Fall 2006 NEW ISSUE

LEO NESTOR [b. 1948]: How Good It is to Sing Praises
• Organ/Choral Score • #5780 • $3.25 • c. 6:30
• SATB, Oboe & English Horn or Trumpet in C & Flugelhorn,
String Orchestra or Quintet & Organ
• Full Score • #5781 • $17.50
• Solo Part (obbligato) • #5781a • $2.50
• String & Organ Parts • #5781b • $17.50
“The verses selected from Psalm 147 in The Book of Common Prayer are wonderfully specific in their reasons for praise and thanksgiving as they invoke music as the appropriate response, intimating that ‘the Lord has pleasure’ in this singularly human endeavor, returned to him from ‘those who await his gracious favor.’ ” —Leo Nestor
USE: general
      • moderately difficult
      • skilled church choruses
     • church use only


ELLEN GILSON VOTH [b. 1972]: There is a river
• SATB, Organ & optional Oboe • #6425 • $1.85 • c. 4:15
• Optional Oboe Part • #6426 • $1.25
This composer is new to ECS Publishing.
“Many choral composers, particularly in the last century, have been inspired to portray the conflict between peace and war. That conflict is captured in evocative language in Psalm 46, and the musical richness of that text lent itself to this piece.”—Ellen Gilson Voth
USE: general
      • moderately easy
      • church use only


JAMES HOPKINS [b. 1939]: Thy Name Is Love
• SATB, Oboe or Clarinet & Organ • #6316 • $2.65 • c. 4:30
• Part for Oboe or Clarinet • #6317 • $2.65
This is a setting of text Come, O Thou Traveler Unknown by Charles Wesley (1742) as adapted by the composer. The tune is based on the traditional Scottish melody Candler.
USE: general
     • moderately easy
     • church use only

JANE MARSHALL [b. 1924]: O Lord, Remember
• Unison Women or Mezzo-Soprano & Keyboard
• #6367 • $1.50 • c. 2:30
This anonymous text is from a prayer found on a piece of wrapping paper at Ravensbruck, the largest concentration camp for women in Nazi Germany. A copy can also be found in a chapel of Norwich Cathedral in England.

O Lord, remember not only the men and women of good will, but also those of ill will. But do not remember all the suffering they have inflicted upon us. Remember the fruits we bought, thanks to this suffering: the comradeship, our loyalty, our humility, the courage, the generosity, the greatness of heart which has grown out of this; and when they come to judgment, let all the fruits that we have borne be their forgiveness.
USE: church services, concerts
     • moderately easy
     • high school, college, church, community, professional choruses




SACRED CHORAL — Mixed Chorus & Brass Quintet or Organ

GWYNETH WALKER [b. 1947]: Love Unfolding
• Organ/Choral Score • #5947 • $2.15 • c. 4.00
• SATB & Brass Quintet or Organ
• Full Score • #5948 • $10.75
• Brass Quintet Parts • #5949 • $18.95
“Love Unfolding is based on a text from the Revelations of Divine Love of the 14th century mystic, Julian of Norwich. Julian’s meditations led her to feel God’s presence in the form of inspired ‘showings.’ Thus, in Love Unfolding, Julian’s message is that ‘Love is our Lord’s meaning.’ She ‘...saw full surely that before ever God made us, he loved us. And this love was never quenched, nor ever shall be.’ ”—Gwyneth Walker
USE: church services (version with organ), concerts (both versions)
     • moderately easy
     • church choruses (version with organ)
     • high school, college, community, professional choruses (version with brass        quintet)

GWYNETH WALKER [b. 1947]: Dazzling as the Sun
• SATB & Organ • #6513 • $2.15 • c. 3:30
The text for this piece is by Delores Dufner, OSB. The themes to which it relates are Jesus’ transfiguration following his first prediction of the passion, Jesus' paschal mystery as the new Exodus, God’s witness to the divine favor resting on the servant who will suffer, and the identity and hope of the baptized as beloved by God and destined for glory.
USE: Transfiguration of Christ, hope of glory, especially on the 2nd Sunday of           Lent
      • moderately easy
      • church use only


JON ZEHNAL [b. 1962]: Miserere, My Maker
• SATB & Organ • #6395 • $2.65 • c. 8:45
This text is from an anonymous text (ca. 1615) found in the King’s College Library (Rowe Ms2).

Miserere, my Saviour, I, alas, am for my sins fearfully grievèd,
And cannot be relievèd; But by Thy death, which Thou didst suffer for me,
Wherefore I adore Thee. And do beseech Thee To hear my ceaseless crying:
Miserere, miserere, I am dying.
USE: Lent, All Saints, funerals
     • moderately difficult
     • skilled church choruses
     • church use only



SACRED CHORAL (EASTER) — Mixed Chorus & Organ

DANIEL PINKHAM [1923-2006]: The Day of the Lord Will Come
• SATB & optional Organ • #6563 • $1.50 • c. 2:00
The words for this anthem are from 2 Peter 3:7-10.
“Canadian colleagues have lamented the dearth of new, short Easter pieces They have used my carol Now is the hour of darkness past and look forward to a sequel.”—Daniel Pinkham
USE: Easter, concerts
     • moderately difficult
     • accomplished church, college, community, professional choruses

ROBERT KYR [b. 1952]: Canticle of Praise
• SATB (divisi) • #6390 • $3.25 • c. 7:45 (pre-revision recording)
The movement from darkness to light in the words (Psalms 23, 148 and 150) makes this piece appropriate for services or concerts occuring post-Easter.
—Robert Kyr
USE: general, post-Easter, concerts
     • difficult (for divisi writing only)
     • accomplished church, college, community, professional choruses

SACRED (MAYBE SECULAR) CHORAL — Men’s Chorus unaccompanied

FRANK FERKO, arr. [b. 1950]: O coruscans lux stellarum
• TTBB (divisi) • #6562• $1.85 • c. 6:00
“The text O coruscans lux stellarum was written by the 12th century German abbess Hildegard von Bingen and originally set to chant by her.”

“The present work uses quoted portions of the original chant as well as variants thereof... This setting takes the form of a diptych: two panels in contrasting musical styles, one polyphonic and the other homophonic... The first panel presents the first half of the text with rhythmically active counterpoint which remains consistently in one harmonic color. The second panel presents the second half of the text with much less rhythmic motion but with significantly heightened harmonic color.”

O sparkling light of the stars,
o most resplendent special form of the regal marriage,
o brilliant jewel:
you are adorned as a noblewoman
who has no blemishing wrinkle.
You remain in the company of angels and a citizen of the holy places.
Flee, flee the cave of the ancient destroyer,
and come, enter into the palace of the King.
—program notes and English translation by Frank Ferko
USE: evening services and concerts
     • difficult (for divisi writing and high C-sharps in Tenor 1part)
     • skilled church, college, community, professional choruses

GRANT COCHRAN, arr. [b. 1962]: Simple Gifts
• Piano/Choral Score • #6694 • $2.15 • c. 6:00
• SATB, String Quartet or String Orchestra & Piano
• Full Score (String Quartet version) • #6695 • $11.00
• Parts (String Quartet version) • #6696 • $16.00
• Full Score (String Orchestra version) • #6723 $13.25
• Parts (String Orchestra version) • #6724 • $18.25
This arranger is new to ECS Publishing.
The piano part in the piano/choral score is intended for performance without string quartet or string orchestra.
USE: services and concerts
     • moderately easy
     • church, high school, college, community, professional choruses

GRANT COCHRAN, arr. [b. 1962]: The Water is Wide
• A. Solo, SATB Octet, SATB • #6697 • $2.15 • c. 5:00 (pre-revision recording)
This arrangement also features words and music from the traditional American folk song Shenandoah.
USE: concerts
     • moderately easy
     • high school, college, community, professional choruses

SECULAR CHORAL — Unison Chorus and Piano

HENRY MOLLICONE [b. 1946]: Child of the pure unclouded brow
• Unison Chorus or Solo Voice & Piano • #6424• $1.50 • c. 1:12
(This piece is sung twice on the CD to demonstrate voicing possibilities.)
This song was composed for William Luce’s filmed documentary about child abuse entitled One Child in Many, produced by Children’s Advocacy Center of Lincoln County, Oregon.
USE: concerts
     • moderately easy
     • middle school, high school college, community, professional choruses

MARK ZUCKERMAN YIDDISH CHORAL SERIES

This new issue brings the third installment of the MARK ZUCKERMAN YIDDISH CHORAL SERIES. The front matter to each edition in the series contains a Yiddish-English transliteration guide, an IPA transliteration guide, the text printed in the original Yiddish language, program notes and biographies of the poet and Mark Zuckerman. The lyrics appear only in Yiddish; no English singing translation is supplied in the music. The teaching aids in the front matter and the similarities between the German and Yiddish languages will make the
task of teaching the singers the correct Yiddish pronunciation a straightforward
process.

MARK ZUCKERMAN, arr. [b. 1948]:
Vilne
• SATB • #6429 • $1.85 • c. 4:00

Unter dayne vayse shtern
• SATB • #6219 • $2.15 • c. 3:15

In kamf
• SATB • #6188 • $1.85 • c. 1:48

“Published in 1935, Vilne reportedly was sung at the start of almost every musical program in the Vilna Ghetto.”

“Unter dayne vayse shtern was first presented in the Vilna ghetto in the play Di Yogenish in Fas.”

“Anarchist labor songs, of which In kamf is typical, call for workers to arise and fight. Written in 1889, In kamf rapidly became one of the most popular Yiddish worker songs, eventually achieving the status of a Jewish workers’ hymn sung to consecrate parades and other gatherings. It grew to be a folk song taught to children
in Yiddish schools.”—Mark Zuckerman
USE: concerts, Holocaust memorial services
     • moderately easy
     • high school, college, community, professional choruses

VALERIE SHIELDS [b. 1951]: The Evening Star
• SSA, Flute & Piano • #6401 • $3.90 • c. 6:20
• Flute Part • #6402 • $2.65
1. The Evening Star
2. Awed by Her Splendor
3. Tonight I’ve Watched the Moon
4. The Evening Star (Reprise)
This edition includes performance notes, an IPA guide for the pronunciation of the Greek lyrics, an English translation and the Greek as it appears in the music.

“Born on the island of Lesbos in the latter part of the seventh century BC, Sappho is one of the few women poets whose work has been preserved for us from Greek antiquity, albeit in a highly fragmentary state. Like all ancient Greek lyric poetry, Sappho’s poems were actually songs, performed melodically to the accompaniment of the lyre before a live audience. Her music was indeed as famous as her words in antiquity, though unfortunately it has been totally lost. Sappho was and is most celebrated for her homoerotic lyric: songs expressing her often frustrated longing and desire for various young women. Scholars disagree on the exact nature of Sappho’s relationship to these beloved girls. Was she a kind of ‘schoolmistress,’ responsible for the education of aristocratic young women on Lesbos, or was she a priestess, overseeing their rites of initiation before marriage? Whatever the case, Sappho’s poignant themes and pitch-perfect imagery, her evocations of the deeply disturbing and profoundly transformational mysteries of love, transcend the original context of her poetry and haunt us still.”—Dr. Timothy Power
USE: concerts
     • moderately difficult
     • accomplished college, community, professional choruses

STANLEY M. HOFFMAN [b. 1959]: She Gave Him All Her Heart
• Tenor & Piano • #6626 • $7.50 • c. 4:00
• Baritone & Piano • #6627 • $7.50 • c. 4:00
Please see the listing for the two choral versions above.
• moderately difficult

FRANK FERKO [b. 1950]: Livre d’orgue
• Organ Solo • #6554 • $16.00 • c. 11:35
• difficult

Variations on a Hungarian Folk Tune
• Organ Solo • #5281 • $5.25 • c. 3.55
• moderately easy

CONRAD SUSA [b. 1935]: Recessional to a New Life
• Organ Solo • #5273 • $7.50 • c. 4.20
• moderately difficult

GEORGE PERLE [b. 1915]: BassoonMusic
• Bassoon Solo • #1.3351 • $7.50 • c. 6.00
It bears mentioning that, due to his advanced age and failing health, this will likely be the final composition that this great American master will ever complete.
• difficult

CHAMBER MUSIC — Now Available

Score and Part for a Flute Sonata
by Daniel Pinkham
Sonata Brevis (#6440, $21.50 c. 12:00)



RECORDING CREDITS - The Philovox Ensemble

Track 14 was recorded on March 22, 2006, at St. Paul’s Church in Brookline, MA by the Philovox Ensemble directed by Jennifer Lester. The members of the Philovox Ensemble were sopranos Rebekah Alexander, Sara Ofner, and Jayne Tankersley, altos Carrie Cheron, Thea Lobo, and Kristi Vrooman, tenors Bradley M. Naylor, Steven Soph, and Erik Sumner and basses Glenn Billingsley, Thomas Bold, Jacob A. Cooper, and Paul Guttry.

Tracks 1-8, 10, 12-13 and 15-18 were recorded on September 24, 2006, at Church of the Redeemer in Chestnut Hill, MA, and on September 25, 2006, at the recording studio of Futura Productions, Roslindale, MA, by the Philovox Ensemble directed by Jane Ring Frank. The instrumentalists were Heinrich Christensen, organ (tracks
1-3, 5-8), Nancy Dimmock, oboe and English horn (tracks 1-3), Tim Macri, flute (tracks 16-17) and Scott Nicholas, piano (tracks 4, 10, 12, 16-18). The members of the Philovox Ensemble were Jennifer Ashe, Adriana Repetto, and Mary Sullivan, altos Mary Gerbi, Thea Lobo, and Kristi Vrooman, tenors Bradford Gleim, David
McSweeney, and Steven Soph and basses Glenn Billingsley, Thomas Bold, Marc DeMille, Tim Macri, and Darrick Yee.

The producer was Robert Schuneman and the recording engineer was Antonio Oliart Ros; editing and mastering was by Robert Schuneman, Arsis Audio, Boston, MA.

Track 9, Canticle of Praise by Robert Kyr, was recorded on April 20, 2004, by the Oregon Repertory Singers, in St. Mary’s Cathedral in Portland, Oregon, Gil Seeley, Conductor The recording engineer was Ammer Isse. This track is used with the kind permission of Gil Seeley. This is a pre-revision recording.

Track 11, The Water is Wide arranged by Grant Cochran, was recorded on February 12, 1999 by the The Alaska Chamber Singers, David Hagen, Conductor, in the Sydney Laurence Theatre of the Alaska Center for the Performing Arts. The pianist was Kathy Jin Hagen. The recording engineer was Bob Amos. This track is used
with the kind permission of David Hagen. This is a pre-revision recording.

All pieces on the recording are © Copyright 2006 by E. C. Schirmer Music Company, Inc., or © Copyright 2006 Ione Press, Inc. This recording is not authorized for sale, lending, broadcast, or public performance.