SKU: HL.49045962
Famous catchy tunes of classical instrumental music have been rearranged for four-part mixed choir in the pop, swing, rock and Latinstyles. This express transfer from the 'serious' world of the original versions into the 'more modern' genres makes us smile - not least due to the not-so-serious texts. Bach, Mozart, Vivaldi, Haydn, even Beethoven: Would they have smiled too? You bet! Content text: The Quattro Stagioni-Song (Antonio Vivaldi: Violinkonzert op. 8) Siciliano Bossa Nova (J. S. Bach: Siziliano aus der Flotensonate BWV 1031) Our Little Nightmusic (W. A. Mozart: Eine kleine Nachtmusik KV 525) The Alla Turca (W. A. Mozart: Alla Turca, 3. Satz aus der Klaviersonate KV 331) Fate of Beethoven (L. van Beethoven: 5. Symphonie op. 67) Elisa's Dedication (L. van Beethoven: Fur Elise) John the Bastian (J.S. Bach) Kettledrum Song (J. Haydn).
SKU: PR.362034230
ISBN 9781598069556. UPC: 680160624225. Letter inches. English.
When the Texas Choral Consort asked Welcher to write a short prologue to Haydn's The Creation, his first reaction was that Haydn already presents Chaos in his introductory movement. As he thought about it, Welcher began envisioning a truer void to precede Haydn's depiction of Chaos within the scope of 18th-century classical style - quoting some of Haydn's themes and showing human voices and inhuman sounds in a kind of pre-creation melange of color, mood, and atmosphere. Welcher accepted this challenge with the proviso that his prologue would lead directly into Haydn's masterpiece without stopping, and certainly without applause in between. Scored for mixed chorus and Haydn's instrumentation, Without Form and Void is a dramatically fresh yet pragmatic enhancement to deepen any performance of Haydn's The Creation. Orchestral score and parts are available on rental.When Brent Baldwin asked me to consider writing a short prologue to THE CREATION, my first response was “Why?” THE CREATION already contains a prologue; it’s called “Representation of Chaos”, and it’s Haydn’s way of showing the formless universe. How could a new piece do anything but get in the way? But the more I thought about it, the more it made sense. The Age of Enlightenment’s idea of “Chaos” was just extended chromaticism, no more than Bach used (in fact, Bach went further).Perhaps there might be a way to use the full resources of the modern orchestra (or at least, a Haydn-sized orchestra) and the modern chorus to really present a cosmic soup of unborn musical atoms, just waiting for Haydn’s sure touch to animate them. Perhaps it could even quote some of Haydn’s themes before he knew them himself, and also show human voices and inhuman sounds in a kind of pre-creation mélange of color, mood, and atmosphere. So I accepted the challenge, with the proviso that my new piece not be treated as some kind of “overture”, but would instead be allowed to lead directly into Haydn’s masterpiece without stopping, and certainly without applause. I crafted this five minute piece to begin with a kind of “music of the spheres” universe-hum, created by tuned wine glasses and violin harmonics. The chorus enters very soon after, with the opening words of Genesis whispered simultaneously in as many languages as can be found in a chorus. The first two minutes of my work are all about unborn human voices and unfocused planetary sounds, gradually becoming more and more “coherent” until we finally hear actual pitches, melodies, and words. Three of Haydn’s melodies will be heard, to be specific, but not in the way he will present them an hour from now. It’s almost as if we are listening inside the womb of the universe, looking for a faint heartbeat of worlds, animals, and people to come. At the end of the piece, the chorus finally finds its voice with a single word: “God!”, and the orchestra finally finds its own pulse as well. The unstoppable desire for birth must now be answered, and it is----by Haydn’s marvelous oratorio. I am not a religious man in any traditional sense. Neither was Haydn, nor Mozart, nor Beethoven. But all of them, as well as I, share in what is now called a humanistic view of how things came to be, how life in its many forms developed on this planet, and how Man became the recorder of history. The gospel according to John begins with a parody of Genesis: “In the beginning was the Word, and the Word was with God, and the Word was God.” I love that phrase, and it’s in that spirit that I offer my humble “opener” to the finest work of one of the greatest composers Western music has ever known. My piece is not supposed to sound like Haydn. It’s supposed to sound like a giant palette, on which a composer in 1798 might find more outrageous colors than his era would permit…but which, I hope, he would have been delighted to hear.
SKU: HL.48025164
ISBN 9781784548025. UPC: 196288104933. 0.035 inches.
Each year the BBC Music Magazine commissions a brand-new Christmas Carol for their readers and, when Grace-Evangeline Mason was invited to compose the 2021 carol, she decided to write and set her own poem titled A Winter Carol. The words, which depict snowy scenery and starry allusions to heaven and earth, also include a modern twist as the composer dreams of walking home at Christmas time under the warm glow of the street lamps all covered in a silver frost. Written in three verses with a short refrain in between repeating the word “winter,” the piece is a small, celebratory reflection of Christmas time. The carol begins in quiet consideration before opening up to feel hearty and warm. After a playful midsection, the work returns to a softer final coda, which is reminiscentof the opening.
SKU: HL.49045212
ISBN 9790001158596. UPC: 841886026803. 7.5x11.0x0.063 inches. English.
Another lullaby for insomniacs! Matthew Brown sets the poem of Alicia E. Stallings for mixed choir with piano accompaniment in his usual colourful manner. Partly forceful, partly sleepy, this piece is suitable for choirs who wish to feel their way slowly towards modern choral music.
SKU: CF.CM9504
ISBN 9781491146088. UPC: 680160903580. 6.875 x 10.5 inches. Key: G minor. Traditional Latin.
This modern performance edition of Aiblinger's De Profundis is based on a hand copied score found in Dresden, Germany and adheres closely to the original source. Mixed ensembles of all sizes will enjoy singing this choral gem with its colorful and progressive harmonies that bridge the Classical and the Romantic period.
SKU: CF.CM9366
ISBN 9780825894121. UPC: 798408094126. 6.875 x 10.5 inches. Key: F# minor. Latin. Psalm 112.
Carl Fischer is excited to publish the music of relative unknown composer Stanislao Mattei, a student of Padre Martini. Prolific editor Martin Banner's modern performing edition of Mattei's Beatus Vir is based upon a hand-copied score found in Bologna, Italy and adheres closely to the original source. Advanced mixed ensembles of all sizes will enjoy singing this choral gem from the Classical period.
SKU: WD.080689092190
UPC: 080689092190.
Songwriters and producers Greg Nelson and Bob Farrell have collaborated on a masterful work to create a message and music with great passion and great truth. Arranged for choir and soloists, Saviour has a classic sound that combines elements of inspirational, pop and traditional styles. The arrangements are powerful and provocative, the orchestrations majestic and awe-inspiring.
SKU: GI.WJMS1167
UPC: 785147008460. English. Text by Wendell Berry.
Wendell Berry's incredible words have been set in a dynamic and unique work by composer Andrew Maxfield. Stomping, strings, and interesting vocal lines produce a sound that is both antique - like shape note singing - and modern. A timely message of taking care of our earth now so that it will be here for the future. Jo-Michael Scheibe Choral Series.
SKU: GI.WW1902
UPC: 785147034667. English. Text Source: Catalonian Carol, trans. Howard Hawhee.
A driving and inspiring piano accompaniment fills this dynamic arrangement of the perhaps lesser-known carol. Expertly arranged vocal lines are supported by the modern and fresh accompaniment throughout.