Format : Sheet music + Audio access
SKU: HL.49002702
ISBN 9790220108761. 9.0x12.0x0.095 inches. English.
The Advent No sudden thing of glory and fear * Hymne for a child Flocking to the Temple * My Fair My Fair, no beauty of thine * The Salley Gardens Down by the Salley gardens * The soldier's return Jump through the hedge, lass! * The scapegoat See the scapegoat, happy beast.
SKU: HL.50512841
SKU: HL.48180245
No. 2 from Poemes Salomniques.
SKU: HL.355086
UPC: 840126938395. 9.0x12.0x0.058 inches.
A beautiful hymn-solo, Trenny's setting brings depth and dignity to a song that is already a classic in churches everywhere. The word “child” and “light” in the title prepare you for the inspiration and the calling that is inherent in the hymn. Trenny builds his setting artistically, stretching “shine” into a prism of glorious sounds.
SKU: HP.C6289
UPC: 763628162894.
Original hymn tune Thomas Chisholm's beloved hymn text is given a new melody and dynamic choral treatment by Joel Raney, complete with a powerful orchestral accompaniment, now also available for medium-high voice vocal soloists. . The familiar words of this classic hymn come to life afresh in this compelling new treatment. The orchestration by Brant Adams includes parts for conductor's score, 2 flutes, oboe, 2 clarinets in B-flat, bassoon, 2 horns in F, 3 trumpets in B-flat, 2 trombones, bass trombone or tuba, timpani, percussion 1 and 2, harp, 2 violins, viola, cello, and double bass.
SKU: HP.8967
UPC: 763628189679.
SKU: C4.9790902261180
ISBN 9790902261180. 8.27 x 11.7 inches.
Excelsis 1 is the first volume in A Distant Music, an anthology of sacred music by Australian composers, curated by church musicians Michael Leighton Jones, Daniel Mitterdorfer, Brooke Shelley and The Rev'd Christopher Waterhouse. This volume contains 25 descants and reharmonisations of well-known hymn-tunes, with reproducible descant sheets for the singers.
SKU: HL.49014419
ISBN 9780901938183. English.
SKU: HL.48180277
For unison voice and piano.
SKU: AU.9781506495392
ISBN 9781506495392. 7 x 10.25 inches.
A festive arrangement of the familiar hymn by David Cherwien is set in classical hymn concertato style. The introduction for organ and trumpet gives way to congregation and choral stanzas with varied accompaniments and descants for voice and trumpet. Stanza three is written for choir only and reflects the text ??let the servant church arise in beautifully ascending passages. An uplifting addition to the Augsburg Choral Hymn Series that highlights the need for social justice and care of neighbors.
SKU: BT.PWM5447
''Stabat Mater'' by Karol Szymanowski for solo voices, chorus and orchestra, Op. 53, is one of the most famous and, at the same time, most personal works of the composer, making its appeal to the audience through the depth of its expression and sheer artistry. The first sketches of the work were made in the spring of 1925, while work on the full score occupied the composer from 20 January to 2 March 1926. Józef Jankowskis Polish translation of the medieval sequence formed the basis of the composition. This text, which was simple in a folk-like way, devoid of pathos but full of religious zeal, harmonized perfectly from the poetic point of view with the composers creative design. In an interview for the monthly Muzyka Szymanowski stated: ''in its Polish vestments that eternal, naive hymn was filled for me with its own immediate expressive content; it became something painted in colours which were recognisable and comprehensible as distinct from the black and white of the archaic original'' (''A Footnote to Stabat Mater'', Muzyka 1926, Nos. 11/12). In the score, the Latin text is given beside the Polish text, making it possible for the work to be performed more easily by foreign performers. In this work, the universal tradition of the Christian church was fused with the Polish religious tradition. The composer creates the religious folk-like climate primarily through the character of the melodies which are akin to to the plainchant melodies to the text of Stabat Mater (the sequence, and especially the hymn) and their paraphrases in Polish religious songs (e.g. Sta a Matka Bole ciwa [The Dolorous Mother was standing]) as well as motifs from Polish Lenten songs and Gorzkie ale (Bitter Laments). Szymanowski did not introduce them as quotations, but intersperses the melodic lines, which are more fully developed and frequently highly chromatic, with diatonic phrases, based on modal scales. They appear in all the movements of the work determining its cohesion. In dividing the twenty-stanza text into separate segments, Szymanowski created a six- movement cantata. He took care to distinguish between the emotional shades of the various movements, varying his selection of solo voices (soprano, contralto, baritone), the voices of the chorus (female or mixed) and the orchestral forces. In the first and third movements the lyrical idiom prevails; the first movement, portraying the Mother of God at the foot of the cross, has a narrative character, whereas the third is a kind of prayer from a man who sympathizes with, and who wishes to be associated with Mater Dolorosas pain. In these movements only the female voices are used (soprano, contralto and female chorus), while the orchestra is employed in a chamber style, sometimes drawing on solo accompanying parts (e.g. the beginning of the third movement). The fourth movement, which continues the mood of prayerful contemplation, is designed for soprano and contralto solo as well as unaccompanied chorus. On the other hand, the second and fifth movements, involving the participation of solo baritone and the full chorus and orchestra, are similar with regard to forces and their dramatic character, which is austere in expression, harsh in tone, and markedly dissonant. Here grand climaxes appear with powerful orchestral tutti. The sixth movement crowns the whole. The lyrical, soft melody of the solo soprano at the beginning is gradually strengthened by the addition of the female chorus and the solo contralto, and in the final section, the solo baritone as well as the tutti of chorus and orchestra. The conclusion, subdued and full of concentration, suggests the introvert character of the experience as opposed to its dramatic pathos. Stabat Mater by Szymanowski is part of a long tradition of compositions based on the text of the medieval sequence - ranging from polyphonic works by Josquin des Prés and Palestrina to the romantic Stabat by Giuseppe Verdi and Anton n Dvo ák. And it was perhaps because of his consciousness of this tradition that Szymanowski used stylizing devices in the spirit of early music. The archaization manifests itself not only in the character of the melodies and their modal framework, but also in the harmonies (with their predominance of triads, open fourths and fifths chords and doubled thirds), the simple rhythms as well as the texture of the choruses (esp. the fourth movement). The composer does not, however, imitate the style of any specific historical epoch, but combines resources taken from early music with modern tonal and harmonic techniques. Archaization in Stabat Mater serves, moreover, a symbolic function; in evoking the many-centuries old tradition of church music, it emphasizes the universal nature of the idea contained in the text of the sequence, while the re-reading of the text by the composer gives the work its individual features. [Zofia Helman, translated by Ewa Cholewka].