SKU: HL.3774720
UPC: 884088747275. 8.5x11.0x0.032 inches.
SKU: GI.G-10314
ISBN 7851471031413. English, Latin. Text Source: Antiphons tr. Charles Thatcher, verses, The Grail, 1963.
Entrance Antiphons for the Church Year contains thirty antiphon texts from the Graduale Simplex, translated from Latin and set to newly composed music. The psalm verses appointed for these antiphons are taken from the Grail translation (1963). As with the Responsorial Psalm of the Mass, the assembly sings the antiphon after its intonation by the cantor/choir, repeating it after each verse of the psalm. The number of psalm verses which are sung may vary according to need. The singing of the doxology, Glory to the Father, while recommended, is optional. In several cases (e.g., Christmas and Easter), the assembly sings a refrain—a simple acclamation in Latin—and the actual antiphon text is sung by the cantor/choir. The antiphon functions as a first and final verse. It is thought that liturgical singing in the early Church consisted in part of such short acclamatory phrases. Many of the antiphons in this collection are proper to a specific Sunday, solemnity, or feast. The rest are seasonal in nature and, like the common Responsorial Psalms of the Lectionary, may be chosen according to what seems best for the occasion. The antiphons of Christmas Day and Easter Sunday could be used at daily Masses during their octaves. Notations in the scores of some antiphons suggest alternate occasions when they are appropriate. Regarding performance, these compositions were conceived with flexibility in mind. Assembly participation and instrumental accompaniment are assumed. SATB choral singing is effective, but not necessary. Discrete use of descants where provided can lend an air of festivity. Psalm verses might be sung by an entire choir, by a small group or cantor, or a combination of both.
SKU: HL.50601044
ISBN 9788881920075. UPC: 888680723804. 7.75x10.5 inches.
This Marian antiphon survives in autograph score among the manuscripts once in Vivaldi's possession, today preserved in the Biblioteca Nazionale Universitaria di Torino. It was evidently originally a four-movement work composed, possibly in 1726, for the Ospedale della Pietà in Venice, but the openingtwo movements, which must have occupied one or more separate gatherings, are lost. In these circumstances, a reconstruction of the complete work is not a worthwhile proposition, and the edition is therefore presented as a fragment. Its vocal part was notated by Vivaldi in the tenor clef, which was used at the Pietà by a number of singers among the figlie di coro who, in today's terms, would be classified as “low (or second) contraltos”. The score is of particular interest for featuring two parts named “Trombe” that are almost certainly not for brass instruments but for “violini in tromba marina”: specially adapted violins with only three strings anda distinctive bridge designed to mimic the raucous, rattling sound of a tromba marina.
SKU: ST.EC43
ISBN 9790220220289.
The first volume of several to be devoted to Latin church music by composers of the late fifteenth and early sixteenth centuries, EC43 contains all that survives of Fayrfax's O bone Iesu trilogy. From the material shared between the Mass and antiphon (an early example of English parody technique) it has been possible to reconstruct part of the latter, of which only the mean survives. In addition, the Appendix contains the conclusion of a fragmentary composition from the Jena Choirbook, which may also be the work of Fayrfax.
SKU: HL.14063892
ISBN 9781785588341. UPC: 840126939231. 6.75x9.75x0.304 inches.
This album features 16 of John Tavener's anthems for SATB choir.
Contents include: 'A Christmas Round', 'Advent Antiphon', 'Agnus Dei', 'As one who has slept', 'Exhortation and Kohima', 'TheFounder’s Prayer', 'God is with us (A Christmas Proclamation)', 'A Hymn to the Mother of God', 'The Lamb', 'Mother of God, here I stand', 'Nunc dimittis', 'O that we were there', 'Rocking', 'Song for Athene', 'Today theVirgin' and 'What God is, we do not know'.
SKU: ST.EC54
ISBN 9790220222023.
This is an important addition to the pair of consecutive EECM volumes of John Sheppard's Latin compositions for the Use of Salisbury published in the 1970s. Although he had evidently mastered the forms of Mass and votive antiphon, the composer is at his most characteristic in his settings of the plainsong melodies which form the bedrock of the Sarum liturgy. These account for most of the contents of this volume, together with free-composed settings of Biblical texts and a small corpus of devotional polyphony, most of it fragmentary. In general, textural richness is cultivated in preference to long arcs of melisma, and perfect time is favoured over imperfect, creating a directness of expression that seems to typify mid-Tudor polyphony. The format of this volume follows EECM's house style for post-Reformation composers.
SKU: ST.EC8
ISBN 9790220206443.
The majority of pieces in this volume show a strong melodic and rhythmic independence of voice, close in style to the contemporary French chanson; but there are also examples of pieces in the simpler, homorhythmic idiom of English descant. Votive antiphon and votive mass, or lady mass, were the main forms employed in the important early 15th-century repertoire of devotional and liturgical music for household use.
SKU: BA.BA05705
ISBN 9790006496044. 24 x 17 cm inches.
