Fall 2005 NEW ISSUE

SECULAR CHORAL - Major Work for Mixed Chorus

STEPHEN CHATMAN [b. 1950]: Proud Music of the Storm
. SATB (divisi) & Orchestra • Piano/Choral Score • #7.0458 • $8.80 • c. 15:30
Note: Because this is a large work, the sound files have been divided into four sections. For your convenience, the appropriate page is noted after the section title.
I.    Proud music of the storm! (page 3)
II.  Come forward, O my Soul (page 16)
III. A festival song! (page 25)
IV. Tutti! for Earth and Heaven! (page 46)

"Commissioned in 2001 by the Vancouver (British Columbia) Bach Choir, with assistance from CBC (Canadian Broadcasting Corporation) Radio and the BC (British Columbia) Arts Council, Proud Music of the Storm was premiered November 3, 2002, during the 75th anniversary celebrations of Vancouver 's historic Orpheum Theatre. The composer began the four-movement work on September 10, 2001, the day before the tragic World Trade Center attacks on the United States. He recalls, 'While re-reading Walt Whitman's poem on 9/11, I felt Fate had tapped me on the shoulder - the cathartic emotion of the text became an overwhelming inspiration.' Chatman's stirring 'symphony of sound' proclaims spiritual exaltation and raises allegories with every blast. His exuberant setting celebrates not only Whitman's embodiment of music, but also the optimism and virtuous wonders of the human spirit." "The text is based on fragments from "Proud Music of the Storm" (Leaves of Grass) by Walt Whitman (1819-1892) (adapted by the composer)." -Stephen Chatman

Notes taken from a commercial CD entitled Proud Music of the Storm featuring music by Stephen Chatman on Centrediscs (CMCCD 10304). Used by permission of Stephen Chatman and Centrediscs.
USE: concerts
        • moderately difficult (for divisi writing)
        • college, community, professional choruses

Instrumentation: 2 flutes, 2 oboes, 2 B-flat clarinets, 2 bassoons, 2 F horns, 2 C trumpets, 2 trombones, timpani, percussion, harp and strings.
The conductor's score and parts are available on rental from the publisher. A full study score, Catalog No. 7.0459, is also available. A piano/choral score that includes a Mandarin Chinese singing translation by Katherine and Ian Lu (created for a performance in Hong Kong which, unfortunately, never took place), CatalogNo. 7.0461, is also available.

SECULAR CHORAL/ORCHESTRAL MUSIC - Study Score

STEPHEN CHATMAN [b. 1950]: Proud Music of the Storm
• SATB (divisi) & Orchestra • Study Score • #7.0459 • $40.00 • c. 15:30
I. Proud music of the storm!
II. Come forward, O my Soul
III. A festival song!
IV. Tutti! for Earth and Heaven!
See the listing for the piano/choral score of this work above.

SECULAR CHORAL - Men's Chorus and Chamber Orchestra or Piano

GWYNETH WALKER [b. 1947]: Love Was My Lord and King!
. TTBB & Chamber Orchestra or Piano • Piano/Choral Scores
1. A Sentinel! #6371 • $2.05 • c. 3:45
2. There Rolls the Deep #6372 • $2.50 • c. 3:45
3. Crossing the Bar #6373 • $2.05 • c. 3:30
"The poetry of Alfred, Lord Tennyson (1809-1892) is characterized by dark, yet transcendent imagery - the depths of the ocean, the triumph of the spirit. These poems seem well-suited to musical settings for men's chorus; the deep tones, the sonority of male voices (perhaps speaking for the poet) rising in song. ...Throughout the varied imagery of this poetry - the depth of the sea, the dark of the night, the tumult of passion and the acceptance of death - there speaks one, central message: 'Love was my lord and king.' " -Gwyneth Walker

Instrumentation: 2 Flutes, 1 Oboe, 1 Clarinet, 1 Bassoon, 2 Horns, 2 Trumpets, 1 Trombone, Percussion (1 player), Strings.

The full score (Catalog No. 6369) and parts (Catalog No. 6370) are available from the publisher. A full score (Catalog No. 6506) and parts (Catalog No. 6507) for Crossing the Bar are also available from the publisher.
USE: concerts
         • moderately easy
         • high school, college, community, professional choruses

SECULAR CHORAL - Treble or Mixed Chorus & Chamber Orchestra
or Piano

GWYNETH WALKER [b. 1947]: Crossing the Bar
• Piano/Choral Scores
SSAA & Chamber Orchestra or Piano #6377 • $2.05 • c. 3:30
SATB & Chamber Orchestra or Piano #6378 • $2.05 • c. 3:30
The composer currently has no plans to arrange Nos. 1 and 2 from Love Was My Lord and King for treble or mixed voices. The instrumentation for Crossing the Bar is the same as the version for men's chorus. The full score for the SSAA version (Catalog No. 6374), the full score for the SATB version (Catalog No. 6375) and the parts for both the treble and mixed versions (Catalog No. 6376) are available from the publisher.
USE: concerts
         • moderately easy
         • high school, college, community, professional choruses

STANLEY M. HOFFMAN [b. 1959]: A Song
• SATB & Flute • #6432 • $1.75 • c. 2:40
• Flute Part • #6433 • $2.50
"Composed to a poem by Howard Schwartz (b. 1945, poet, writer, editor and Professor of English at the University of Missouri-St. Louis ), the words are from one member of a loving couple to the other. This brief love song had a very long gestation period. Only the melody was completed in 1994. I knew it was going to be a choral piece but, for the longest time, I could not hear all the choral parts or the accompaniment and I did not know why. So, I left the melody as a work for horn solo entitled A Song Without Words (Catalog No. 6434). After years of marriage to my wife and shortly before the birth of my daughter, the rest of the sounds for this choral piece finally came to me. Sometimes a composer must live the words of a poem to set them to music."
- Stanley M. Hoffman
USE: concerts
        • moderately difficult
        • skilled school, community, professional choruses

FELICIA SANDLER [b. 1961]: The Waking
• M.-Sop. & Bar. Soli, SATB (divisi) • #6287 • $3.10 • c. 5:00
"In setting "The Waking" by Theodore Roethke, I wanted to find a way to depict in music a paradox in the text. In the poem's first stanza, the poet says 'I wake to sleep and take my waking slow. I feel my fate in what I cannot fear. I learn by going where I have to go.' The opening line speaks of a cycle, that of a day or perhaps a lifetime, as if to say 'I wake in the morning to sleep at night, so I spend my day with attentiveness. I'm born to die and take my living slow.' A kind of inside-out and/or outside-in quality exists in these ideas; the end is in the beginning and the beginning is in the end.
...Another interesting thing about the text is that each verse reiterates the same ideas as all the others using different words. Because of this, the text does not build like many poems, stories or musical compositions do in Western culture; no climax occurs. The text is not linear, but circular. The main issue I faced as a composer was how to get the music to move forward in time without sounding static." -Felicia Sandler
USE: concerts
         • difficult
         • accomplished college, community, professional choruses

ROBERT KYR [b. 1952]: Infinity to Dwell
1. Seed of Clear Water
• Soprano Solo, SATB • #6248 • $2.05 • c. 5:00
2. Cicada Song
• Soprano Solo, SATB • #6249 • $2.50 • c. 3:08
4. Butterflies Afield
Soprano Solo, SSATB • #6251 • $2.05 • c. 4:20
5. In One Endless Day
Soprano Solo, SSATBB • #6252 • $3.70 • c. 8:50
#3, As Dreams Are Made (words by William Shakespeare •SSATB • #6250 •$2.05) was released in 2004. Composed to traditional Latin words, poems by Emily Dickinson, William Blake, Robert Herrick and translations by Robert Kyr of poems by Chiyon-ni, Basho, Rumi, and Issa, this set of five transendental choral works will be a meaningful addition to concerts, especially those dealing with the theme of life and death.
USE: concerts
         • #1, 2 & 4 moderately difficult
         • #5 difficult
         • skilled school, community, professional choruses

NB: these are pre-revision recordings. For example, the handbells at the end of the recording for #5 do not appear in the score. Some notes also differ.

MICHAEL LEVI [b. 1945]: Erotion Rests Here
• SSATBB • #6109 • $1.75 • c. 2:45
Michael Levi is new to ECS Publishing. His bio appears in the edition.
Erotion Rests Here was written for the College of Saint Rose Chamber Singers. Its first performance was given by the Cortland High School Concert Choir, Marion Hanson, director, on November 11, 2000. The words, written by the 1st Century Greek poet Martial, appear in a translation by K. Rexroth. The text, a moving epitaph on a tombstone for a six-year-old girl, implores subsequent owners of the field in which she is buried to pay their respects to her each year.
USE: concerts
         • moderately easy
         • high school, college, community, professional choruses

DAVID MOONEY, arr. [b.1964]: Avenging and Bright
• TTBB divisi • #6321 • $2.05 • c. 2:26
"Thomas Moore wrote the words to the old Irish air Crugan a Venee in 1811. The song recalls the famous Irish tragic story of the betrayal of Deirdre and the sons of Usna by the king of Ulster. It also serves as an allegory for Moore 's own disappointment in his mentor, George IV, who supported Catholic emancipation while Regent. However, on his ascension to the throne, he did not act and thus betrayed many of his supporters."
-David Mooney
USE: concerts
         • moderately difficult (for divisi writing)
         • accomplished school, community, professional choruses

DAVID MOONEY, arr. [b.1964]: Bí Íosa im Chroíse
• SATB divisi • #6322 • $1.75 • c. 2:10
"This old Irish hymn is very popular in Ireland and appears in several versions including one in English entitled O Comfort My People." -David Mooney
USE: services or concerts
        • moderately difficult (for divisi writing)
        • skilled church, school, community, professional choruses

SACRED CHORAL - Mixed Chorus and Keyboard

AUSTIN C. LOVELACE [b. 1919]: Be Known To Us
• SATB & optional Keyboard • #6270 • $1.45 • c. 2:00
"Be known to us in breaking bread, But do not then depart. Savior, abide with us, and spread Thy table in our heart, our heart. There sup with us in love divine, Thy body and Thy blood, that living bread, that heav'nly wine be our immortal food." -James Montgomery (1771-1854)
USE: communion anthem, general
         • easy
         • church use only

JAMES HOPKINS, arr. [b. 1939]: Who is this that comes from far
Unis. Mixed or Solo Voice & Organ • #6179 • $1.75 • c. 2:30
SAB & Organ • #6180 • $1.75 • c. 2:30
Set to the text Bozrah from William Walker's Southern Harmony (1851) adapted by the arranger and with alternate text by Lavette C. Teague, either version of this practical anthem will be a useful addition to Easter season services.
USE: Easter season services
         • moderately easy
         • church use only

SACRED CHORAL - Mixed Chorus and Keyboard

DANIEL PINKHAM [b. 1923]: But wake for ever!
• SATB & Organ • #6096 • $1.45 • c. 2:00
Daniel Pinkham has provided a surprising musical setting of verses by the English baroque poet Sir Thomas Browne. The powerful text is a reflection on waking after the sleep of death. This short, but not small work was composed for The Choir of The Church of the Advent, Boston and its director, Edith Ho.
USE: Lent or general services
         • moderately difficult
         • church use only

DEREK HEALEY [b. 1936]: A Hymn of Glory
• SATB & Organ • #6204 • $2.05 • c. 3:10
"Written for the Jamaica, New York Deanery Ascension Day service 2000, traditionally held at St. Stephens Episcopal Church; an especially enlarged choir was used for the occasion. The three verse text is treated in the manner of a hymn-anthem with the addition of an organ introduction and interludes. The text is by the 7th century cleric, scientist and man of letters The Venerable Bede, who spent most of his life in Jarrow in the kingdom of Northumbria in the north of present-day England. The hymn was translated into modern English by Elizabeth Rundle Charles and Benjamin Webb in the Victorian era." -Derek Healey
USE: Easter season services
        • moderately easy choral parts
        • moderately difficult organ part
        • church use only

KEYBOARD MUSIC - Organ Solo

GÁBOR LEHOTKA [b. 1938]: Organ Symphony No. 4
I.    Passacaille à l'allemande
II.  Florilège de mélodies hongroises
III. Improvisation sans frontières
IV. Finale à la Française
• Organ Solo • #6334 • $27.50 • c. 19:45
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 holds the position of Professor of Organ. In 2004, Lehotka retired from organ performance to devote himself fully to music composition.

This symphony provides ample opportunities for the organist to demonstrate technical skills and range of expression. Gábor Lehotka's choral works Sabbato ad vesperas Hymnus (Catalog No. 6048 [SATB and Organ]), Veni, Creator Spiritus (Catalog No. 5943 [SATB and Organ]) and his organ works Noël (Catalog No. 5496) and Suite Française (Catalog No. 5495) are also available from the publisher.
USE: Concerts
         • difficult