivers and lakes.3. For Purple Mountain Majesties: A slow final movement representing an awe-inspiring range of mountains

Of Skies, Rivers, Lakes and Mountains is geschreven in opdracht van de Northern California Band Directors' Association, ter gelegenheid van het vijftigjarig jubileum van deze organisatie, dat in 2012 werd gevierd. De première werd op 4 februari van dat jaar onder leiding van dirigent Royce Trevis uitgevoerd door de Association’s 2012 Honor Band, in het Harlen Adams Theater, California State University, Chico, Californië.De componist kreeg het verzoek een werk te schrijven dat een lofzang zou zijn op alles wat de natuur van Verenigde Staten te bieden heeft. Philip Sparke gebruikte de tekst van Katharine Lee Bates voor de song America the Beautiful, waarvan heteerste en laatste couplet als volgt luiden:O beautiful for spacious skies,For amber waves of grain,For purple mountain majestiesAbove the fruited plain!America! America!God shed His grace on thee,And crown thy good with brotherhoodFrom sea to shining seaDe titels van de drie delen van de compositie zijn ontleend aan deze coupletten:1. O Beautiful for Spacious Skies: Dit deel, dat opent met verfijnde figuren in het hout, is een poging om het licht en de lichtheid van een lentehemel te herscheppen, met vogeltjes en bloesems die wiegen in een milde bries.2. From Sea to Shining Sea: Een levendige ode aan water dat stroomt in beken, rivieren en meren3. For Purple Mountain Majesties: Een langzaam laatste deel waarin het beeld wordt opgeroepen van een indrukwekkende bergketen

Of Skies, Rivers, Lakes and Mountains wurde von der Northern California Band Director’s Association (Dirigentenverband Nord-Kaliforniens) zum 50-jährigen Jubiläum im Jahr 2012 in Auftrag gegeben. Die Uraufführung mit dem Ehrenorchester 2012 des Verbands fand am 4. Februar desselben Jahre unter der Leitung von Dr. Royce Trevis im Halen Adams Theater an der California State University, Chico Kalifornien) statt.Der Kompositionsauftrag verlangte ein Stück zu Ehren der Reichtümer der Natur Amerikas. Der Komponist Philip Sparke wählte daher die erste und letzte Strophe aus Katherine Lee Bates’ Text zum Lied America the Beautiful, die da lauten:O beautiful for spaciousskies,For amber waves of grain,For purple mountain majestiesAbove the fruited plain!America! America!God shed His grace on thee,And crown thy good with brotherhoodFrom sea to shining seaDie Titel der drei Sätze stammen alle aus diesen Strophen:1. O Beautiful for Spacious Skies (O wunderschön, der weite Himmel): Mit filigranen Figuren im Holz beginnend, will dieser Satz das Licht und die Leichtigkeit des Frühlingshimmels, die Vögel und von einer sanften Brise getragene Blüten zum Leben erwecken.2. From Sea to Shining Sea (Vom Meer zum strahlenden Meer): Mit lebhafter Musik wird hier in Flüssen, Bächen und Seen sprudelndes Wasser zelebriert.3. For Purple Mountain Majesties (Die Erhabenheit der purpurrot leuchtenden Berge): Der langsame Schlusssatz richtet den Blick auf ehrfurchtgebietende Gebirge.

Of Skies, Rivers, Lakes and Mountains est une commande de la Northern California Band Directors' Association pour marquer son 50e anniversaire, en 2012. Cette œuvre a été créée par le Honor Band 2012 de l’Association sous la direction du Dr Royce Trevis au thé tre Harlen Adams de l’université de Californie Chico, Californie, le 4 février de cette même année.La commande stipulait que la pièce devait célébrer les ressources naturelles des États-Unis. Le compositeur Philip Sparke s’est donc inspiré des paroles de Katharine Lee Bates pour la chanson America the Beautiful, dont voici les premier et dernier couplets :O beautiful for spacious skies,For amberwaves of grain,For purple mountain majestiesAbove the fruited plain!(Oh belle pour tes vastes cieux,Tes vagues de grains ambrés,La majesté de tes montagnes violettesDominant des plaines fruitées !)America! America!God shed His grace on thee,And crown thy good with brotherhoodFrom sea to shining sea(Amérique ! Amérique !Dieu t’a donné sa gr ceCouronnée de la fraternité des hommesDe la mer la mer étincelante)Les trois mouvements empruntent chacun leur titre ces couplets :1. O Beautiful for Spacious Skies: S’ouvrant avec des figures en filigrane jouées par les bois, ce mouvement cherche recréer la lumière et la légèreté d’un ciel printanier, d’oiseaux et de fleurs flottant au gré d’une douce brise.2. From Sea to Shining Sea: Plein de vivacité, ce mouvement évoque les frémissements de l’eau des ruisseaux, des rivières et des lacs.3. For Purple Mountain Majesties:Le dernier mouvement, lent et majestueux, dépeint une impressionnante chaîne de montagnes.

SKU: CA.3108063

ISBN 9790007206819. Key: D major. Language: German/English. Text: Luther, Martin / Franck, Salomo.

The Reformation cantata Ein feste Burg ist unser Gott BWV 80b, published by Carus-Verlag for the first time in a practical performing edition, remained unknown to Bach scholars until well into the 20th century. The evidence of its existence is three fragments of the first folio of Bach's score, which can be dated to the years 1728-1731. By contrast, the long-familiar expanded new version of the cantata with its powerful opening chorus (BWV 80) dates from the 1730s or 1740s. It only survives in a copy of Bach's score, but this allows conclusions to be drawn about the history of the versions; thus, by using the fragments mentioned above, it has been possible to reconstruct the first version. This result is a Bach cantata which is less extensive and in a more concise normal format, with reduced wind instruments. A relaxed, contrapuntal four-part chorale movement with the first and last verses of the Lutheran hymn forms the framework, and the other movements are the same as in the later new version. This simpler cantata is also entirely suitable for celebrating Reformation Day, as Bach did around 1730. Score and part available separately - see item CA.3108000.

SKU: CA.3108069

ISBN 9790007134129. Key: D major. Language: German/English. Text: Luther, Martin / Franck, Salomo.

The Reformation cantata Ein feste Burg ist unser Gott BWV 80b, published by Carus-Verlag for the first time in a practical performing edition, remained unknown to Bach scholars until well into the 20th century. The evidence of its existence is three fragments of the first folio of Bach's score, which can be dated to the years 1728-1731. By contrast, the long-familiar expanded new version of the cantata with its powerful opening chorus (BWV 80) dates from the 1730s or 1740s. It only survives in a copy of Bach's score, but this allows conclusions to be drawn about the history of the versions; thus, by using the fragments mentioned above, it has been possible to reconstruct the first version. This result is a Bach cantata which is less extensive and in a more concise normal format, with reduced wind instruments. A relaxed, contrapuntal four-part chorale movement with the first and last verses of the Lutheran hymn forms the framework, and the other movements are the same as in the later new version. This simpler cantata is also entirely suitable for celebrating Reformation Day, as Bach did around 1730. Score and parts available separately - see item CA.3108000.

SKU: CA.3108061

ISBN 9790007206796. Key: D major. Language: German/English. Text: Luther, Martin / Franck, Salomo.

The Reformation cantata Ein feste Burg ist unser Gott BWV 80b, published by Carus-Verlag for the first time in a practical performing edition, remained unknown to Bach scholars until well into the 20th century. The evidence of its existence is three fragments of the first folio of Bach's score, which can be dated to the years 1728-1731. By contrast, the long-familiar expanded new version of the cantata with its powerful opening chorus (BWV 80) dates from the 1730s or 1740s. It only survives in a copy of Bach's score, but this allows conclusions to be drawn about the history of the versions; thus, by using the fragments mentioned above, it has been possible to reconstruct the first version. This result is a Bach cantata which is less extensive and in a more concise normal format, with reduced wind instruments. A relaxed, contrapuntal four-part chorale movement with the first and last verses of the Lutheran hymn forms the framework, and the other movements are the same as in the later new version. This simpler cantata is also entirely suitable for celebrating Reformation Day, as Bach did around 1730. Score and part available separately - see item CA.3108000.