Fall 2002 NEW ISSUES
SACRED CHORAL
GWYNETH WALKER [b.1947]: i thank you God
SSATB & Piano • #5977 • c. 5:00
The original SSA version of this piece, based on the text by E. E. Cummings,
was the 1999 Raymond W. Brock Commission from the ACDA, and has become wildly popular since its premiere at the 1999 national convention. This version was arranged for the Alexander Dreyfoos School of the Arts Singers, performed by them at the ADCA 2002 Southern Division Convention in Charlotte, NC.
USE: Easter & post-Easter season, also concert use
• Moderately easy (high soprano range)
• Also for highschool, college, community, professional choruses
QUIRINO GASPARINI [1721-1778]: Adoramus te, Christe
SATB & Basso Continuo • #5954 • c .2:00
This edition updates ECS's former catalog #1649 which (along with others of the time) was falsely attributed to W. A. Mozart - a testimony to the quality of the music. We have taken this opportunity to edit the piece according to modern standards. Copies of the old Catalog #1649 may still be licensed from the publisher, but we are sure that choirs will enjoy singing this old favorite with credit to the real composer.
USE: Lent & Holy Week
• Moderately easy
• Also for high school, college
GABRIEL FAURE [1845-1924] (arr. G. H. Finney [1935-2001]):
Ave verum (Jesus, Word of God Incarnate)
SATB & Organ • #5964 • c. 4:00
Based on ECS's treble edition of the same piece (#860), devotees of Faure's Requiem will recognize the same quietly lyrical style in this setting by the late Glenn H. Finney (who died shortly before the arrangement was accepted for publication).
USE: Holy Week, Good Friday
• Moderately easy
• Also for high school, college, community choruses
JOHN DAVID EARNEST [b. 1940]: Behold the Man
SATB unaccompanied • #5787 • c. 4:30
Based on the poem Ecce homo by Jean de la Ceppede (1550?-1622), translated by Frank J. Warnke.
Earnest has set a poignant, intensely moving piece depicting the sadness and suffering of Jesus on the cross.
John David Earnest continues to compose and teach in his studio in New York City.
USE: Holy Week, Good Friday
• Difficult
• Also for professional level choirs
DANIEL PINKHAM [b.1923]: Death and Darkness Get You Packing
SATB & Organ • #5886 • c. 1:00
Renowned Boston composer Daniel Pinkham (now retired, but still composing) gives us a very direct and strong statement with Henry Vaughan's poem, set mostly for two-part chorus and breaking into four parts only at the final cadence.
BEST USE: non-liturgical Introit for Easter Sunday
OTHER USE: Easter season
• Easy
P. MAKAROV [19th C.], ed. Anthony Antolini [b.1942]: The Angel Cried Aloud
SSATB unaccompanied • #5749 • c. 2:00
USE: Easter season
• Moderately difficult in Slavonic, easy in English
• Also for high school, college, community choruses
STEPHEN CHATMAN [b.1950]: Be Thou My Vision
SATB & Organ • #7.0431 • c. 3:00
The popular hymn (Slane), based on an 8th C. Irish text translated in 1905 by M. E. Byrne and versified in 1912 by Eleanor H. Hull, gets a new dressing by Canadian composer Stephen Chatman. Uses three of the four original stanzas.
USE: post-Easter season, general
• Easy
KEVIN SIEGFRIED [b.1969]: Media vita
SSATB unaccompanied • #5942 • c. 8:30
Using a long antiphon to the Nunc dimittis (Compline, third and fourth weeks of Lent), Boston composer Kevin Siegfried provides an expansively beautiful motet evoking the mysteries of life and death.
USE: Lent, Funerals, Evensong anthem in penitential seasons
• Difficult
• For professional level church choirs, also college, community
SACRED CHORAL - Psalm Songs Series
RONALD ARNATT [b.1930]: Psalm 13 (How Long Will You Forget Me?)
2-Part Mixed Chorus, Organ • #5402 • c. 1:40
Using the Psalm translation by Christopher L. Webber, this very accessible setting may be sung with or without the second part.
USE: 25th week after Pentecost (liturgical), general (non-liturgical)
• Easy
• Church use only
VALERIE SHIELDS [b.1951]: Psalm 100 (O Be Joyful in the Lord)
1-or 2-Part Children’s Chorus, Keyboard, 1 or 2 optional Instruments in C, optional Dancers;
• #5782 • c. 1:45+
This setting of Psalm 100 for children has been written so that the Scottish folk tune (Jimmy Allen) may be sung
while dancers perform a contradance, a traditional dance form which evolved from Irish set dances and Scottish reels. This particular dance is named Jefferson and Liberty and is an interpretation of a dance from Colonial America. The duration of the dance is determined by the number of repeats utilized.
USE: children's choirs
• Very easy
JANE MARSHALL [b.1924]: Psalm 16 (Protect Me, O God)
SATB unaccompanied • #5736 • c. 3:07
Jane Marshall continues to write significant and meaningful musical settings. This one, a song of trust and deliverance, has its mood set immediately by the continued use of the augmented second in its recurring melody, a harmonic reference to Jewish music.
USE: 8th week after Pentecost (liturgical), general (non-liturgical)
• Moderately difficult
• For church or high school/college choirs
HENRY MOLLICONE [b.1946]: Psalm 23 (The Lord Is My Shepherd)
SATB & Piano • #5760 • c. 8:00
"After a short illness last year, I felt the need to work with a spiritual and inspirational text. I began looking at the Psalms and almost immediately came upon Psalm 23. My mother having passed away within the last year, the Psalm touched me in a deep way, and I quickly sketched the three movements. Although the pieces touch upon various moods, the underlying feeling is one of hope and optimism. Its musical language is tonal and direct, and intended to express clearly the beauty of the text."
USE: 4th Sunday after Easter (liturgical), general
OTHER USE: college, community concerts
• Moderately difficult
CHORAL – Jewish Tradition
STANLEY M. HOFFMAN [b.1959]: Grant Us Peace
SATB unaccompanied • #6031 • c. 3:20
Receiving the “Honors” level of distinction with recommendation in 2002 from the Carlton Savage Endowment for International Relations and Peace invitational to the Oregon-based group, iwagepeace.com, this piece bears the dedication: “In memory of the victims of the attacks on New York City and Washington DC, Sept. 11, 2001 and in honor of their families, friends, and all those who were affected by this tragedy."
USE: any worship, meeting or concert where a prayer for peace is appropriate
• Moderately easy
• High school, college, community or professional choruses
JOSHUA JACOBSON [b.1948]: Azamer bishvokhin (a Shabbat zemer)
SATB divisi & Piano • #5742 • c. 8:19
The melody for the current setting is attributed to Rabbi Nahman of Bratslav (1772-1811), the great-grandson of the founder of the Hassidic movement. The text is by Rabbi Isaac Luria (1534-1572), the leader of a kabbalistic school in Safed. In his song the physical union between the singer and the Sabbath personified brings rapture and spiritual transcendence. Jacobson brings his extensive scholarly and musical skills to the edition, providing an English transliteration of the Aramaic text, and richness of musical affect to the setting.
USE: worship or concert
• Moderately easy
• College, community, professional choruses
SALAMONE ROSSI [c.1570-1630], Ed., Tr. Joshua Jacobson: Odekha (Thank You, Lord)
SSATTB unaccompanied • #5743 • c. 3:30
From the Italian Baroque composer who was active at the court of the Gonzaga family in Mantua comes this setting of Psalm 118:21-24. Jacobson’s edition, based on the original, provides pronunciation guides for singing in Hebrew, and a literal English translation.
USE: worship or concert
• Moderately easy
• College, community, professional choruses
SECULAR CHORAL
RANDALL THOMPSON [1899-1984], arr. Stephen Smith [b.1966]:
Choose Something Like a Star (from Frostiana)
TTBB & Piano • #5985 • c. 5:00
This very popular number from Randall Thompson's Frostiana (No.7) was previously available only in the composer's voicings (SATB and SSAA). Now Canadian composer Stephen Smith brings us a version for men's chorus, and we predict that it will join its siblings on the favorite and best-seller lists.
USE: concert
• Moderately easy
• College, community, professional men's choruses
DAVID MOONEY (arr.): The Lark in the Clear Air
SSA & Harp or Piano • #6021 • c. 2:22
Harp Part • #6022
"Dear thoughts are in my mind, and my soul soars enchanted, / As I hear the sweet lark sing, in the clear air of the day. / For a tender beaming smile to my hope has been granted, / And tomorrow she shall hear all my fond heart would say."
JULIAN WACHNER [b.1969]; Sometimes I Feel Alive
SATB divisi unaccompanied • #5847 • c. 7:15
Three poems of E. E. Cummings are set here by Julian Wachner, now Associate Professor of Music and Chair of the Choral Area at McGill University, Montreal, Quebec, Canada. The set was commissioned by Allison McMillan, president of the Providence Singers, for her husband Mark Nickel on the occasion of his 50th birthday. The work was premiered by the Providence Singers under Wachner's direction in 1998.
USE: concert, college, community, professional choruses
• Nos. 1 and 2 are very difficult, No.3 only moderately difficult
DAVID MOONEY IRISH CHORAL SERIES
This New Issue brings the second installment of the DAVID MOONEY IRISH CHORAL SERIES. The first installment of Mooney's stunning arrangements of Irish traditional music last spring was an instant success. As head of the keyboard department at the Conservatory of Music and Drama at the Dublin Institute of Technology, Mooney is well known throughout Ireland and the UK where his arrangements have appeared on record, TV and radio.
For those items which can be sung only in Irish gaelic, we have provided an English transliteration underlaid to the music, and, in the front matter, a complete IPA pronunciation guide as well as an English translation. All items in this installment are appropriate for multicultural concert occasions, and are of moderately easy to moderate difficulty. Those items with treble voicing may be performed by children or adults.
Ardaigh Cuain
SSAA & Harp or Keyboard • #5924 • c. 4:20
Harp Part; #6015 $1.95
"O, to be in Ardaigh Cuain, near the mountains far away, I would visit the cuckoo's glen every Sunday."
Ó ró, 's é do bheatha 'bhaile
SATB unaccompanied • #5927 • c. 1:14
"Welcome, woman who was so afflicted, /It was our ruin that you were in bond age, / Our fine land is in the possession of thieves /And sold to foreigners."
Famine Lament
SA, Violin & Harp or Keyboard • #5932 • c. 2:40
Violin/Harp Parts • #6016
"O the praties (potatoes) they grow small over here, over here, / O the praties they grow small over here."
Silent, O Moyle
SATB unaccompanied • #5935 • c. 4:14
"Silent, OMoyle, be the roar of thy water; / Break not ye breezes your chain of repose / While murmuring Lir's lonely daughter /Tells to the night star her tale of woes."
The Coulin
SATB unaccompanied • #5937 • c. 2:03
"Tho' the last glimpse of Erin with sorrow I see, / Yet Wherever thou art shall see Erin to me; / In exile thy bosom shall still be my home, / And thine eyes make my climate wherever we roam."
The Salley Gardens
SATB unaccompanied • #5938 • c. 2:37
"Down by the salley gardens my love and I did meet; / She passed the salley gardens with little snow-white feet. / She bid me take love easy, as the leaves grow on the tree; / But I, being young and foolish, with her would not agree."
Derry Air
SATB & Harp or Keyboard • #5940 • c. 3:48
Harp Part • #6017
"O Danny boy, the pipes, the pipes are calling, / From glen to glen and down the mountainside, / The summer's gone and all the roses falling, / 'Tis you, 'tis you, must go and I must bide."
My Lagan Love
SATB unaccompanied • #5941 • c. 3:15
"Where Lagan streams sings lullaby, There blows a lily fair:"
The Lark in the Clear Air
SSA & Harp or Piano •#6021 • c. 2:22
Harp Part • #6022
"Dear thoughts are in my mind..." (see previous listing above)
LARGE WORKS FOR CHORUS AND ORCHESTRA
JULIAN WACHNER [B.1969]: Regina cæli (Study Score)
Soprano Solo, SATB Chorus, Orchestra or Chamber Orchestra
• #5832A • c. 19:00
Composed in 2001, this work in five movements has been described by Lukas Foss as a "new masterpiece." Two orchestra versions are available: full orchestra or strings, organ and percussion. The 4th movement (Ave, dulcissima Maria) is available separately (#5811). Conductor's score and parts are available on Rental.
The choral score is #5832.
USE: concert, professional choruses
INSTRUMENTAL MUSIC
CAPUZZI, ANTONIO [1753-1818],
arr. Steven L. Schaffner [b.1952] : Concerto for Double Bass & Orchestra (in F)
Double Bass/Piano Score • #5976 • c. 13:00
It is likely that this concerto, in its original key of D major, was conceived for the six stringed violone. While the key of D was convenient for that instrument, it is less comfortable on the modem four-stringed double bass. In the 1960's, a modern edition in the original key of D major was offered by a publisher specializing in double bass music. Unfortunately, by this time generations of young bassists had learned the work in the key of F major from another publisher's 1930s edition which had no performing instrumental parts available. Mr. Schaffner has solved the problem by making a completely new edition based on the original, and with all of the materials for performance in the key of F major. Full score and parts are available on Rental, and a double bass part is contained in the double bass/piano score.
GEORGE PERLE [b.1915]: Windows of Order (String Quartet No. 8)
Study Score • #1.3228 • c. 17:00
Pulitzer Prize-winning composer and MacArthur Foundation Fellow George Perle composed Windows of Order in 1988 and it was first performed in April, 1989 in Washington, DC by the Juilliard Quartet. Perle was among the first American composers to recognize and be profoundly influenced by the revolutionary transformation in the language of music embodied in the work of Arnold Schoenberg and the Second Viennese School. From his first encounter with this tendency in 1937, he subjected it to a radical reinterpretation that he calls "12-tone tonality," which is still the basis of his musical language.
• For advanced performers
GEORGE PERLE: Modal Suite
Piano Solo • #1.3324 • c. 3:00
Completed in Chicago by George Perle on August 10, 1940, Modal Suite was first published under the title "Suite en el II modo de los 12 tonos" in the Boletin Latino-Americano de música (musical supplement), Volume V, Montevideo, October, 1941.
• Moderately advanced
DANIEL PINKHAM [b.1923]: Collects
Organ Solo • #5747 • c. 13:00
Boston composer Daniel Pinkham will celebrate his 80th birthday in the coming year. These evocative "prayers" analogous to the familiar liturgical "collects" form 6 movements entitled I. For Signs, II. For Evening Prayer; III. For the Armor of Light, lV. For Rest After Labor; V. For a Guiding Star; and VI. For Deliverance. The set was first performed by Andrew Paul Holman at King's Chapel, Boston, on June 12, 2001.
• Moderately difficult
DANIEL PINKHAM: Aurora
Clarinet & Organ • #5732 • c. 4:30
The Office of Aurora is an office of praise recited at dawn. It dates from Apostolic times of the Christian Church and celebrates the bringing of light to a world that has dwelt in darkness. Written in 2000, Aurora is in three movements, and was first performed by clarinetist Robert Hadesbeck and organist Heinrich Christensen at King's Chapel, Boston, on January 28, 2001.
• Moderately difficult
DANIEL PINKHAM: Solemnities
Trombone & Organ • #5756 • c. 8:00
Composed in 2000, the score bears the inscription "Ye shall have a song, as in the night when a holy solemnity is kept and gladness as when one goeth with a pipe to come into the mountain of the Lord, to the Mighty One of Israel!" (Isaiah 30:29). The world premiere performance took place on February 11, 2001 at Plymouth Congregational Church in Belmont, MA. The trombonist was Bron Wright accompanied by the composer at the organ.
• Moderately difficult
JULIAN WACHNER [b. 1969]: Cymbale
Organ Solo & Chamber Orchestra • Study Score • #5817 • c. 10:00
Composer's Facsimile Edition
Completed in 1999, Cymbale is a single movement concertino for organ and chamber orchestra. It requires sensitive improvisation of two extended cadenzas from the organist, and sets forth a brilliant dialogue between the organ and the orchestra. It has been recorded on ARSIS CD 129, Julian Wachner: Chamber Music performed by organist Peter Sykes with the composer conducting.
• Difficult
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