SKU: CA.739600
ISBN M-007-25264-9. Language: English.
The motet Bless the Lord, O My Soul (2013) on verses from Psalm 103 exploits the possibilities of vocal combinations and the resulting sound effects to a high degree: In the opening invocation O my soul, the soprano 1 ascends to float above the fanned out low chord of the other voices; and beginning from For as the heavens are high above the earth, an eight-part fugato masses together into an extensive architecture of sound. The harmony of the work is tonal, but many enriched chords create a tension rich in nuances in the setting. The work has been released on the CD Rejoice. Vocal Music by Kay Johannsen (Carus 83.496/00).
SKU: GI.G-9815
ISBN 9781622773688.
Habits of a Successful Choral Musician is a resource for both choir directors and choral singers that builds music fundamentals (sight-singing and ear training) and vocal functions (from posture to tone). This book has provided a clear and well-organized pedagogy that is helping my students to improve in all facets of being a choral musician. — Alan Davis, Director of Choirs, Hemet High School, Hemet, CA Habits of a Successful Choral Musician by Eric Wilkinson and Scott Rush is a fantastic resource for choir directors who seek to develop all levels of singers. The book provides a pedagogical approach to teaching voice building, rhythm work, tuning exercises, sight-reading, theory exercises, and suggestions to nurture the entire musician. I love how this one method book covers multiple aspects of musicianship, rather than having to use multiple books to build each individual skill. — Emily Chandler, Director of Choirs, Seven Lakes High School, Katy, TX Habits of a Successful Choral Musician is a field-tested, vital, and—most important—musical collection of more than 200 sequenced exercises for building fundamentals and artistry. Perfect for use by an entire choir or soloist, this book contains carefully sequenced warm-ups, vocalises, chorales, rhythm work, tonal patterns, sight-singing etudes, and much more. In one place, this book presents everything an aspiring singer needs to build fundamental musicianship skills and then be able to transfer those skills directly into the performance of great literature. Habits of a Successful Choral Musician: Provides material for use during fundamentals time that promotes a comprehensive approach to developing skills necessary to fill the musical toolbox. Includes a sequential format that leads to the mastery of reading rhythms and, ultimately, to musical sight-singing. Provides chorales and other ensemble exercises for the development of tone quality, ensemble sonority, and musicianship. Includes partner songs, folk songs, and rounds to develop harmony skills. Combines pedagogy, literacy, fundamentals development, sight-singing, and musicianship into one book under one cover. Promotes the idea that technique and artistry are not taught in silos but are simultaneously taught as students build capacity in both areas. Habits of a Successful Choral Musician is the answer to the question, What should I be learning during fundamentals time? Eric Wilkinson is the Director of Choral Studies at Wando High School in Mount Pleasant, South Carolina. Scott Rush is the Director of Fine and Performing Arts in Dorchester District Two (SC) and is the lead writer for the Habits series published by GIA. Preview the contents with Erik Wilkinson in this video...
SKU: GI.G-9815T
ISBN 9781622773671.
SKU: GI.G-1080
UPC: 785147008026.
Te Deum was founded by Matthew Christopher Shepard in 2008 to ful ll an expressed need by both singers and audiences in the Kansas City area to present sacred choral music concerts of the highest quality. The Te Deum Chamber Choir performed its rst concert in the spring of 2009. Since then, the chamber choir has built an impressive and varied repertoire that spans centuries of time and wide ranges of composition style. In the fall of 2013, Te Deum began its Antiqua Series, offering historically informed performances of repertoire from the twelfth to seventeenth centuries with a smaller roster. In addition to creating compelling performances of early music, Te Deum has been a champion of modern music. Te Deum regularly commissions new compositions, offers world premieres, and makes it a priority to give voice to music of the twenty- rst century. The virtuosity of the singing has earned invitations to perform at multiple state and regional conventions of the American Choral Directors Association as well as two invitations to perform for the national convention of the American Guild of Organists.
SKU: GI.G-10430C
UPC: 785147043003.
** This is the saddle-stitched choral edition for SAB voices.  The third volume in this popular series, Revival III features arrangements of fourteen familiar Christmas carols for contemporary ensembles. Christmas carols, like many traditional hymns, are often arranged for four-part choir and organ. With this collection, Tony Alonso focuses instead on the needs of the piano- or guitar-based ensemble, creating accessible carol arrangements for SAB voices, piano, and guitar. Also included is an optional alternate harmonization for the final stanza of each piece featuring a soprano descant. Although these arrangements can be utilized as choral anthems, they are truly intended to lead and inspire congregational song. They are compatible with the texts found in GIA’s hymnals and yet can be edited easily to agree with the version of the carol most familiar to the assembly. CONTENTS: Angels We Have Heard on High (G-10431) • Away in a Manger (G-10432) • Hark! The Herald Angels Sing (G-10434) • It Came Upon a Midnight Clear (G-10435) • We Three Kings of Orient Are (G-10443) • O Little Town of Bethlehem (G-10439) • Joy to the World (G-10436) • Once in Royal David’s City (G-10440) • What Child Is This? (G-10444) • O Come, All Ye Faithful (G-10437) • The First Nowell (G-10442) • O Come, O Come Emmanuel (G-10438) • Good Christian Friends, Rejoice (G-10433) • Silent Night (G-10441).
SKU: CY.CC3095
ISBN 9790530110720. 8.5 x 11 in inches.
Bruckner's Ave Maria (WAB 7) written in 1882 for solo alto voice and organ is lush and contains a plainchant section in the middle of the A-B-A form work. Jeff Reynolds' arrangement has added an optional Contrabass part to the bottom of this splendid 4-part work for Trombone ensemble and also added tuning marks to guide performers towards perfect just ensemble tuning. This 3 minute work is appropriate for moderately advanced performers (tenor clef in part 1 and top note is a high B-flat).
SKU: CY.CC3102
ISBN 9790530110799. 8.5 x 11 in inches.
Tota pulchra es (You are full of beauty) is a sacred motet composed in March of 1878 for solo tenor voice, choir and organ. Ralph Sauer has brilliantly arranged the music for 4-part Trombone Ensemble. The music is about 5 minutes in length and is appropriate for moderately advanced performers. The top part requires a strong high register.
SKU: HL.49046544
ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches.
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. The markings of the movements are the following: 1. Vivace molto ritmico e preciso 2. Lento e deserto 3. Vivace cantabile 4. Allegro risoluto 5. Presto luminoso.The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale; my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. In the Piano Concerto I realized new concepts of harmony and rhythm. The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time 'rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form; later in the fourth movement it will be considerably developed. The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement; however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly; they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales; in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting; illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated; the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus; indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. (Gyorgy Ligeti).
SKU: OU.9780193359802
ISBN 9780193359802. 12 x 8 inches.
For SATB choir, cor anglais (or clarinet, or viola) and organ This reflective setting of verses from Psalm 139 was composed in memory of George Guest and first performed by the choir of St John's College, Cambridge, on Ash Wednesday, 2007. The work makes a highly effective Lenten or contemplative anthem.
SKU: OU.9780193359796
ISBN 9780193359796. 12 x 8 inches.
SKU: OU.9780193359413
ISBN 9780193359413. 10 x 7 inches.
SKU: CA.3117749
ISBN 9790007209858. Text language: German/English.
The cantata Ich ruf zu dir, Herr Jesu Christ begins with an expansive chorale arrangement, for which Bach reverted to a proven model: The four voices of the solo ensemble take over the chorale, in which the melody lies in the soprano. For stanzas 2-4 Bach chooses the aria form with a highly differentiated scoring from movement to movement, ranging from a continuo Aria (1st movement), up to an aria accompanied by the violin, with obbligato bassoon and continuo. A straightforward four-part chorale movement concludes the cantata. Score and part available separately - see item CA.3117700.
SKU: MN.25-700
UPC: 688670257001.
Charles Callahan’s “Celtic Prelude†is the composer’s setting for string orchestra of the first movement of his well-known “Celtic Suite for Organ.†Based on an original tune composed in the Celtic spirit, the prelude elaborates on the tune’s graceful simplicity through a traditional tonal harmonic setting with the thematic materials shared among the voices. The introductory measures may be performed by solo players in each section, or the entire work can be played by quintet or quartet alone. The prelude is a welcome addition to the literature for middle school or high school string orchestra (Grade 3) and is also suitable repertoire for church ensembles.
SKU: C4.9790-902250597
ISBN 9790902250597. 8.27 x 11.7 inches.
Harold Darke and Gustav Holst (alongside many others) have placed the bar high with their settings of Christina Rossetti's dearly-loved Christmastide poem. Woodside's past experience, working with trebles in his posts at Westminster Abbey and Wells Cathedral, has clearly informed his writing. This piece would be a welcome addition to any primary school Christmas celebration.
SKU: HL.350177
ISBN 9781705104095. UPC: 840126933147. 9.0x12.0x0.098 inches.
Commissioned by the Pennsbury High School Concert Choir, James D. Moyer, director in celebration of the tenth annual Big Sing concert in Princeton University Chapel, April 25 2018 and to mark the fiftieth anniversary of the assassination of Martin Luther King, April 4 1968 and his preaching in Princeton University Chapel in March 1960. Scored for mixed voices, soprano saxophone, percussion, piano and organ. Parts available: CH87604 Vocal Score available: CH87593.
SKU: GI.G-10430
UPC: 785147043034.
** This is the music collection consisting of individual octavos shrinkwrapped together.  The third volume in this popular series, Revival III features arrangements of fourteen familiar Christmas carols for contemporary ensembles. Christmas carols, like many traditional hymns, are often arranged for four-part choir and organ. With this collection, Tony Alonso focuses instead on the needs of the piano- or guitar-based ensemble, creating accessible carol arrangements for SAB voices, piano, and guitar. Also included is an optional alternate harmonization for the final stanza of each piece featuring a soprano descant. Although these arrangements can be utilized as choral anthems, they are truly intended to lead and inspire congregational song. They are compatible with the texts found in GIA’s hymnals and yet can be edited easily to agree with the version of the carol most familiar to the assembly. CONTENTS: Angels We Have Heard on High (G-10431) • Away in a Manger (G-10432) • Hark! The Herald Angels Sing (G-10434) • It Came Upon a Midnight Clear (G-10435) • We Three Kings of Orient Are (G-10443) • O Little Town of Bethlehem (G-10439) • Joy to the World (G-10436) • Once in Royal David’s City (G-10440) • What Child Is This? (G-10444) • O Come, All Ye Faithful (G-10437) • The First Nowell (G-10442) • O Come, O Come Emmanuel (G-10438) • Good Christian Friends, Rejoice (G-10433) • Silent Night (G-10441).
SKU: GI.G-10430INST
UPC: 785147043096.
** This is the spiral-bound edition for instruments other than keyboard and guitar.  The third volume in this popular series, Revival III features arrangements of fourteen familiar Christmas carols for contemporary ensembles. Christmas carols, like many traditional hymns, are often arranged for four-part choir and organ. With this collection, Tony Alonso focuses instead on the needs of the piano- or guitar-based ensemble, creating accessible carol arrangements for SAB voices, piano, and guitar. Also included is an optional alternate harmonization for the final stanza of each piece featuring a soprano descant. Although these arrangements can be utilized as choral anthems, they are truly intended to lead and inspire congregational song. They are compatible with the texts found in GIA’s hymnals and yet can be edited easily to agree with the version of the carol most familiar to the assembly. CONTENTS: Angels We Have Heard on High (G-10431) • Away in a Manger (G-10432) • Hark! The Herald Angels Sing (G-10434) • It Came Upon a Midnight Clear (G-10435) • We Three Kings of Orient Are (G-10443) • O Little Town of Bethlehem (G-10439) • Joy to the World (G-10436) • Once in Royal David’s City (G-10440) • What Child Is This? (G-10444) • O Come, All Ye Faithful (G-10437) • The First Nowell (G-10442) • O Come, O Come Emmanuel (G-10438) • Good Christian Friends, Rejoice (G-10433) • Silent Night (G-10441).
SKU: GI.G-10430G
UPC: 785147043072.
** This is the spiral-bound guitar edition.  The third volume in this popular series, Revival III features arrangements of fourteen familiar Christmas carols for contemporary ensembles. Christmas carols, like many traditional hymns, are often arranged for four-part choir and organ. With this collection, Tony Alonso focuses instead on the needs of the piano- or guitar-based ensemble, creating accessible carol arrangements for SAB voices, piano, and guitar. Also included is an optional alternate harmonization for the final stanza of each piece featuring a soprano descant. Although these arrangements can be utilized as choral anthems, they are truly intended to lead and inspire congregational song. They are compatible with the texts found in GIA’s hymnals and yet can be edited easily to agree with the version of the carol most familiar to the assembly. CONTENTS: Angels We Have Heard on High (G-10431) • Away in a Manger (G-10432) • Hark! The Herald Angels Sing (G-10434) • It Came Upon a Midnight Clear (G-10435) • We Three Kings of Orient Are (G-10443) • O Little Town of Bethlehem (G-10439) • Joy to the World (G-10436) • Once in Royal David’s City (G-10440) • What Child Is This? (G-10444) • O Come, All Ye Faithful (G-10437) • The First Nowell (G-10442) • O Come, O Come Emmanuel (G-10438) • Good Christian Friends, Rejoice (G-10433) • Silent Night (G-10441).
SKU: GI.G-10430S
UPC: 785147043027.
** This is the complete music collection in a spiral-bound music book format.  The third volume in this popular series, Revival III features arrangements of fourteen familiar Christmas carols for contemporary ensembles. Christmas carols, like many traditional hymns, are often arranged for four-part choir and organ. With this collection, Tony Alonso focuses instead on the needs of the piano- or guitar-based ensemble, creating accessible carol arrangements for SAB voices, piano, and guitar. Also included is an optional alternate harmonization for the final stanza of each piece featuring a soprano descant. Although these arrangements can be utilized as choral anthems, they are truly intended to lead and inspire congregational song. They are compatible with the texts found in GIA’s hymnals and yet can be edited easily to agree with the version of the carol most familiar to the assembly. CONTENTS: Angels We Have Heard on High (G-10431) • Away in a Manger (G-10432) • Hark! The Herald Angels Sing (G-10434) • It Came Upon a Midnight Clear (G-10435) • We Three Kings of Orient Are (G-10443) • O Little Town of Bethlehem (G-10439) • Joy to the World (G-10436) • Once in Royal David’s City (G-10440) • What Child Is This? (G-10444) • O Come, All Ye Faithful (G-10437) • The First Nowell (G-10442) • O Come, O Come Emmanuel (G-10438) • Good Christian Friends, Rejoice (G-10433) • Silent Night (G-10441).
SKU: GI.G-CD-459
In recent years chant has enjoyed a resurgence of interest and popularity. More Sublime Chant is an extension of the highly successful Sublime Chant, delving further into the glorious sounds of our past and once again featuring the voices of The Cathedral Singers under the direction of Richard Proulx. This beautiful recording includes Gregorian, Ambrosian, Mozarabic, and Sarum chants, many being recorded for the very first time! Chants for Advent, Christmas, Lent, and Easter are included, as are two mass settings. More Sublime Chant also features the complete Office of Compline, sung in English. The chants are realized in proportional, modal, and equalist rhythms, employing organum, drones, tone clusters, and ornamentation. The use of recorders, handbells, and small percussion, combined with the enchanting voices of The Cathedral Singers and the warm acoustics of Chicago's Columbus Hospital Chapel, make this recording yet another must-have for any music lover! Â .
SKU: GI.G-5251
UPC: 785147525103. English. Text Source: Psalm 27. Scripture: Psalm 27.
A setting of responsorial Psalm 27, for two mixed voices and assembly, with organ and oboe. A highly lyrical melody and counter melody, imitated in the oboe and keyboard, resulting in an extraordinary psalm setting with unique appeal. .
SKU: GH.GE-11464
ISBN 979-0-070-11464-6. A4 inches.
Work note by the composer: When I received the news of this commission, I had no idea what it would lead to. Writing for guitar solo is not the same as composing for orchestra where you have forty voices where you can easily mask an entire section. Here you are very naked to the bone. The starting point for this work was from J.S. Bach's Chaconne in D-minor that Johannes had performed in concert, originally written for violin but there is a version transcribed for guitar and piano made by Ferruccio Busoni. When I went to Cortona (in Tuscany, Italy) completed the southern mentality of this work. Arpalineais actually a merged word in Italian language. Arpa means harp, however in a musical context it's more or less resembled with the word arpeggio, which means broken chords. Lineameans line. The work is divided in three parts. I. Arpeggio: It starts with an opening chaconne-like sequence and is marked with a certain depth in which the chords starts to separate from the organum note in the bass and it culminates into a section called with rhythmical focus. These sections alternates, variates which each other. The middle section has a playful and childish atmosphere where the guitarist knocks on the body of the guitar resembling a Spanish folk instrument cajon. This is leading to a section which tends more to a very aggressive fusion-like riff that loses control and reaches its climax at the end. II. Linea: The static rhytmical pulse is now disintegrated and it forms more or less sort of a free, improvisational state in a rubatolike tempo. The character is described as a very hot day with temperatures rising above 37! C (or 100! F) where you can hardly do anything just sitting dozed off and pespiring because of the extreme heat watching a huge fog coming up in the evening that spreads around the Tuscan atmosphere. III. Finale: It starts off with fast one-note ostinati then more and more notes pop up like a gradual rain storm with thunder strikes! And eventually it leads to that is a large flood through the streets of an medieval Southern town. The work ends with a short circuit slapped strings along with extremely fast tremolos that reaches higher and louder as possible! Benjamin Staern
SKU: CA.3001049
ISBN 9790007203979. Key: B flat major. Language: German.
The motets of Johann Ludwig Bach occupy an outstanding position within this genre. Though rooted firmly in the shorter motets from the Thuringian tradition, nonetheless they reach dimensions which are seldom observed in that tradition. This is also true with respect to polychoral music, which here is raised from the exception to the rule - on the other hand, it is valid, when one bears in mind the necessity of representing the prestige of a royal court. Varying ensembles and dialogue-like passages contribute to these richly expressive compositions. Without a doubt these motets by the Meininger Bach, highly regarded by J. S. Bach, are a treasured enrichment of the repertoire of all choirs. Score and part available separately - see item CA.3001000.
SKU: GI.G-012530
English, Spanish, english or Spanish Bilingual.
A bold collection of Latin-American folk and folk-inspired pieces. From new, originally composed songs to traditional and timeless Latin tunes, Donna Peña brings us an album that focuses on life's struggles and hardships. It is through her soul-moving voice that the listener leaves this album with a sense of hope and conviction. This album highlights a variety of styles including mariachi and other world flavors. Many will recognize the Beatles classic, Let It Be, creatively intertwined with the haunting Brazilian ballad, Romaria.