SKU: OU.9780193519008
ISBN 9780193519008. 11 x 9 inches.
For SATB and piano or organ This work comprises three settings of sections from the Penitential Psalms, interspersed with four arrangements of the well-known Ubi caritas plainchant. The psalms may also be performed separately, giving the work added flexibility in performance. The work is suited for Lent and Passiontide.
SKU: GI.G-9610
UPC: 785147961000. Latin. Text Source: Attr. Ambrose of Milan, 340–397. Text by Ambrose of Milan.
Composer's Notes When I met Kelsey Rose in Oxford in St. Stephen’s House chapel over the summer of 2017, we had both just attended a very moving candlelit concert by Westminster Williamson Voices, featuring my setting of “Tenebrae lumini.†I was delighted to be asked to write a piece for compline in Princeton University Chapel, celebrating the 150th anniversary of the Anglican/Episcopal chaplaincy at Princeton University. “Aurora†is the result of that meeting. Composing by commission often throws up some interesting challenges. The piece had to fit both as an accompanying piece to the plainchant of compline, whilst simultaneously being a celebratory anthem. I was instantly drawn back to the poetry and hymns of St. Ambrose of Milan, particularly “Aurora iam spargit polum.†Fragments of chant (both real and imagined) are used to create the powerful imagery of the descending golden light of dawn. The piece reaches its climax with the plea for the despair of night to “vanish,†which it then does, leaving the sopranos alone on a high G.
SKU: AP.36-A263301
UPC: 660355020445. English.
The idea for Totentanz, S. 126 (Dance of the Dead) was conceived by Franz Liszt (1811-1886) in 1938. Two versions were to follow, the first completed in 1853, and the second version finished in 1864. The flashy virtuosic piece for the solo piano uses the Gregorian plainchant melody Dies irae (Day of Judgement) in a set of variations. The first version, which is nicknamed De Profundis, is most commonly heard in the 1919 edition by famed Italian composer, pianist, and conductor Ferruccio Busoni (1866-1924). Instrumentation: 3(3rd dPicc).2.2.2: 2.2.3.1: Timp.Perc(2-3): Str (9-8-7-6-5 in set): Solo Piano in the sc.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: AP.36-A263302
UPC: 746241287199. English.
SKU: HL.48024552
ISBN 9781784544546. UPC: 888680916701. 9.0x12.0x0.225 inches.
MacMillan's first percussion concerto Veni, Veni, Emmanuel was premiered to immediate acclaim by Evelyn Glennie and the Scottish Chamber Orchestra, conducted by Jukka-Pekka Saraste, at the BBC Proms in 1992. It swiftly established itself in the repertory of frequently performed new works, achieving over 500 performances worldwide to date. The work is in one continuous movement and is based on the Advent plainsong of the title. On one level the piece is a purely abstract work in which all the musical material is drawn from the 15th-century French Advent plainchant; on another level it is a musical exploration of the theology behind the Adventmessage, but with a liturgical detour to the Easter Vigil at the very end.
SKU: BR.EB-9432
ISBN 9790004189092. 0 x 0 inches.
Duration: full evening Text by the composer basesd on E.T.A. Hoffmann's tale of the same name from Serapionsbrudern Translation: ital. (G. Trampus), La sposa sorteggiata Place and time: Berlin, um 1820 Characters: Der Kommissionsrat Voswinkel (baritone) - Albertine, his daughter (mezzo-soprano) - Thusman, Freier (tenor) - Edmund Lehsen, paintor, Freier (tenor) - Baron Bensch, Freier (tenor) - the goldsmith Leonhard (baritone) - the jew Manasse (bass) - the valet Voswinkels - crowd, a Chancre (silent parts) In Busoni's musical evolution, this work marks an important phase of radical change after works inspired by Brahms and Verdi. The composer's compositional style became increasingly revolutionary between the sketch of the shport score (1908) and the completion of the orchestral score (1911).Busoni took the greatest care in preparing the definitive form of the work. He asserted that there was invention in every bar, and assigned an important role to the use of music from other sources: the Hebrew march from Rossini's Mose, for example, or a German dance by Mozart, military music, American-Indian pentatonic music, Gregorian plainchant, melodies from the synagogue and even quotes from his own works. With these stylistic means, Busoni followed Hoffmann's serapiontic principle and came closer to his idea of a timeless world music without borders.
SKU: HL.48025158
UPC: 196288101741.
A reflective setting of the one of the Marian antiphons (Hail, Queen of Heaven) by emerging composer Kerensa Briggs. A continuous,largely homophonic choral texture underpins the work, with rich harmonies and gentle dissonance, and clever seamless joining of phrases. A solo plainchant melody is incorporated over sustain chords, providing contrast in this beautiful setting of the well-known Latin text. A highly effective short motet, suitable for intermediate choirs looking to expand the horizons of their repertoire.
SKU: CF.CM9756
ISBN 9781491162446. UPC: 680160921195. Key: E minor. Latin, English.
Personent Hodie is a medieval Christmas carol from the larger work Piae Cantiones—a published collection of songs intended for cathedral schools in 16th century Finland. The original tune uses modality and plainchant to evoke the mysterious character of Christmastide.This rhythmic setting of Personent Hodie expresses the tune in compound meter, resulting in a joyful energy. The optional hand drum and finger cymbals complement the melody with an exciting, dance-like pulse.“Ideo, gloria in excelsis Deo!â€Therefore, glory be in the highest to God!Ideas for study and reflection: How might word stress be used to enhance overall musicality? What syllables should be stressed vs. unstressed? What dynamic markings are indicted in the score, and where do they occur? Listen to a recording of the original “Personent Hodie†written in 4/4 time. How are the two settings different? .
SKU: PR.11641139S
UPC: 680160682119.
Barcarolles for a Sinking City was inspired by the city of Venice, a place that has long held the fascination of artists, writers and composers, and which I have been lucky enough to visit on several occasions. Sadly it seems that future generations may not be so lucky: in addition to the city's slow sinking and recently discovered tilting, studies predict that if global warming and the resultant rise of ocean levels is unabated, the entire city (as well as many other coastal cities around the globe) will be under water by 2100. I. Funeral Gondola The late, cryptic piano works of Franz Liszt made a profound impression on me as a young composer, among them two works he entitled La Lugubre Gondola (usually translated as The Funeral Gondola ) which were said to be a premonition of Wagner's death in Venice, his coffin transported through the canals in a black gondola. These late pieces of Liszt acquired even greater significance to me after I spent two summers in Bayreuth under the patronage of Friedelind Wagner, the granddaughter of Wagner and great-granddaughter of Liszt. This movement is a meditation on Wagner, Liszt, Venice and its own evanescence. II. Barcarolle/Quodlibet The Quodlibet (Latin for what pleases) is a musical form dating back to the 15th century where many disparate melodies are juxtaposed. Popular in the Renaissance, sacred and secular melodies were combined, often to comical effect due to the resultant incongruity of the words. The form was considered the ultimate test of a composer's mastery of counterpoint. The most famous Quodlibet is without doubt the final Variation of Bach's Goldberg Variations. As a form the Quodlibet is less common in more recent music, although examples can be found in the works of Kurt Weill and David Del Tredici. My own Barcarolle/Quodlibet was inspired by the (perhaps apocryphal) story of the funeral where musicians were asked to play a Bach Choral, but due to miscommunication played instead the Bacarolle from The Tales of Hoffmann. Here, the Bach Choral Allen Menschen mussen sterben (All Men Must Die) is heard in the strings pizzicato, with a tempo indication In slow motion. The alto line of the Bach suggests a phrase from Beethoven's Ninth Symphony (Alle Menchen werden Bruder) heard in the muted trombone. Before long, the famous tune from Offenbach's opera is heard, followed by quotations from iconic Barcarolles by Chopin, Mendelssohn and Faure, as well as two Venetian popular songs and more Beethoven. III. Barcarola/Ostinato/Carillon An ostinato is a repeated musical figure, and carillon is Italian for music box. This movement references the obsolete genre of salon pieces that imitated music boxes: such works by composers like Liadov and Gretchaninov used to be a mainstay of pianists' encore repertoire. This movement is however much darker in conception than those pleasant trifles. Utilizing the full battery of percussion, the carefully notated temporal slowing of the ostinato becomes overwhelmed by a poignant chorale melody before this box is snapped shut. IV. Barcarolle Oubliee (Forgotten Barcarolle) Marked limpido (still) the final movement begins with the sound of rain produced by a percussion instrument called (appropriately) a rain stick. Halting phrases in the harp coalesce into the accompaniment for a plangent melody heard in the clarinet. The central Adagio of this movement leads to a shattering climax, before the opening phrases return and dissipate into nothingness.
SKU: PR.11641139L
UPC: 680160682126.