FALL 2003 NEW ISSUES

SACRED CHORAL

LEO NESTOR [b. 1948]: Two Spirituals
1. Let Us Break Bread Together On Our Knees
Baritone Solo, SATB & Organ • #5983 • c. 3:20
2. Were You There?
Soprano Solo, SATB & Organ • #5984 • c. 6:00
“It is an intimate pleasure to compose for one’s own ensemble; one knows best the nuance and subtleties of those who sing and play together with such frequency. These two settings of beloved African-American spirituals were composed in successive years for performance prior to the liturgies of Holy Thursday and Good Friday, pivotal days with rites of rich complexity, redolent of the music of the ages and of many places. The presence of both plainsong and musical texts and tunes of a quasi-folkloric nature soothed as a balm the complexity of other perhaps more learned music.

These settings of time-honored spirituals cast in a purposefully opulent and improvisatory style are offered to conductors, choruses, soli and listeners for concert, the academy, the community and church as they find here yet two more works to continue this singularly American tradition.”
(Program notes by Leo Nestor)
USE: Holy Thursday and Good Friday (respectively), Easter (both),
        • Eucharist (#1), general anthem (both),
        • church concerts (both),
        • moderately easy
        • church, community, professional choruses

GÁBOR LEHOTKA [b. 1938]: Veni, Creator Spiritus
O Come, Creator Spirit (Hymnus in Pentecosten)
SATB & Organ • #5943 • c. 5:30
Gábor Lehotka was born in Vác, Hungary, where he currently resides. He holds degrees in organ performance from the Béla Bartók Conservatory, where he previously taught, and the Ferenc Liszt Music Academy where he currently is a faculty member.

Veni, Creator Spiritus is an effective setting of the famous text
“O come, Creator Spirit, come / And make within our souls thy home; / Supply thy grace and heav’nly aid / To fill the hearts which thou hast made.”
This setting may be sung in Latin or in English. Text v. 1-6, Latin 9th cent., translation from The Hymnal 1940, Text v. 7, Latin 7th cent., John Mason Neale, tr. 1852, alt., from The Hymnal 1940.
Gábor Lehotka’s choral work Sabbato ad vesperas Hymnus (Catalog No. 6048 [SATB and Organ]) and his organ works Noël (Catalog No. 5496) and Suite Française (Catalog No. 5495) are also available from the publisher.
USE: Vespers, Terce of Pentecost, throughout the octave,
           the Ordination Service, solemn occasions
         • moderately easy
         • church use only

DANIEL PINKHAM [b. 1923]: Revelation Motets
(Note: Each of the 3 sections have separate sound files)
I. Salutation
(Revelation 1: 4, 6)
II. Narration
(Revelation 5:11-12; 21:1, 3, 4 and 22: 5)
III. Exhortation
(Revelation 22:17,13,16,20)
Tenor Solo, SATB & Organ • #5923 • c. 10:00
“I composed Revelation Motets from a musical and dramatic point of view as a continuous work in three sections. At the same time I recognize the practicality of being able to perform the work in small, self-standing sections. Thus Salutation and Exhortation may be performed as they are and two movements may be carved out of Narration as follows: measures 8 through 27 and measures 35 through 68.”
(Performance notes by Daniel Pinkham)
USE: Eastertide and general
        • moderately difficult • church services or church concerts
        • good church, college, community, professional choruses

RONALD ARNATT [b. 1930]: Psalm 24
Soprano Solo, Descant, SATB, Congregation & optional Keyboard • #5416 • c. 3:30
“The text of this Psalm is taken from the Psalter for the Christian People, an inclusive language revision of the Book of Common Prayer 1979 Psalter. The music was written on February 20, 1998 for the ongoing ECS Publishing Psalm Songs series.

This setting is for Congregation, SATB Choir and Soprano soloist, but it can be adapted in many ways to suit the particular needs of the performers. Because congregations are sometimes a little queasy about singing without
accompaniment, the refrain has an optional keyboard part for this purpose; the organ tray be used throughout if needed. There are two verses for S/A and two for T/B; these may be sung as duets by solo voices. Verse 7 has the choir divided (SSAATTBB); many choirs have insufficient personnel to divide three sections so an alternative version for SATB has been provided. The piece is both tuneful and rhythmic, using meter changes to enhance the natural pulse of stressed and unstressed syllables. Accessible to the average choir.
(Program notes by Ronald Arnatt)
USE: General church or concert use
        • moderately difficult
        • good church, college, community, professional choruses

SACRED CHORAL — Mixed Chorus Unaccompanied

STANLEY M. HOFFMAN [b. 1959]: Psalm 84
SATB • #6065 • c. 3:30
“Completed in 2002, Psalm 84 was composed expressly for the ECS Publishing Psalm Songs series. My translation was accomplished by translating the original Hebrew into English,then comparing my results with many other translations. If my translation resembled any of them too closely, I found the closest, most
expressive synonyms for the words that appeared most frequently in the other versions. One passage in particular contains an unusual translation. The King James version of this passage reads “Who passing through the valley of Baca make it a well; the rain also filleth the pools.” My version reads “Those passing through the depths of Hell make it into a wellspring with their tears; even they will encompass their
teacher with their blessings.” The latter is informed by the writings of the ancient Hebrew sage, Rashi. According to him, sinners are sent to the bottom of Hades (also known as Baca, or the Valley of Weeping) where they cry because of the suffering and distress they endure there. Then they come to understand the
foolishness of their ways and glorify and bless the Lord because of divine justice. Their teacher is none other than God.”
(Program notes by Stanley M. Hoffman)
USE: Dedication ceremonies, general use in churches or temples, concerts
        • good church, temple, college, community, professional choruses
        • moderately difficult  

DANIEL MOE [b. 1926]: Requiem Motet
SATB • #6024 • c. 3:00
Daniel Moe is new to ECS Publishing.
The text for this moving setting is “Adoramus te Christe, Lux aeterna. (We adore you, O Lord Christ, Light Eternal.)”  This setting may be sung in Latin or in English. The translation is by Daniel Moe and Drew Collins.
USE: Responsory during Vespers, solemn occasions, general use, concerts
        • moderately easy
        • church, college, community, professional choruses

SACRED CHORAL — Treble Chorus Unaccompanied

FRANK FERKO [b. 1950]: O salutaris Hostia
SSAA • #5991 • c. 2:25
This is a lovely setting in Latin of the final stanza from the well-known hymn Verbum Supernum (c. 1263) by Thomas Aquinas (1225–1274). Page 2 features the original Latin text and an English translation by Edward Caswell (1814–1878).
“O saving Victim, opening wide the gate of heaven to all below: our foes press on from every side; Thine aid supply, Thy strength bestow. To Thy great Name be endless praise immortal Godhead, One in Three! O grant us endless length of days in our true native land with Thee. Amen.”
USE: Corpus Christi, hymn at the Benediction of the Blessed Sacrament, concerts
         • moderately easy
         • church, college, community, professional choruses

SACRED (MAYBE SECULAR) CHORAL
Mixed Chorus and Piano — Nonsectarian

HENRY MOLLICONE [b. 1946]: Bring Us To Your Light
SAB & Piano • #5759 • c. 4:05
Completed in 1994, this setting is dedicated to the memory of Mary Mollicone. The text, written by the composer, is a prayer of imploration. “Shine your light upon us, Lord, our God, Fill our hearts with gladness, Lord, our God, Teach us how to love, O Lord, our God, Hear our humble prayer, O Lord our God, Show us
the way to your holy light; Help us find the path to a place of peace, Help us find the way to a place of love, Help us find the path to a place of peace, Bring us to your light, Bring us to your light. Take away our sins, O Lord, our God, Enter in our hearts, O Lord, our God, Fill us with your love, O Lord, our God, Hear our
humble prayer, O Lord our God, Show us the way to your holy light.”
USE: general anthem, concert
        • moderately easy (the piano part is more challenging than the choral parts)
        • church, college, community, professional choruses

SACRED (MAYBE SECULAR) CHORAL
Mixed Chorus Unaccompanied — Jewish Music

ROBERT APPLEBAUM [b. 1941]: Ani ma’amin
SATB • #5899 • c. 2:20
“I firmly believe in the coming of the Messiah; and although he may tarry, I daily hope for his coming.”
(From Jewish Encyclopedia © 1902 by Funk & Wagnall’s Co., New York)

“This arrangement of Ani ma’amin employs an old Jewish folk melody. The text is the twelfth of the Thirteen Principles of the (Jewish) Faith written by the 12th century Spanish Rabbi, Moses Maimonides. It is said that, during the Holocaust of WWII, Jewish prisoners in German concentration camps sang this song as they
were being marched to the gas chambers. Because of that strong historical association, this song is often sung in synagogues during the Martyrology service that is part of the Yom Kippur liturgy and during services for Yom Hashoah (Holocaust Remembrance Day). The Messianic sentiment of the text evokes hopefulness, of faith in a better world for all. The tempo marking that includes the words ‘not funereal’ is thus very appropriate.”
(Program notes by Robert Applebaum)
USE: Temple (Yom Hashoah, Yom Kippur, Yizkor), remembrance services, concerts
        • moderately easy
        • Temple, high school, college, community, professional choruses

SECULAR CHORAL — Mixed Chorus

JULIAN WACHNER [b. 1969]: Rilke Songs
(total duration: c. 18:00)
1. Die Gazelle
SATB (divisi) • #5889 • c. 3.00
2. Der Panther
SATB (divisi) • #5890 • c. 2.00
3. Die Flamingos
SATB/SATB • #5891 • c. 4.00
4. Der Schwan
SATB (divisi) • #5892 • c. 3.00
5. Schwartze Katze
SATB (divisi) • #5893 • c. 3.00
6. Das Einhorn
SATB (divisi) • #5894 • c. 3.00
“When I compose music for voices, the text becomes the most important aspect of the work; the music seeks to serve as its authentic expressive vehicle. For this cycle, I could not have wished for a better set of texts than these of Rainer Maria Rilke. His poetry is so intrinsically musical, in many ways it almost set itself. The
choice of using only animal poems was the unifying principle of the cycle, but within these six poems are the most varied, vivid, impressionistic, heart-wrenching, and beautiful words presenting many moods and illustrations. From the majestic gazelle to the imprisoned panther, the ubiquitous cat and the mythical unicorn, the images form a kaleidoscopic impression of the world in which we live which becomes metaphoric for the varied characteristics of our own being. These songs are lovingly dedicated to the Newton Choral Society and to David Carrier, their talented music director.”
(Paraphrase of program notes by Julian Wachner from the November 18, 2001 performance of the Newton Choral Society, Newton MA, which took place at the Church of the Covenant, Boston, MA)
USE: concerts
        • difficult, except for #3 which is very difficult
        • college, professional choruses

GWYNETH WALKER [b. 1947]: New Millennium Suite
(total duration: c. 13:30)
1. Sinner Man
SATB & Orchestra or Piano • #5865 • c. 4:30
2. Peace, I Ask of Thee, O River
SATB & Orchestra or Piano • #5866 • c. 4:30
3. Down By the Riverside
SATB & Orchestra or Piano • #5867 • c. 4:30
New Millennium Suite was commissioned for The Manatee Millennium Fest, December 31, 1999, by the Fine Arts Music Series of the First United Methodist Church, Bradenton, Florida, James Hawkinson, Music Director. The premiere performance was given by the Sarasota Pops Orchestra and the Millennium Fest Chorus, Patricia Stenberg, Music Director.

These are traditional American songs. They have been updated with additional lyrics. Audience participation is featured. The intent is to provide music that is both familiar and new, reverent and fun.
The set opens with an orchestral introduction leading into the first piece, Sinner Man (“Oh, sinner man, where you gonna run to?”). A special motif, (“Run, run!”), is introduced by the chorus, spoken softly, then growing increasingly loud and insistent. The audience joins in, exhorting the sinner to flee for his life! This is
energetic music.

The second piece is Peace, I Ask of Thee, O River. The string accompaniment is flowing. An interlude presents the river (represented by arpeggio patterns in the strings) as an accompaniment to the chorus singing “Peace like the falling rain, like the floating cloud, like the flowing stream, like the gentle breeze...” The chorus
sustains pitches, while the strings ripple beneath. This is a gentle piece.

Down by the Riverside closes the set. This piece is presented in swing rhythms. Brass and percussion are featured. Near the end, the meter becomes free as the chorus sings “Gonna lay down my burden, gonna lay it down, gonna lay it down...”
The orchestra and the audience, perhaps growing impatient to participate, quizzes the chorus “Where? Where?!” The answer, of course, is “Down by the Riverside.”
(Paraphrase of program notes by Gwyneth Walker)

INSTRUMENTATION: Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets in B-flat, Bassoon,
4 Horns in F, 3 Trumpets in C, 3 Trombones, Tuba, 3 Percussion, Strings.
The full score and parts are available on rental from the publisher.
USE: concerts
        • moderately easy
        • high school, college, community, professional choruses

VOCAL — Opera Aria Anthologies

Opera Aria Anthology
Volume I: Soprano
Soprano & Piano • #6000
Volume IV: Baritone
Baritone & Piano • #6003

Compiled by Craig W. Hanson
Edited by Stanley M. Hoffman

Featuring arias from The Dreamers and The Gift of the Magi by David Conte; Howard by John David Earnest; Shining Brow by Daron Hagen;Clair de Lune, Silver Fox and A Wrinkle in Time by Libby Larsen; Coyote Tales, Hotel Eden and Starbird by Henry Mollicone; S. by Ronald Perera; Garden Party by Daniel Pinkham; Black River, The Dangerous Liaisons and The Love of Don Perlimplin by Conrad Susa; and Abelard and Heloise, Claudia Legare, The Crucible, He Who Gets Slapped - Pantaloon, Lady Kate, Minutes Till Midnight, and Roman Fever by Robert Ward.

Introducing Opera Aria Anthology, Volumes I and IV; two of four volumes featuring a collection of arias taken from ECS Publishing’s opera catalog. This new anthology includes biographical information for each composer, a brief synopsis of each opera and a short explanation of the context of each aria. Singers, directors, teachers and coaches will find this collection a very useful tool for the advancement of contemporary American opera.

Volumes for mezzo-soprano and tenor are currently being prepared for publication.
The projected release for both is 2005.
USE: recitals, auditions, opera workshops
        • moderately difficult to advanced

INSTRUMENTAL — Oboe and Organ

DANIEL PINKHAM [b. 1923]: The Seven Days
I. Flowing
II. Serene
III. Quick
IV. Pensive
V. Questions and Answers
VI. Playful
VII. Quickstep
Oboe & Organ (Score & Part) • #6043 • c. 12:00
The Seven Days, which is dedicated to Jane Harrison, was first performed on October 13, 2002 at a gathering at Daniel Pinkam’s home in Cambridge, Massachusetts. Jane Harrison played the oboe accompanied by the composer on the organ.
I. The genial Prelude presents the two instruments in a lyrical dialogue.
II. The oboe plays a reposed melody over an ostinato in the accompanying organ part.
III. This movement is a fleeting scherzo.
IV. This contemplative and extended cantilena is in the form of a baroque trio, with the oboe playing one voice and the organ playing two.
V. The organ is the stern interrogator. The replies from the oboe range from elusive to coy to sharp denials.
VI. This saucy rondo is largely in five-eight meter.
VII. The finale, in rapid two-two time, is a lively march and brings the work to a brilliant conclusion.
(Program notes by Daniel Pinkham)
USE: Church concerts
        • moderately difficult

INSTRUMENTAL — Violin and Piano

GEORGE PERLE [b. 1915]: Triptych for Solo Violin and Piano
Violin & Piano (Score & Part) • #1.3325 • c. 10:00
George 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, but from his first encounter with this tendency in summer 1937, he subjected it to a
radical reinterpretation that he calls “12-tone tonality,” which is still the basis of his own musical language.
Triptych for Solo Violin and Piano, which was commissioned by Judith Sherman for Curtis Macomber in memory of LaVerne Luekens Smith, was first performed on January 27, 2003 in Merkin Hall, New York City. Curtis Macomber played the violin accompanied by Christopher Oldfather on the piano.
USE: Concerts
        • difficult