SKU: GI.G-001860
English.
A project originally begun in 1964 at St. Joseph‚ College in Rensselaer, Indiana, this collection provides examples of Renaissance motets originally in Latin and set to English texts for use in the vernacular liturgy.
SKU: GI.G-CD-992
For many years, GIA has published some of the finest arrangements for brass ensembles. Deo Gratias offers quartets, antiphonal trumpet duos, trumpets with handbells, and other configurations—and for a variety of seasons and occasions. Whether it’s a transcription of a Renaissance motet, a fantasie on a beloved German hymn, or something triumphant for Christmas or Easter, if you’re in need of a piece for your group, you just might find what you’re looking for here. Of course, the performances on Deo Gratias make it a great choice as a gift for anyone—including yourself! CONTENTS: Lift High the Cross, TUCKER (G-6572) • Two Renaissance Motets, Vol. 1, trans. EVANS (G-6796) • Two Renaissance Motets, Vol. 1, trans. EVANS (G-6796) • O Come, O Come Emmanuel, arr. TUCKER (G-6568) • People Look East, arr. TUCKER (G-6570) • Chorale from Christmas Oratorio, arr. TUCKER (G-6516) • Two Renaissance Motets, Vol. 2, trans. and ed. EVANS (G-6797) • Two Renaissance Motets, Vol. 2, arr. EVANS (G-6797) • This Joyful Eastertide, arr. EVANS (G-6798) • Immortal , Invisible, God Only Wise, arr. KELLERMEYER (G-7928) • Fantasie on “Ein’ Feste Burg,” arr. EVANS (G-6799) • Sing a New Song to the Lord, arr. HENDERSON (G-5676) • Psallite II: Two Dances, arr. HYSLOP (G-5743) • Deo Gratias, Fantasy on the Plainchant, PROULX (G-6869) • Antiphony, PROULX (G-4457) • All Hail the Power of Jesus’ Name, arr. EVANOVICH (G-8077).
SKU: PR.114419490
ISBN 9781491131435. UPC: 680160677320. 9 x 12 inches.
The depth and inventiveness of Amanda Harberg’s SUITE FOR WIND QUINTET can only be described as remarkable. Harberg combines the rich tradition of renaissance and baroque dance suites with her own American voice, stirring up dramatic, exciting sounds and stories. Cantus uses the imitative entries of renaissance motets as a jumping off point into a more contemporary world. The playfully virtuosic Furlana refers to the Italian folk dance rhythm in 6, punctuated by lots of unexpected 5’s. Fantasia hints at being a lullaby with an animated and jazz-influenced middle section, and the closing Cabaletta is true to its 19th-century meaning of a rousing closing section following beautiful lyricism. SUITE FOR WIND QUINTET was commissioned and premiered by the Dorian Wind Quintet.Amanda Harberg’s Suite for Wind Quintet was commissioned by the Dorian Wind Quintet in 2017. The piece was the result of a conversation in a bar between Harberg, Dorian’s flutist Gretchen Pusch and Pusch’s husband Richard Bayles, on the occasion of Dorian’s clarinetist Ben Fingland’s 40th birthday party. A year and a half later, the Dorian Wind Quintet gave the world premiere of Harberg’s quintet at Bargemusic, and has incorporated it into their repertoire ever since. Suite for Wind Quintet is in four movements- 1. Cantus, 2. Furlana, 3. Fantasia and 4. Cabaletta. The melodic material heard in the very opening of the piece can be heard recurring and transforming throughout the four movements, until it unites triumphantly in the final coda with the theme of the concluding movement. The piece was inspired by the concept of placing Renaissance and Baroque-inspired dance suites into Harberg’s idiom as a 21st century composer.
SKU: BR.CHB-5343
ISBN 9790004412732. 7.5 x 10.5 inches. German.
Johann Kuhnau's extant vocal works will be fully complete in the Breitkopf & Hartel catalogue in coming years. These are cantatas as a rule, but at least works with instrumental accompaniment. The Three Motets in this volume are therefore unique, including in addition to the well known Tristis est anima mea, also the two other extant Kuhnau motets Ach Gott, wie lasst du mich verstarren, as well as Gott hat uns nicht gesetzt zum Zorn. Each one, of five parts (with the tenor or canto part doubled), these masterpieces round out the picture of Johann Kuhnau, Johann Sebastian Bach's predecessor as St. Thomas cantor. Really interesting. Kuhnau shows a real feeling for the texts he is setting, with effective chromaticism in the doleful 'Tristis est anima mea'.(Jeremy Jackman, Choir & Organ).
SKU: HL.14032506
Latin.
Tomas Luis de Victoria (1548-1611) was one of the last representatives of the 'prima prattica', the polyphonic style which was dominant in the period music history has labelled the 'renaissance'. Vol. 3 of these 52 motets for mixed voice choirs.
SKU: BR.DV-7971-02
ISBN 9790200471588. 7.5 x 10.5 inches. German.
In his Chormusic auff Madrigal Manier (1652/53), the Zittau organist Hammerschmidt claimed Heinrich Schutz and his Geistliche Chor-Musik (1648) as his models. With his 31 motets, Hammerschmidt made an import ant contribution to the development of Protestant vocal music in Germany. The two works selected here exemplarily represent both the earlier, 16th century style as well as the newer, concertante style of writing.
SKU: CA.964200
ISBN 9790007143510. Text language: Latin.
Matsushita's composition draws on elements of the Gregorian antiphon. It begins in unison Gregorian chant, as was typical of Renaissance motets, and the beginning of new lines of text are also derived from Gregorian material. Matsushita juxtaposes a syllabic, rhythmic declamation with this melody, constantly alternating bars with even and odd numbers of beats, the octave C' - C'' constantly repeated by the outer parts and leading towards the climax at the text nomen Jesu. After ascending D major arpeggios, the central word Jesu radiates into F sharp major, the following repetition in the compass of an octave on C is more tranquil, ending peacefully with an F major chord, ppp.
SKU: CF.YAS5
ISBN 9780825843808. UPC: 798408043803. 8.5 X 11 inches. Key: G major.
Born in Bologna, Italy, Adriano Banchieri studied composition and organ and was a member of the Olivetan Order where he lived and worked in its Monasteries. As a founder of the Academia Dei Floridi, his writings on Theory, Figured Bass and Vocal Ornamentation are considered important in early Baroque Music. As an Associate of Monteverdi, Banchieri composed masses, psalm settings, motets, theater works and madrigals.Born in Bologna, Italy, Adriano Banchieri studied composition andorgan and was a member of the Olivetan Order where he lived andworked in its Monasteries. As a founder of the Academia Dei Floridi, his writings on Theory, Figured Bass and Vocal Ornamentation are considered important in early Baroque Music. As an Associate of Monteverdi, Banchieri composed masses, psalm settings, motets, theater works and madrigals.
About Carl Fischer Young String Orchestra Series
This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:--Occasionally extending to third position--Keys carefully considered for appropriate difficulty--Addition of separate 2nd violin and viola parts--Viola T.C. part included--Increase in independence of parts over beginning levels
SKU: BR.CHB-5217-02
ISBN 9790004411384. 7.5 x 10.5 inches.
The preparation was like putting together an exciting puzzle: Rudolf Ewerhart had to piece together the parts (printed in Venice in 1620) from various libraries. Since the continuo almost always follows the lowest vocal part, it is also possible to perform the four motets a cappella.
SKU: CY.CC3122
ISBN 9790530110928. 8.5 x 11 in inches.
Jeff Reynolds has arranged four exquisite sacred motets by Renaissance composer Heinrich Isaac titled: 1. Christ ist erstanden (Christ has risen) 2. Ecce Virgo concepiet (Behold, a virgin shall conceive) 3. Esto mihi in Deum protectorem (Be Thou unto me a God, a Protector) 4. Fili quid feristi nobis sic?(Son, why hast thou done so to us?) Arranged for Trombone quartet, they can be performed with a larger group also. They are polyphonic in style and appropriate for moderately advanced performers.
