Matériel : Octavo
SKU: CF.CM9700
ISBN 9781491160008. UPC: 680160918607. Key: A minor. Hungarian. Hungarian Folk.
In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one's homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers' longing to return home; these are interspersed with the folk song's traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version. PERFORMANCE NOTES All spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music. If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end. TEXT Transliteration Jarba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. O mers mama de pe sat, O lasat coliba goala, Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Translation Green grass, tall grass, I would like to go home, but I cannot, because I have sworn not to. Tall grass, green grass - oh, that I cannot go home! My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty. Tall grass, green grass - oh, that I cannot go home! Tall grass, green grass - I would like to go home. but I cannot, because I have sworn not to. Stacy Garrop's music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys - some simple and beautiful, while others are complicated and dark - depending on the needs and dramatic shape of the story. Garrop served as the first Emerging Opera Composer of Chicago Opera Theater's Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels. Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children's Chorus. Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one’s homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers’ longing to return home; these are interspersed with the folk song’s traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version.PERFORMANCE NOTESAll spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music.If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end.TEXTTransliterationJa rba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.O mers mama de pe sat, O lasat coliba goala,Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.TranslationGreen grass, tall grass, I would like to go home, but I cannot, because I have sworn not to.Tall grass, green grass – oh, that I cannot go home!My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty.Tall grass, green grass – oh, that I cannot go home! Tall grass, green grass – I would like to go home.but I cannot, because I have sworn not to.Stacy Garrop’s music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys – some simple and beautiful, while others are complicated and dark – depending on the needs and dramatic shape of the story.Garrop served as the first Emerging Opera Composer of Chicago Opera Theater’s Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels.Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children’s Chorus.Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).ÂÂ.
SKU: CA.3124885
The Carus Choir Coach offers choir singers the unique opportunity to study and learn their own, individual choral parts within the context of the sound of the entire choir and orchestra. For every vocal range a separate CD containing each choir part is available. The CD is based on recorded interpretations by renowned artists who have performed the work from carefully prepared Carus Urtext editions. Each choir part is presented in three different versions: - Original recording - Coach: each part is accompanied by the piano, with the original recording sounding in the background - Coach in slow mode: the tempo of the coach slows down to 70% of the original version - through this reduction passages can be learned more effectively. Bach's Christmas Oratorio is undeniably the number ONE in the Christmas repertoire of choirs as well as in popularity with audiences. The Christmas story, according to the Gospels of St. Luke and St. Matthew, combined with free poetry and individual chorale stanzas attains, together with the clearly structured, festive Baroque music, an eloquent radiance of timeless beauty. To confidently keep up with the frequent, sometimes very rapid sixteenth-coloraturas - for example in the herrliche Chore (no. 1), the Wohlgefallen (no. 21, Vivace!), and the Schnauben der stolzen Feinde (no. 54) - practicing with the Slow Mode of the app is particularly recommended. Score available separately - see item CA.3124800.
SKU: CA.3124849
ISBN 9790007088484. Language: German/English.
Wit h the edition of the Christmas Oratorio within the framework of the Stuttgart Bach Editions, Carus presents a scholarly edition for practical performance. The basis for this publication are Bach's autograph score and the original parts. The conducting score contains an appendix with a concise Critical Report which provides information about the sources and their readings; when necessary, the latter are discussed in more detail, especially with regard to how the editor arrived at solutions for questions of articulation which differ from those found in previous editions. The representative, clothbound volume is supplemented by a study score as well as a choral score, a vocal score and complete orchestral material. In the orchestral material short excerpts containing the conclusions of the secco recitatives are rendered with cue notes in separate vocal systems printed above the score where the instrumentalists pause, thus enabling them make their entrances in the movements which follow these recitatives. This work is also available in carus music, the choir app! Score and part available separately - see item CA.3124800.
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?â€Â THE CREATION already contains a prologue; it’s called “Representation of Chaosâ€, 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 “overtureâ€, 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!â€, 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.â€Â  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: CA.2102111
ISBN 9790007198053. Language: Latin.
Marc-Antoine Charpentier not only originated the Eurovision Melody, rather he also made an important contribution to French sacred music from the baroque with his oratorios, motets and cantatas. The four cantatas for the season of Christmas (CV 21.019-21.022) are now published in first editions. The Latin texts of these works for Christmas, the New Year, Epiphany, and the Purification are based on the accounts of the Gospels, which are paraphrased in the form of poetic texts. As in Charpentier's extensive Histoires sacrees, the musical structure is oratorical, with a part for the evangelist and texts spoken directly by biblical personages and groups of people (angels, Herodes, shepherds, wise men). In each work the vocal scoring includes two sopranos and a bass (those passages where a number of voices sing together can be performed either by soloists or by a choir). With this uniform scoring it would be meaningful to perform these works as a cycle, in the manner of a small Christmas oratorio. Score and part available separately - see item CA.2102100.
SKU: CA.2102113
ISBN 9790007198077. Language: Latin.
SKU: CA.2101913
ISBN 9790007197995. Language: Latin.
Marc-Antoine Charpentier not only originated the Eurovision Melody, rather he also made an important contribution to French sacred music from the baroque with his oratorios, motets and cantatas. The four cantatas for the season of Christmas (CV 21.019-21.022) are now published in first editions. The Latin texts of these works for Christmas, the New Year, Epiphany, and the Purification are based on the accounts of the Gospels, which are paraphrased in the form of poetic texts. As in Charpentier's extensive Histoires sacrees, the musical structure is oratorical, with a part for the evangelist and texts spoken directly by biblical personages and groups of people (angels, Herodes, shepherds, wise men). In each work the vocal scoring includes two sopranos and a bass (those passages where a number of voices sing together can be performed either by soloists or by a choir). With this uniform scoring it would be meaningful to perform these works as a cycle, in the manner of a small Christmas oratorio. Score and part available separately - see item CA.2101900.
SKU: CA.2101912
ISBN 9790007197988. Language: Latin.
SKU: CA.2101911
ISBN 9790007197971. Language: Latin.
SKU: CA.2102149
ISBN 9790007188832. Language: Latin.
SKU: CA.2102011
ISBN 9790007198015. Language: Latin.
Marc-Antoine Charpentier not only originated the Eurovision Melody, rather he also made an important contribution to French sacred music from the baroque with his oratorios, motets and cantatas. The four cantatas for the season of Christmas (CV 21.019-21.022) are now published in first editions. The Latin texts of these works for Christmas, the New Year, Epiphany, and the Purification are based on the accounts of the Gospels, which are paraphrased in the form of poetic texts. As in Charpentier's extensive Histoires sacrees, the musical structure is oratorical, with a part for the evangelist and texts spoken directly by biblical personages and groups of people (angels, Herodes, shepherds, wise men). In each work the vocal scoring includes two sopranos and a bass (those passages where a number of voices sing together can be performed either by soloists or by a choir). With this uniform scoring it would be meaningful to perform these works as a cycle, in the manner of a small Christmas oratorio. Score and part available separately - see item CA.2102000.
SKU: CA.2102013
ISBN 9790007198039. Language: Latin.
SKU: CA.2102213
ISBN 9790007198114. Language: Latin.
Marc-Antoine Charpentier not only originated the Eurovision Melody, rather he also made an important contribution to French sacred music from the baroque with his oratorios, motets and cantatas. The four cantatas for the season of Christmas (CV 21.019-21.022) are now published in first editions. The Latin texts of these works for Christmas, the New Year, Epiphany, and the Purification are based on the accounts of the Gospels, which are paraphrased in the form of poetic texts. As in Charpentier's extensive Histoires sacrees, the musical structure is oratorical, with a part for the evangelist and texts spoken directly by biblical personages and groups of people (angels, Herodes, shepherds, wise men). In each work the vocal scoring includes two sopranos and a bass (those passages where a number of voices sing together can be performed either by soloists or by a choir). With this uniform scoring it would be meaningful to perform these works as a cycle, in the manner of a small Christmas oratorio. Score and part available separately - see item CA.2102200.
