SKU: HL.14043556
UPC: 840126937282. 6.75x10.5x0.029 inches. English.
An arrangement by Nico Muhly of a story taken from the folk tale and nursery rhyme tradition.
SKU: CF.CM9580
ISBN 9781491154021. UPC: 680160912520. 6.875 x 10.5 inches. Key: D mixolydian. English, Latin. 15th Century Medieval Carol.
The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherds response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compassthe distance between the highest and lowest noteis at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherdas response in the gospel of Luke 2:15, Transeamus. Latin phraseA translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compassathe distance between the highest and lowest noteais at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd's response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass--the distance between the highest and lowest note--is at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd's response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pares forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass--the distance between the highest and lowest note--is at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written.The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd’s response in the gospel of Luke 2:15, Transeamus.Latin phrase translation sourceAlleluia Alleluia LaetabundusRes miranda A thing to be wondered at LaetabundusPares forma of equal form LaetabundusGaudeamus Let us rejoice! GaudeamusTranseamus Let us go Luke 2:15The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty.The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists.Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass—the distance between the highest and lowest note—is at its widest.The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.
SKU: BR.DV-6140
ISBN 9790200460230. 13.5 x 10.5 inches.
Translation: Engl. (S. Wadsworth) (1988) / (Norbert Rubesaat) (1993); French (Jean-Pierre Wurtz) (1997) Place and time: Jail Munchen-Stadelheim, in the hour before the execution on 22nd February 1943 Characters: Sophie Scholl (soprano) / Hans Scholl (baritone or tenor) >>Weisse Rose<< (White Rose) was the name of the resistance group to which Hans and Sophie Scholl belonged. Udo Zimmermann's composition is characterized by the varying structure of its scenes: dramatic, visionary scenes, e.g. the remembered wartime experiences on the front, Sophie's anxiety about the removal of the children and the wish to see her parents one last time, contrast with contemplative monologues that are intended to provide insights into the individual's particular situation. The composer interweaves into the structure of the piece dream sequences with sudden bursts of anxiety that are not triggered by the execution that is about to take place but by the consequences of one's own actions. The result is a deliberate fusion of the various parts into one another. More than 100 different productions prove that the topic is as important as ever and that the work is both artistically rewarding and practicable. Udo Zimmermann About the piece Two young people, the siblings Sophie and Hans Scholl, are in a prison cell, one hour before they are to be put to death by their fascist executioners. Their christian convictions and sense of responsibility gave them the courage to put up resistance, resistance against the lies, the contempt for humanity and all human values. Sophie and Hans Scholl took their stand in the full knowledge that they were taking a deadly risk. They would simply not have been able to live with their feelings of shame had they not grasped the chance of fighting for what they believed in, even though it was a dangerous thing to do. Memories of past events, doubts, hopes and fears, justification of deeds and an acceptance of death, all these things happen and move in, and between, these two people during this representation of the hour before death. The orchestra provides a psycho-physical shorthand of their inner mental state. Musical effects and gestures search for their identity in human behaviour. The moments of stillness and silence provide moments of musical tension, which are just as powerful as the eruptions of fear and desperation. CDs: Gabriele Fontana (soprano), Lutz-Michael Harder (tenor), Instrumentalensemble, cond. Udo Zimmermann CD Orfeo C 162 871 Grazyna Szklarecka (soprano), Frank Schiller (tenor), musica viva-ensemble dresden, cond. Udo Zimmermann CD Berlin Classics Eterna BC 0120 060-2 CD (excerpts): Gabriele Fontana (soprano), Lutz-Michael Harder (tenor), Ein Instrumentalensemble, cond. Udo Zimmermann CD BMG 74321 73628 2 Bibliography : Kornel , Attila: ,,Tief unter uns nur Schweigen - Die Asthetik der Stille in Udo Zimmermanns Kammeroper ,,Weisse Rose, in: Die Tonkunst 11 (2017), pp. 368-377. Rheinlander , Matthias: Im Osten nichts Neues? Ostalgie ohne Kitsch am Beispiel von Udo Zimmermanns Oper Die weisse Rose, in: Musik und Unterricht, Heft 73 (2003), pp. 34-40.World premiere: Hamburg, February 27, 1986DV 1140 Awarded the German Music Edition Prize.
SKU: BA.BA01038
ISBN 9790006407705. Text: Hermann Claudius.
One of the compositional focuses of the German composer and pedagogue Karl Marx is on choral and amateur music. His songs based on the words of Hermann Claudius are among the best known.This edition brings together the following pieces for solo soprano and piano:– Kühe: Sie wiegen schwankend sich in schwerem Schreiten– Der Star: Dasalte Wunder ward wieder wahr: auf unserm Dachfirst flötet der erste Star– Späte Rose, in dem hohen Glase– Franziska: Das Heimlichst zwischen dir und mir– Das zwei sich herzlich lieben, gibt erst der Welt den Sinn– Ursame Weihnacht: Mann und Weib und Kind. Draußen weht der Wind– Ein Menschlein ward geboren. Ein Schicksal nimmt den Lauf– Großstadt-Abend: Wir tragen alle den Tod im Leib– Der alte Gärtner: Ich habe sie selber gezogen aus einem winzigen Kern– Auf ein trauriges Mädchen: Dunkel war der Zweig, den du mir brachtest– An die Sonne: Du liebe Sonne, bescheine mich– Hauslied bei Regen: Der Regen, der Regen, der lang entbehrte Segen!– Wie wandelnde Landschaft gehn über die Erde Gesichter der Menschen
SKU: BA.BA01116
ISBN 9790006408405. 27 x 19 cm inches. Text: Hermann Claudius.
The German composer and music teacher Karl Marx wrote these new songs for soprano solo and piano after poems by Hermann Claudius op. 29. Included are the following songs:– Mein Lied: Der Wind der weht– Auf eine kranke Rose: Ist das in dir der Mensch– Sommerbeet: Es drängt sich auf den Beeten– Der alte Turm und die Schwalben haben einander gern– Der alte Turm und die Schwalben haben einander gern– Auf Brümmerhoff: Es blinken in der Sonne die grünen Gräser (auch Duett [SA])– Im Januar– Tage der Gnade brechen herein– Dezembertag: Des Nordens Wunder ist der Winter– Im Januar: Zu den winterkahlen Zweigen– Lied an meinem Tische: Tagtäglich bietest du dich dar
SKU: CF.CM9475
ISBN 9781491145791. UPC: 680160903290. 6.875 x 10.5 inches. Key: F major. 17th Century German Carol & 16th Century English Carol.
Debra Morton's coupling of Lo, How a Rose E're Blooming with an original melody using the well-known text, There is No Rose of Such Virtue, provides numerous opportunities for sensitive music-making. With a simplistic yet supportive piano accompaniment, novice and refined treble ensembles alike are sure to shine and grow musically.
SKU: LO.15-3860H
ISBN 9780787774554.
This traditional German carol is beautifully set for Three-part Mixed choirs and optional flute. Accessibly voiced and arranged, this setting will set your singers up for sucess in either middle school or high school choirs.
SKU: HL.35027934
UPC: 884088570576. 5x5 inches. Pamela Stewart/Joseph M. Martin.
Uses: Christmas, EpiphanyScripture: Song of Solomon 2:1Here is a graceful carol from the celebrated cantata The Winter Rose. The Catalonian melody is pure grace and is set with sensitivity and festivity as the piece moves from quiet joy to jubilant celebration. The amazing orchestral accompaniment brings out the colorful piano part making this piece useful for choirs of any size and accomplishment.
SKU: HL.1145673
ISBN 9781705185353. UPC: 196288117483. 6.75x10.5x0.036 inches.
Victor Johnson's expressive writing continues with this SATB setting of Swinburne's poetic work. Layered harmonic writing above a sophisticated accompaniment creates musical pictures of the romantic text: “If love were what the rose is, and I were like the leaf, our lives would grow together....” A gorgeous selection for concert or contest.
SKU: HL.35027758
UPC: 884088539054. 4.75x5 inches.
Scripture: Song of Solomon 2:1, Psalm 23:4This breathtaking anthem is a hopeful paean of grace for your church family. Using the images of the “Rose of Sharron” this imaginative text conveys to all the assurance of God's presence and watch care as we journey through the valleys of life. A truly memorable melody moves effortlessly in a pleasing 3/4 meter supported by full choral textures. The brilliant orchestrations create a theatre experience for the listener. This anthem from the celebrated The Rose of Calvary Easter cantata is available here for the first time as an individual octavo.
SKU: MN.50-6045
UPC: 688670560453.
Herbert Brokerings beautiful text expresses delight in the beauty of nature, and draws parallels between this gift of beauty and the gift of Christ. The melody is lyrical and easily learned. The premier performance of this piece was at A Rose in Winter 2002: International Carols and Traditions, Candler School of Theology, Emory University, Atlanta, Georgia.