SKU: HL.277282
UPC: 840126915006. 6.75x10.5 inches.
Program note:Looking Up is a piece for large chorus and orchestra, and is in three sections, played without pause. In the 16th century, a variety of psalters in meter were printed in England, with the idea of making psalm-singing something that could happen easily at home, with the rhyming meter being an aid to memorization. These translations are wonderful exercises in brevity and sometimes clumsy rhymemaking, and were usually prefaced by a lengthy explanation as to their merits; the title of one of the first such volumes in English is: The Psalter of Dauid newely translated into Englysh metre in such sort that it maye the more decently, and wyth more delyte of the mynde, be reade and songe of al men. I thought it would be appropriate to set one of these introductions, and the first section of Looking Up sets the preface to Thomas Ravenscroft's psalter (1621), in which he writes: “The singing of Psalmes (assay the Doctors) comforteth the sorrowfull, pacifieth the angry, strengtheneth the weake, humbleth the proud, gladdeth the humble, stirres up the slow, reconcileth enemies, lifteth up the heart to heavenly things, and uniteth the Creature to his Creator.”It begins meditatively, but eventually grows agitated and fervent, with a vision of the “quire of Angels and Saints” “redoubling anddescanting” - an ecstatic and terrifying vision of the skies opening up. Ravenscroft then encourages the use of instrumental musicfor worship, at which point, a long, acrobatic orchestral interlude with jagged edges antagonizes the choir, who sing a kind of private, anxious meditation on two pitches.One of the most delicious biblical texts is an Apocryphal prayer known as the Benedicite or the Prayer of the Three Children (the same who were rescued by an angel after King Nebuchadnezzar tried to have them burnt in an oven for not bowing to his image). The text is repetitive, obsessive, and a gift to composers - each line is an invocation of an element of the natural world, followed by the phrase, “blesse ye the Lord, praise him & magnify him for ever.” In Looking Up, the setting begins with three solo voices, and then grows to include the whole choir, itemizing the whole of creation. The idea that these boys are spared from the furnace and then five minutes later are saying, “O ye the fire and warming heate, blesse ye the Lord...” has always felt very loaded to me, and the orchestra plays with this conflict between joyful praise and a more terrible (in the 16th-century sense) awefor the divine.The text for the third, and shortest, section is taken from Christopher Smart's (1722-1771) A Song to David, purportedly written during his confinement in a mental asylum. This ode to King David points out how David, as the author of some of the Psalms, observes the whole world from the “clustering spheres” to the “nosegay in the vale.&rdquo.
SKU: GI.G-008778
UPC: 641151087788.
Tomaso Albinoni‚ Adagio has inspired this alluring choral adaptation by prolific composer No?´l Goemanne. Hints of this classic melody are found throughout the four-part texture. Beginning with a simple pulse in the keyboard, the men state the initial theme in unison and fifths. The vocal writing takes some interesting harmonic turns and contains wonderful solo passages. A keyboard interlude introduces a duet between soprano and tenor and leads us to a concluding homophonic choral section. Agnus Dei will also serve well as a concert performance piece.
SKU: WD.080689871429
UPC: 080689871429.
Deck the hall! Trim the tree! Light the lights! It's Christmastime! And that means it's time to sing! We love to sing at Christmas more than any other time of year. Carols, hymns, funny songs, sad songs, songs about the Christmas story and about the Savior, songs about being home for the holidays, songs about reindeer that can fly and mistletoe and pumpkin pie, and everything in-between! We sing because it's a season of joy. We sing because it is a tradition. We sing because laughter fills the air, chestnuts are roasting on the street corner, bell-ringers are collecting for charities, sidewalk Santas are Ho-Ho-Ho-ing, and children everywhere (and some adults, too) are thrilled with the sights and sounds of that most wonderful time of the year! 'Tis the season to sing!
SKU: ST.W217
ISBN 9790220221941.
An expert choral director as well as a highly regarded composer, Ronald Corp has written unaccompanied SATB settings of three famous medieval carol texts, Myn Lyking, The Virgin's Cradle Hymn (Dormi Jesu) and Quem Pastores Laudavere. The idiom is modern yet accessible, with an ear for stylish harmony that includes both modal progressions and colourful added chords, embroidered in some rich yet untaxing divisi writing. The carols may be performed as separate items or as a group, the first two being cradle songs for the Nativity, the third also suited to the celebration of Epiphany on 6 Janaury. Ronald Corp is Founder and Artistic Director of the New London Orchestra and New London Children's Choir, and Musical Director of the London Chorus and Highgate Choral Society.
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.TEXTTransliterationJarba, 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: AP.49292
ISBN 9781470644666. UPC: 038081563367. English.
Authorized Asian Edition - Available ONLY in Asia. Teach violin with the popular Suzuki Violin School! The Suzuki Method of Talent Education is based on Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Shinichi Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the mother-tongue approach. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Violin School. Suzuki lessons are generally given in a private studio setting with additional group lessons. The student listens to the recordings and works with their Suzuki violin teacher to develop their potential as a musician and as a person. This Suzuki Book & CD (Asian Edition) is integral for Suzuki violin lessons. This International Edition of the Suzuki Violin School, Volume 1 features: * Engravings in a 9 x 12 format * New editing of pieces, including bowings and fingerings * 16 additional pages * Additional exercises, some from Shinichi Suzuki, plus additional insight and suggestions for teachers * Glossary of terms in English, French, German, and Spanish * Musical notation guide * Fingerboard position * CD features new recordings by Hilary Hahn in collaboration with pianist Natalie Zhu, as well as piano accompaniment only tracks for play-along purposes. Titles: Principles of Study and Guidance * Twinkle, Twinkle, Little Star Variations (Suzuki) * Lightly Row (Folk Song) * Song of the Wind (Folk Song) * Go Tell Aunt Rhody (Folk Song) * O Come, Little Children (Folk Song) * May Song (Folk Song) * Long, Long Ago (Bayly) * Allegro (Suzuki) * Perpetual Motion (Suzuki) * Allegretto (Suzuki) * Andantino (Suzuki) * Etude (Suzuki) * Minuet.
About Suzuki Method
The Suzuki Method is based on the principle that all children possess ability and that this ability can be developed and enhanced through a nurturing environment. All children learn to speak their own language with relative ease and if the same natural learning process is applied in teaching other skills, these can be acquired as successfully. Suzuki referred to the process as the Mother Tongue Method and to the whole system of pedagogy as Talent Education. The important elements of the Suzuki approach to instrumental teaching include the following:an early start (aged 3-4 is normal in most countries); the importance of listening to music; learning to play before learning to read; -the involvement of the parent; a nurturing and positive learning environment; a high standard of teaching by trained teachers; the importance of producing a good sound in a balanced and natural way; core repertoire, used by Suzuki students across the world; social interaction with other children. Suzuki students from all over the world can communicate through the language of music.
SKU: JK.20420
Doctrine and Covenants 138:47-48, Alma 37:35*** Some Janice Kapp Perry products may require a few days additional shipping time. Thank you!
A cantata written to celebrate the Proclamation on the Family, for chorus, soloists, and readers.Original songs include: Children of God, In Whose Image Am I Made?, Half a Million Skies, We'll Make Our Father's Dream Our Own, God Gave You to Me, The Song of Ages, Travelers Who Shelter Here, Father Mother We Need Your Love, Come to the River, No Other Love, The Path to Joy, Our Brother Walked This Way, Turning the Hearts, Love One Another, and We'll Make Our Father's Dream Our Own/This Is Our ChoiceComposer: Steven Kapp Perry & Marvin PayneLyricist: Steven Kapp Perry & Marvin PayneReference: Doctrine and Covenants 138:47-48, Alma 37:35*** Some Janice Kapp Perry products may require a few days additional shipping time. Thank you!
SKU: JK.19990
Hebrews 9:28, John 14:6*** Some Janice Kapp Perry products may require a few days additional shipping time. Thank you!
46 new hymns, inspired by the General Conference addresses of Elder Jeffry R. Holland. (October 1994 - April 2017).Collection includes: All Ye Who Watch the Master's Sheep Are the Heavens Truly Open? Are We Not All Beggars? As an Ensign to the Nations A Sinless, Pure and Holy Man Be Clean, Oh House of Israel Be Not Afraid, But Be Believing Bless Me to Be a Little More Like Thee Do You Love Me? Christ Can Heal the Broken Hearted ever We'll Remember For God Loves Us With All His Heart For God So Loved the World God Has Raised Up Noble Daughters God will Never Leave the Weary He Will Bring Rest to Your Soul His More Excellent Way Holy Father, King of Heaven How Fair Upon the Mountain I Am a Child of Destiny I Bear My Witness of the Lord In Heaven There Is a Law Inviting All to Come to Christ I Testify I Would Be Thy True Disciple let Not Your Heart Be Troubled Let Thy Word Be In Our Hearts Lord, Accept My Humble Offering Lord, I Believe Lord, I'll Strive to Live Worthy of Thy Love Lord, We Pray For All the Children May We Have the Tongues of Angels My Life is Not My Own None Were With Him Oh Come Ye Heavy Laden Come Our Faith Unites Us With One Heart The Keys of the Kingdom The Love of God Is Without End The Mother of All Living The Words of God Will Never Cease The Worth of Souls Is Great Indeed Through a Thousand Generations To the Rising Generation Who Will Now Speak For the Widow? Wilt Thou, Lord, In Me Abide You Can Always Come Back HomeComposer: Janice Kapp Perry Lyricist: David B. LarsenReference: Hebrews 9:28, John 14:6*** Some Janice Kapp Perry products may require a few days additional shipping time. Thank you!
SKU: AP.49293
ISBN 9781470644673. UPC: 038081563374. English.
Authorized Asian Edition - Available ONLY in Asia. Teach violin with the popular Suzuki Violin School! The Suzuki Method of Talent Education is based on Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Shinichi Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the mother-tongue approach. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Violin School. Suzuki lessons are generally given in a private studio setting with additional group lessons. The student listens to the recordings and work with their Suzuki violin teacher to develop their potential as a musician and as a person. This Suzuki Book & CD (Asian Edition) is integral for Suzuki violin lessons. This revised edition of the Suzuki Violin School, Volume 2 features: * Engravings in a 9 x 12 format * Revised editing of pieces, including bowings and fingerings * 16 additional pages * Additional exercises, some from Shinichi Suzuki, plus additional insight and suggestions for teachers * Glossary of terms in English, French, German, and Spanish * Musical notation guide * Fingerboard position * CD features new recordings by Hilary Hahn in collaboration with pianist Natalie Zhu, as well as piano accompaniment only tracks for play-along purposes. Titles: Principles of Study and Guidance * Chorus fromJudas Maccabaeus (Handel) * Musette (Bach) * Hunters' Chorus (Weber) * Long, Long Ago (Bayly) * Waltz (Brahms) * Bourrée (Handel) * The Two Grenadiers (Schumann) * Theme fromWitches' Dance (Paganini) * Gavotte fromMignon (Thomas) * Gavotte (Lully) * Minuet in G (Beethoven) * Minuet (Boccherini). This title is av.
SKU: AP.49294
ISBN 9781470644680. UPC: 038081563381. English.
Authorized Asian Edition - Available ONLY in Asia. Teach violin with the popular Suzuki Violin School! The Suzuki Method of Talent Education is based on Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Shinichi Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the mother-tongue approach. Each series of books for a particular instrument in the Suzuki Method is considered a Suzuki music school, such as the Suzuki Violin School. Suzuki lessons are generally given in a private studio setting with additional group lessons. The student listens to the recordings and work with their Suzuki violin teacher to develop their potential as a musician and as a person. This Suzuki Book & CD (Asian Edition) is integral for Suzuki violin lessons. This revised edition of the Suzuki Violin School, Volume 3 features: * Engravings in a 9 x 12 format * Revised editing of pieces, including bowings and fingerings * 16 additional pages * Additional exercises, some from Shinichi Suzuki, plus additional insight and suggestions for teachers * Glossary of terms in English, French, German, and Spanish * Musical notation guide * Fingerboard position * CD features new recordings by Hilary Hahn in collaboration with pianist Natalie Zhu, as well as piano accompaniment only tracks for play-along purposes. Titles: Study Points * Tonalization * Vibrato Exercises * Gavotte (Martini) * Minuet (Bach) * Gavotte in G Minor (Bach) * Humoresque (Dvorák) * Gavotte (Becker) * Gavotte in D Major (Bach) * Bourrée (Bach). This title is available in MakeMusic Cloud.
SKU: CA.2729305
ISBN 9790007181086. Text language: Latin.
Antonin Dvorak's impressive Stabat Mater for soloists, chorus and orchestra is probably the best-known of the composer's sacred works. Some painful experiences - in 1875 his first daughter died, and in 1877 he lost two other children in quick succession - may have led to Dvorak's preoccupation with the suffering of the Mother of God, who stands weeping beneath the cross of her son. The music enters into the different moods of the liturgical texts with great sensitivity. Nine movements in slow to moderate tempi serve as a kind of Passion meditation, before the ecstasy of a vision of the resurrection wins the upper hand at the end of the tenth movement. With our newly-published arrangement for chamber orchestra (flute, oboe, clarinet, horn, bassoon, timpani, and strings), smaller choirs now have the opportunity of performing this work without the choir being drowned out by a large-scale symphony orchestra. The symphonic character of the work is nevertheless preserved. This scoring offers an optimal balance between transparency and orchestral sound. All vocal parts (soloists and chorus) are identical with the original version. Vocal score and choral score can be used also together with the original version, which is in preparation.
SKU: CA.2729303
ISBN 9790007171797. Text language: Latin.
SKU: BT.9781472920546
ISBN 9781472920546. English.
Anyone can take the stage and stand in the spotlight with this fun and festive Christmas repertoire book. A selection of popular carols and songs to complement the best-selling Abracadabra tutorial books, with a CD ofspecially-arranged backing tracks in a jazzy big-band style. Abracadabra Christmas: Violin Showstoppers provides fantastic material for lessons in the lead up to Christmas and will add glitter and sparkle to anyChristmas concert performance
SKU: FG.55011-567-5
ISBN 9790550115675.
Alex Freeman's (b. 1972) Cathedral of Spring for chamber choir (2019) to poems of e.e. cummings and Robert Frost was commissioned and premiered by Somnium Ensemble. The composer tells: For the celebration of the 10th anniversary of Somnium Ensemble (Finland), I was commissioned to write a piece with spring as a central theme. While contemplating that and perusing appropriate poetry, I was inspired by memories of the night-time sky in early spring--the warm air, the teeming, buzzing energy of life all around, and an expansive dome of stars overhead. I then imagined that moment in time as a kind of sacred space; this is the point where the cathedral notion came to mind. The frenetic and joyous poetry of e.e. cummings, from his Epithalamion, gives an exclamatory introduction to the set, followed by his vision of spring from the point of view of giddy children in his iconic poem, [in Just-]. We then take a moment to contemplate the ephemerality of all this beauty (spring giveth and spring taketh away, i.e. an offertorium of sorts); Robert Frost's Blue-Butterfly Day places us in a moment where, by chance, we find ourselves enveloped by a delicately fluttering swarm of butterflies. Peaceful and still, yet in constant flux, we spend a some time taking that phenomenon in, while also experiencing a twinge of the realisation that this is truly fleeting. The final movement, returning to a later stanza from Epithalamion, cummings's sparkling paean to May is set as a kind of final anthem..
SKU: PR.312416820
UPC: 680160050376. 8.5 x 11 inches.
Chen Yi’s most performed and most beloved choral music is a series of 10 Chinese folk songs adapted for S.A.T.B. Chorus (published in 3 volumes: 312-41731, 312-41732, 312-41733). This special version is a setting of the familiar collection, adapted for children’s chorus and strings.Remembering when I studied composition in the Central Conservatory of Music in Beijing, I learned to sing hundreds of Chinese folk songs collected from more than twenty provinces and fifty ethnic groups, and went to countryside to collect original folk music every year. I got to know that the folk songs are a mirror of people’s daily lives, their thoughts and sentiments, local customs and manners. They are sung in regional dialects and use the idioms of everyday speech with their particular intonations, accents and cadences. This correlation between speech and music distinguishes folk songs of one region from another. I learned all songs by heart and sang them back in the exams every week. They melted in my blood and became my natural music language. The more I walk into the music life,the more I treasure the rich culture I have learned from my homeland. When I became the Composer-in-Residence of Chanticleer and was invited to write the first work for its concert program, as well as another version for its Singing-In-The-Schools program, I decided to introduce A Set of Chinese Folk Songs to my American audiences, and add a new flavor to Chanticleer’srich repertoire. The work includes ten folk songs, taken from eight provinces (Anhui, Shaanxi, Yunnan, Shanxi, Taiwan, Sinkiang, Jiangsu and Guizhou) and five ethnic groups (Han, Hasake, Uighur, Miao and Yi). I arranged them for choirs (men’s or children’s chorus) with various combinations in voices, to be sung mostly in Chinese, some in English.  From the mysterious mountain songs originally sung in the open air with high and long notes that can carry over great distances, the sweet and delicate melodies of young love compared with nature, the humorous antiphony by little children, and the lively dancing tune by villagers, you may get an idea of various music styles in Chinese folk songs according to geographic, ethnic and linguistic differences, and appreciate the beauty of the Chinese folk music. The pure choir sound and the sophisticated singing by Chanticleer, in terms of pitches, language and musical expressions, really attract and inspire me to create some more new works in the years to come. In thisedition of A Set of Chinese Folk Songs for standard SATB mixed choir (with piano rehearsal score), I divided these ten songs into three volumes. They are Fengyang Song, The Flowing Stream, Guessing, Thinking of My Darling, Mayila, Jasmine Flower, Riding on a Mule, Awariguli, Diu Diu Deng, andMountain Song and Dancing Tune.—Chen Yi.
SKU: GI.G-5103
For choir and home use, this collection offers original language texts and English translations for most selections. Various voicings are utlized and some instrumental parts and independent keyboard parts are included. CAROLS: A Child Is Born in Bethlehem (Gregorian chant) • Angels from the Realms of Glory • Angels We Have Heard on High • Away in a Manger (Kirkpatrick) • Away in a Manger (Mueller) • Away in a Manger (Scots) • Born Is Jesus • Break Forth, O Beauteous Heavenly Light (Bach) • Bring a Torch, Jeannette, Isabella • Carol of the Bells • Christ Was Born on Christmas Day / Resonet in laudibus • Dear Maker of the Starry Stars / Creator alme siderum (Gregorian chant) • Deck the Halls • Ding Dong, Merrily on High • From Heaven Above (Bach) • Go, Tell It on the Mountain • God Rest You Merry Gentlemen • Good Christian Friends, Rejoice • Good King Wenceslas • Hark! The Herald Angels Sing • He Shall Feed His Flock (Handel) • How Brightly Beams the Morning Star (Bach) • I Heard the Bells on Christmas Day • I Saw Three Ships • I Wonder As I Wander • In the Bleak Midwinter (Holst) • Infant Lowly • It Came upon the Midnight Clear • Jingle Bells • Joy to the World • Lo, How a Rose (Praetorius) • O Christmas Tree • O Come All Ye Faithful • O Come, Little Children • O Come, O Come Emmanuel (Gregorian chant) • O Come, O Come, Emmanuel – accompanied (Gregorian chant) • O Holy Night –Solo • O Holy Night – SATB • O Little Town of Bethlehem • Once in Royal David’s City • Patapan • Personent Hodie (Holst) • Rocking • Silent Night • Sing We Now of Christmas • Susanni • The Boar’s Head Carol • The Cherry Tree Carol • The Coventry Carol • The First Nowell • The Holly and the Ivy • The Seven Joys of Mary • The Sleep of the Child Jesus • The Three Kings • The Twelve Days of Christmas • The Wassail Song • Tu Scendi dalle Stelle • ‘Twas in the Moon of Wintertime • We Three Kings • We Wish You a Merry Christmas • What Child Is This • When Blossoms Flowered (Gesu Bambino) • While Shepherds Watched Their Flocks (attr. Handel) • While Shepherds Watched Their Flocks.  INSTRUMENTAL PARTS: Away in a Manger • Christ Was Born on Christmas Day • Deck the Halls • Good Christian Friends, Rejoice • Good King Wenceslas • Hark! The Herald Angels Sing • I Hear the Bells on Christmas Day • I Saw Three Ships • It Came upon the Midnight Clear • Jingle Bells • Joy to the World • O Christmas Tree • O Come All Ye Faithful • O Come, Little Children • O Little Town of Bethlehem • Once in Royal David’s City • Silent Night • The Coventry Carol • The First Nowell • The Wassail Song • We Three Kings.
