SKU: AP.50746
UPC: 038081580609. English. Traditional Balinese Folk Songs.
Three indigenous melodies from the island of Bali are presented in this charming suite for treble choirs. Drawing on a variety of primary sources based on extensive field research by Dr. Brent Talbot, each short song includes cultural background notes and a full pronunciation guide and translation. Arranger Matt Carlson adds simple vocal harmonies and counterlines sparingly, allowing the gorgeous melodies to shine. Piano accompaniments reflect compositional techniques of Balinese gamelan, the traditional instrumental music played across Indonesia.
SKU: HL.360180
ISBN 9781705123034. UPC: 840126948745. 7.0x10.5x0.534 inches.
The Cantabile Series offers varying levels of voice training from primary vocal pedagogy to comprehensive course texts. This collection provides 59 vocal training exercises in written form, accompanying sound files, and online video scores, each with introductions explaining the purpose and goal. Vocal students and choral singers can sing along with established vocal techniques at home or in the classroom under the direction of acclaimed vocal pedagogue and Vocologist, Dr. Katharin Rundus.
SKU: BT.EMBZ14907
Latin.
Miklós Kocsár set Jacopone da Todi's Latin hymn to music in 2007. The composition is for soprano, baritone solo, mixed choir and orchestra. The nearly 20-minute-long monothematic work of one movement presents the suffering and reconciliation of Mater Dolorosa with variational technique and colourfully alternating choir and solo textures. Using the score, which includes the vocal parts, Stabat Mater can be performed with not only orchestral but also piano or organ accompaniment.
SKU: HL.356774
ISBN 9781705121146. UPC: 840126941951. 6.75x10.5 inches.
SKU: CA.5165203
ISBN 9790007294243. Key: D minor. Latin.
The English conductor and composer Howard Arman has presented us with a completed version of Mozart??s Requiem. ??Another one?? you might ask, since this publication is only the latest in a long line reaching back to the traditional Sü?mayr version. Yet such is the enormous power of Mozart??s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Arman??s additions to Mozart??s great original show the requisite care and respect while incorporating many new insights.Arman??s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozart??s brilliant composing style: The masterly compositional technique, the search for innovative solutions to every problem, and even the terse treatment of the text with extremely suggestive harmonies. All of this leads to a number of new listening experiences. In the Tuba mirum, for example, we enjoy a warm, cohesive ensemble sound, supported by the bassoons, which depart from the bass line. The Confutatis presents a quite different picture: Even the basset horns are drawn down into the infernal depths. This effect is reinforced by the independence of the trombones; rather than simply following the choral parts, the instrument??s unique sound is given an opportunity to shine. Arman??s Lacrimosa achieves a lively Mozartian feel by granting the voices considerable freedom rather than following a rigid pattern. And he concludes the movement with a fugal Amen, whereby the focus is not so much on the counterpoint itself, but rather ?? in the spirit of Mozart ?? on creating a sense of drama and illuminating the theme in all its possible facets. Mozart??s fragment ends with the Hostias, and so does Arman??s completion. For the four following movements (Sanctus to Communio) we have nothing from Mozart, and so here, where the master is silent, Arman finally returns to Sü?mayr, the man who was closest to Mozart at the time of his death and whose efforts to fill the blank manuscripts still garner our respect today.Arman??s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike ?? and celebrated as offering a scholarly, entirely fresh perspective on Mozart??s masterpiece.- World premiere by the Bavarian Radio Choir- Enthusiastically received by audience and press.
SKU: CA.3810905
ISBN 9790007054298. Language: Latin.
While the solos in earlier masses form an integral part of the structure of the entire work, Christian Bach made the solo sections independent in the sense of the Neopolitan school. The orchestra is occupied with longer preludes and rustling figures. In the eleven movements, Bach was able to unite the compositional techniques and expressivity of the Baroque with the beautiful sound of an Italian cantilena. From the forward by Traugott Fedtke. Score available separately - see item CA.3810900.
SKU: HL.48025186
ISBN 9781784545147. UPC: 196288116479. 9.0x12.0x0.28 inches.
A setting of passages from the Book of Revelation, with particular reference to the angels who appear with seven trumpet blasts, heralding a series of apocalyptic scenes. Commissioned by Jeffrey Skidmore, director of Ex Cathedra, and first performed by them at Birmingham Town Hall in 2015. The composer states, “There is a vividness and strangeness in these dramatic texts, which are endlessly fascinating and disturbing. The instruments used here are based on the various instrumental types mentioned throughout scripture - trumpets, harp, bells, cymbals, tabor, rebec.” These are scored for mostly in their modern forms, but shofars (Jewish ritual temple trumpets) and early trumpets are also used. The choral writing shows a similar contrast between traditional and contemporary scoring, with polyphony and homophony alongside extended vocal techniques, including Sprechstimme. Leading choral director Paul Spicer comments, “This is an extremely dramatic work which draws the listener into the apocalyptic story line...The ending is cataclysmic.”.
SKU: CA.5281800
ISBN 9790007297237.
Volume 11 of the “Songs and Choral Works” Series contains the Drei Chöre op. 6 (1892), Reger’s only original composition for a mixed vocal scoring and piano, in which he used his two-color method of notation for the first time (musical text in black, performance instructions in red). In addition, the volume contains the piano reductions of some of the choral-symphonic works which Reger composed between 1903 and 1914 – the Gesang der Verklärten op. 71, Psalm 100 op. 106, Nonnen op. 112, Einsiedler op. 144a and the Requiem op. 144b, and the Weihegesang WoO V/6 for alto, mixed choir and winds.In January 2008 the Max-Reger-Institut (MRI) in Karlsruhe began publishing a scholarly-critical edition of the works of Reger (RWA). As a Hybrid Edition it is exploring new approaches in editorial techniques.The digital component for this volume will be published in an online portal.Content:Drei Chöre op. 6Gesang der Verklärten op. 71Der 100. Psalm op. 106Weihegesang WoO V/6Die Nonnen op. 112Der Einsiedler op. 144a Requiem op. 144b.
SKU: HL.48024345
ISBN 9783793142010.
The cantata for mixed choir and piano (or organ) is an early work by Ursula Mamlok, if one can call the composition of a mid-thirties so. In 1958, at the time the piece was written, the composer had just finished her studies at the Manhattan School of Music. In the following years, with studies by Stefan Wolpe and Ralph Shapey, she approached the row technique and developed the typical style that should be typical for her in the later decades. The Cantata is thus the musical testimony of a transitional period and occupies a special position, also because choir compositions are rare in Mamlok's oeuvre. However, a very attractive. The approximately 7-minute, one-movement composition is based on the 1st Psalm in English. Ritornellartig returns the word Blessed, harmoniously accented with quartz cords. The choir set is extremely varied and fanned up to eight voices. Again and again solos from all vocal groups emerge. Homophones contrast with broken and imitative sections, accompanied by a cappella sung. Also interesting is the instrumental voice, which not only accompanies the vocals, but also stands out individually and in changeable design.
SKU: CA.739300
ISBN 9790007172268. Text language: Latin.
Veni was composed by Kay Johannsen in November 2015. Similar to his 2010 work Et vidimus gloriam eius for four choral groups (SSA, TTB, SATB, SATB) and organ based on the beginning of St John's Gospel, Veni requires a spatial separation of three four-part choirs. The starting point of the composition is the 12th century hymn Veni redemptor gentium by St Ambrose of Milan, which Martin Luther used as the basis of his 1524 hymn Nun komm, der Heiland. The four sections of the cantus firmus are sung in turn by all the basses, altos, sopranos, and tenors, each part at a louder dynamic than the other parts. For the accompanying voices Johannsen uses different principles of canonic technique and motivic variation, with most of the material derived from the cantus firmus. The organ part of this 12-part chorale arrangement provides a harmonic orientation, but is completely independent and introduces both moments of rhythmic accentuation and elements of veiling. The choral writing is also deepened and elevated by the organ sounds derived from the text. Despite all the motivic links between the parts, the music has a direct sensual effect as a sound collage. The work ends with three increasingly distant, homophonic invocations of Veni: the plea Komm occurs at the beginning as at the end.
SKU: CA.916600
ISBN 9790007171872.
Music for unaccompanied choir features very little in the works of the violin virtuoso and composer Louis Spohr (1784-1859), although he used the chorus to great effect, particularly in his early Romantic operas. Now, Clytus Gottwald has transcribed three of Spohr's songs with piano accompaniment for five-part mixed choir. The texts are by Goethe, Amalia Schoppe, and Uhland. Spohr's music, stylistically typical of a period of musical transition with its indefinable qualities, offers in a special way starting points for Gottwald's technique of arranging, influenced as it is by contemporary music. Gottwald's transcriptions of songs and instrumental works for vocal ensemble, distinguished by their highly sophisticated sound, have become firmly established in choral repertoire throughout the world in recent years.
SKU: CA.2780200
ISBN 9790007167783.
Today Monteverdi's Selva morale et spirituale (1641) stands entirely in the shadow of his famous Vespers 1610. The editions from 1610 and 1641 both include music for the Mass and Vespers, but each of these collections was composed under much different circumstances during Monteverdi's lifetime. If the works of 1610 are a bold combination of traditional compositional techniques and avant garde music, which were intended by this weary Court Composer at Mantua as an application portfolio for a new job, the 1641 collection is the only church music by the mature Monteverdi which was published after almost thirty years in his position as Music Director of St. Mark's Cathedral: the latter, a kind of best of collection from his many years of experience as a church musician. In Venice the composer had not only a fabulous, but a large ensemble at his disposal (finally, about 35 singers, alone)! The big effect in this music is the combination of soloistic and weighty tutti sections, it makes the music, with its clearly defined sections and, for the most part homophonic choral passages more easily performable than the Vespers for today's choirs. The new edition, comprised initially of three volumes, also includes those works from the Selva Morale (a Mass and two Magnificats) which have already been published by Carus, as well as all further liturgical compositions for use in the church. The present volume, Salmi I, contains each of the first of the multiple settings of the psalms, as well as the Credidi. The edition is based on the methods employed in the much acclaimed Carus edition of the Vespers: * It contains a detailed foreword with suggestions for notation, scoring and for the liturgical use of individual compositions. * For the present edition four of the five surviving printed copies, as well as contemporary manuscript were consulted. Facsimiles illustrate special characteristics of the edtion of 1641. A Critical Report makes clear all of the editorial decisions made in the edition. * All of the pieces are printed untransposed and using the original note values. * All of the pieces are available in single editions with complete performance material. * Vocal scores of all works with obbligato instruments facilitate rehearsal. * Instrumental parts for collaparte accompaniment of tutti-sections (including text underlay).
