Fall 2007 NEW ISSUE

SACRED (MAYBE SECULAR) CHORAL —
Mixed Chorus and Chamber Ensemble or Orchestra

HENRY MOLLICONE [b. 1946]: Beatitude Mass (for the Homeless)
     I. Blessed
     II. Kyrie
     III. Evelyn’s Song
     IV. Gloria
     V. Adam’s Song
     VI. Sanctus (pg. 47 in manuscript)
     VII. Meditation and Benedictus
     VIII. The Messenger
     IX. Agnus Dei
      X. Finale
     • Traditional Latin text with English text by WILLIAM LUCE
     • Soprano & Baritone Soli, SATB Chorus (divisi) & Chamber Ensemble or Orchestra
     • Piano/Vocal Score • #6518• $14.35 • c. 36:30
     • Full Score - chamber version • #6521• $37.50
     • Parts - chamber version • #6522 • $99.95
     • Full score and parts for orchestral version available on rental
“The idea for composing Beatitude Mass evolved from a discussion with a friend, Fr. John Pedigo. This piece incorporates words from the Latin Mass Ordinary juxtaposed with English words by William Luce. The new texts are drawn from interviews that he and I conducted with people living in homeless shelters. We hope that a portion of all proceeds garnered from performances of Beatitude Mass will be used to raise funds for organizations that support people in need. All the composer’s royalties for this work will be donated to such an organization.”—Henry Mollicone

Instrumentation
Chamber version: flute, clarinet, horn, percussion, cello, string bass, piano.
Orchestral version: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, 2 percussion (including timpani), harp, piano, strings.
USE: church services or concerts
     • moderately difficult
     • accomplished church, college, commmunity, professional choruses


SACRED CHORAL —
Mixed Chorus, Organ, optional Trumpet and Congregation

STEPHEN CHATMAN [b. 1950]: I will lift up mine eyes
     • SSATB, Org., opt. C Tpt. & opt. Cong. • #7.0512 • $2.65 • c. 4:00
“Inspired by the first verse, the initial arching melodic line recurs with ever increasing texture and intensity, flowing with growing strength and confidence toward the words, ‘My help cometh from the Lord.’ The subsequent contrapuntal dialogue of pairs of parallel voices reaches a climax on the words, ‘The Lord shall preserve thee from all evil.’ In the recapitulation, optional trumpet fanfares, unison congregation and choir join forces, building toward a rousing final cadence." —Stephen Chatman
USE: church services or concerts
     • moderately easy
     • church, college, community, professional choruses

SACRED CHORAL — Mixed Chorus and Organ or unaccompanied

DAVID EVAN THOMAS [b. 1958]: A Joyful Symphony
     • Treble (SA), SATB (divisi) & Organ • #6587 • $2.65 • c. 4:30

     This is my beloved Son
     • SATB & Organ • #6588 • $2.15 • c. 3:30
     • SATB • #6590 • $1.85 • c. 3:30
A Joyful Symphony is an exuberant setting of Palm Sunday by Henry Vaughan (1621–1695) adapted by the composer.

Regarding This is my beloved Son, the composer says “The story of the Transfiguration of Christ is told in the first three gospels, then echoed and amplified in II Peter, where it is introduced with the words: ‘For he received from God the Father honour and glory, when there came such a voice to him from the excellent glory, saying,’ etc. When I was asked to make an accompanied version, Peter’s words became an introductory organ fanfare, serving like great applause to intensify the scene that follows. The rising interval of a fourth, which passes
through the assembly at the words ‘Take heed,’ becomes a descending fifth, as‘Hear ye him’ resounds.”
USE: church services or concerts
     • moderately difficult
     • skilled church, college, community, professional choruses



SACRED CHORAL — Mixed Chorus and Organ

DANIEL PINKHAM [1923-2006]: Blessed Art Thou, O Lord
     • SATB & Organ • #5998 • $1.50 • c. 1:00
The words for this thrilling 2002 anthem are from Song of the Three, 29-34.
Blessed art thou, O Lord, the God of our fathers;
Worthy of praise, highly exalted for ever.
(Etc.)
USE: church services or concerts
    • moderately difficult
    • accomplished church, college, community,  professional choruses

DAVID ASHLEY WHITE [b. 1944]: Pie Jesu (O My Jesu)
• Soprano Solo, SATB & Organ • #6778 • $1.85 • c. 2:20
A welcome alternative to the the well-known movement from Faure’s Requiem, this moving 2006 anthem contains lyrics in both Latin and English. The composer created the English paraphrase.

USE: church services or concerts
     • moderately easy
     • church, college, community, professional choruses

SACRED CHORAL — Mixed Chorus and Keyboard

PETER ALDINS [b. 1953]: The Lord Is My Strength
• SATB & Keyboard • #6566 • $1.85 • c. 2:45
Composed in 2005, this is a heartfelt setting of Isaiah 12:2-5 as adapted by the composer.
Truly God is my savior
I will trust in him and shall not be afraid
For the Lord is my strength and my song of salvation.
(Etc.)
USE: church services or concerts
    • moderately difficult
    • skilled church, college, community, professional        choruses

SACRED CHORAL — Mixed Chorus unaccompanied

FRANK FERKO [b. 1950]: Into Your Hands I Commend My Spirit
• SATB • #6835• $1.50 • c. 1:31
“The motet Into Your Hands I Commend My Spirit was composed for the choir of St. James Lutheran Church, Portland, Oregon at the request of the Director of Music, Nancy Nickel. The work was originally conceived to be performed along with Bach’s Cantata 106 (Gottes Zeit ist die allerbeste Zeit) to represent a presentday musical setting of some of the same texts that had been set by Bach in his cantata nearly 300 years ago.”—Frank Ferko

USE: funerals, memorial services, solemn occasions, concerts
    • moderately easy
    • church, college, community, professional choruses

SACRED CHORAL — Male or Mixed Chorus unaccompanied

JOSEPH GREGORIO [b. 1979]: Dona nobis pacem
• TTBBB • #6511• $1.85 • c. 4:30
• SSATTBB • #6575 • $2.65 • c. 4:30
“Its text means ‘grant us peace.’ The piece unfolds slowly and gently, exploring the wide range of sounds available to men’s chorus along the way—from the very low and hushed to the very high and powerfully loud. Its main melodic idea is a simple line ascending stepwise from E-flat to B-flat, then rising to C and finally settling back down on B-flat. This melody occurs three times over the course of the piece: at the beginning, sung by the first tenors; in the middle of the piece, sung by the baritones as the music enters the harmonically dark E-flat
minor; and at the end, sung again by the baritones following an intense climax.”—Joseph Gregorio
USE: funerals, memorial services, solemn occasions, concerts
    • moderately difficult (for divisi writing only)
    • accomplished church, college, community, professional choruses

SECULAR (MAYBE SACRED) CHORAL — Mixed Chorus unaccompanied

NESTOR TAYLOR [b. 1963]: Ah, Sun-Flower!
• 2 Sop. & 2 Bar. Soli, SATB (divisi) • #6486 • $2.15 • c. 1:45
A lovely, useful setting of the famous William Blake text, Ah, Sun-Flower! was completed in Papagou, Greece, on December 31, 2003. Influenced by Howells and Vaughan Williams, it has an economy of means that reflects the text’s feelings of tenderness and intimacy. It received its first performance by Chicago a cappella during their 2004–05 concert season under the direction of Jonathan Miller.
USE: Christmas services and concerts
    • moderately difficult (for divisi writing)
    • skilled college, community, professional, church choruses

MARK ZUCKERMAN YIDDISH CHORAL SERIES

This new issue brings the final installment currently planned for 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. No English singing translation is supplied in any of the editions underneath the Yiddish. However, in the edition being released on this new issue, some English lyrics appear. 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]: Zog, Maran (Tell Me, Marrano)
• SATB • #6584 • $1.85 • c. 2:00
“Zog, Maran. . . is perhaps the best known Yiddish Passover song.”

“In Zog Maran, [the poet Avrom] Reisen adds to the Pesach (Passover) rituals a dimension the holiday assumed for Jews since the beginning of the Common Era: the festival that, because of holiday celebrations and dietary restrictions, most set Jews apart, and, in times of overt anti-Semitism, made observant Jews most vulnerable. Zog, Maran makes this especially poignant because the subject is a Marrano, an Iberian Jew forced by the Inquisition to adopt the overt identity of a Christian but who secretly maintained Jewish tradition and practice, risking death if discovered.”
(continued on next page)

“The story in Zog, Maran is told using a rhetorical pattern: in each verse, the poet asks the Marrano a question about how he secretly observes the holiday rituals (making a Seder, making matzoh, keeping a Haggadah, and, finally, what would happen if the anti-Semites heard the Seder in progress). The Marrano answers and the poet repeats the answer. In this arrangement, the repetition is sung in English, providing a running translation of the answers and, by inference, the questions.”—Mark Zuckerman
USE: concerts, Passover-related services
    • moderately easy
    • high school, college, community, professional, temple choruses

SECULAR (MAYBE SACRED) CHORAL — Unison or Mixed Chorus and Piano

STANLEY M. HOFFMAN [b. 1959]: The Scattered Leaves
• Unison & Piano • #6841 • $1.85 • c. 4:00
• SATB & Piano • #6842 • $1.85 • c. 4:00
“The Scattered Leaves is an analogy for Jewish Holocaust survivors ‘who lost their roots and trees’ — their families. The main thrust of the poem by my friend, Joseph H. Albeck, is that ‘We, the living’ should use the Yiddish word ‘Khurbn’ when praying for the souls of those lost in the Holocaust, rather than the English
word ‘Holocaust’ or even the Hebrew word ‘Shoah,’ because Yiddish was ‘their language.’ ”—Stanley M. Hoffman
USE: Jewish Holocaust-related concerts and services
    • moderately easy
    • high school, college, community, professional, temple choruses


ROBERT APPLEBAUM [b. 1941]:
Shalom, v’shalom, v’shalom (Peace, and peace, and peace yet again)
• Unis. Children or Sop. Solo, SATB & Pno. • #6758 • $3.90 • c. 5:20
The biblical texts employed in this three-fold appeal for peace are Isaiah 2:4, Psalm 133:1 and Psalm 34:12-14.

“The piece is unabashedly programmatic. The admittedly simplistic idea is to suggest that war is an adult occupation and that, perhaps, we would be less inclined to wage wars if we thought about their effects on the children of the world—and even how they corrupt the ‘purer’ child-like parts of ourselves.”

“Although this piece was intended for children’s chorus with SATB chorus, it can be effectively performed by SATB with a soprano soloist whose voice is suitably light and free of excessive vibrato.”—Robert Applebaum

This edition features lyrics in both English and Hebrew. The front matter includes a pronunciation guide for the Hebrew words.
USE: peace-related concerts and services
    • moderately easy
    • high school, college, community, professional, temple choruses

SECULAR CHORAL — Mixed Chorus and Piano

GWYNETH WALKER [b. 1947]: The Road to Freedom
• SATB (divisi) & Piano • #6306 • $2.15 • c. 4:00
“The Road to Freedom is based on the traditional song, ‘Follow the Drinking Gourd.’ Dating back to the time of the Underground Railroad, this African- American song provided a map to the runaway slaves. By heading toward the Big Dipper (the ‘Drinking Gourd’), the fugitives would head north toward Canada and freedom.”
—Gwyneth Walker
USE: concerts
    • moderately easy
    • high school, college, community, professional choruses

SECULAR CHORAL — Mixed Chorus, Clarinet and Piano

GWYNETH WALKER [b. 1947]: Walk On Up to Heaven
• SATB (divisi), Clarinet & Piano • #6430 • $3.25 • c. 3:30
• Clarinet Part • #6431 • $2.65
“Walk On Up to Heaven is based on the traditional American song, ‘I Got Shoes.’ The song starts with the shoes and the image of walking up to heaven. However, the focus then switches to the energetic and active aspects of living a positive life right here on earth: ‘Gonna shout for joy... gonna speak my mind... gonna agitate...
gonna follow my dreams... gonna fly...’ ”

“And, with homage to the dedicatee, Helen Lutes (a sports enthusiast, with the softball field at Mansfield University named in her honor), the joy of playing baseball is woven into the lyrics. ‘One of these days, I’m gonna hit a homer... round the bases... fly on up to heaven.’ ”

“It is envisioned that the Clarinet will express the qualities of lightness and bounce, within a swing rhythm, which are the essence of this music. Perhaps the Clarinet represents each of us, joyously, walking on up to heaven!" —Gwyneth Walker
USE: concerts
    • moderately easy
    • high school, college, community, professional choruses

INSTRUMENTAL MUSIC —
Brass Quartet, Organ and optional Timpani

DAVID EVAN THOMAS [b. 1958]: A Festive Prelude
• Brass Quartet, Organ & optional Timpani • Score and Parts
• #6586 • $44.50 • c. 5:30 • moderately difficult

INSTRUMENTAL MUSIC — Violoncello & Organ

CRAIG PHILLIPS [b. 1961]: A Song Without Words
• Violoncello & Organ • Score and Part
• #6750 • $11.00 • c. 5:15 • moderately easy

KEYBOARD MUSIC — Piano Four-hands

DONALD WAXMAN [b. 1925]: Arabesques
• Piano Four-hands • #1.3330 • $5.25• upper intermediate

KEYBOARD MUSIC — Piano Solo

DONALD WAXMAN [b. 1925]: David and Goliath and Other Intermediate Recital Pieces
• Piano Solo • #1.3332 • $7.50 • intermediate

DONALD WAXMAN [b. 1925]: 175 Exertudes
Short Pieces for Technical Development and the Exploration of Contemporary Musical Language

Tracks 12 and 14 were recorded on March 26, 2007, at the recording studio of Futura Productions, Roslindale, MA by the Philovox Ensemble directed by Jane Ring Frank. The pianist was Scott Nicholas. The members of the Philovox Ensemble were sopranos Jennifer Ashe, Adriana Repetto and Mary Sullivan, altos Mary Gerbi, Martin Near and Kristi Vrooman, tenors Bradley Naylor, David Thorne Scott and Steven Soph and Basses Glenn Billingsley, Marc DeMille, Bradford Gleim and Elliott Gyger.

Tracks 2, 5-9, 11 and 13 were recorded on September 26, 2007, at Church of the Redeemer, Chestnut Hill, MA, and on September 30, 2007, 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 2, 5-7), Scott Nicholas, piano (tracks 12-14). The soprano soloists were Adriana Repetto (track 6) and Kristi Vrooman (track 13). The members of the Philovox Ensemble were sopranos Jennifer Ashe, Adriana Repetto and Mary Sullivan, altos Mary Gerbi, Thea Lobo and Kristi Vrooman, tenors Eric Esparza, David McSweeney, David Scott and Steven Soph and basses Jacob A. Cooper, Marc DeMille, John Proft and Sumner Thompson. The producer was Robert Schuneman and the recording engineer was Antonio Oliart Ros; editing and mastering was by Robert Schuneman, Arsis Audio, Boston, MA.

RECORDING CREDITS - Guest Artists

Track 1, “Sanctus” from Beatitude Mass by Henry Mollicone was recorded live on March 31 and April 1, 2006, by the San Jose Symphonic Choir, Leroy Kromm, music director and conductor, and by the Mission Chamber Orchestra, Emily Ray, music director and conductor, at St. Joseph’s Cathedral Basilica in San Jose, CA. The recording engineer was Robert Johnson. This track is used with the kind permission of Henry Mollicone. The entire Beatitude Mass may be heard on Orino Musica CD #101.

Track 3, A Joyful Symphony by David Evan Thomas, was recorded on April 29, 2005, by the Sanctuary Choir and Combined Children’s Choirs of Westminster Presbyterian Church in Minneapolis, MN, James Biery, conductor. The organist was Melanie Ohnstad and the recording engineer was Bill Lund. Permission to use this track was kindly given by Marilyn Biery and Melanie Ohnstad.

Track 4, This is my beloved Son by David Evan Thomas, was recorded on April 29, 2005, by the Combined Choirs of the Cathedral of St. Paul and Westminster Presbyterian Church in Minneapolis, MN, James Biery, conductor. The organist was Marilyn Biery and the recording engineer was Bill Lund. This track is used with the kind permission of Marilyn Biery and Melanie Ohnstad.

Track 10, Ah, Sun-Flower! by Nestor Taylor, was recorded April 20, 2004 at Frank Lloyd Wright’s Unity Temple, Oak Park, IL. It was performed by the Chicago a cappella, Jonathan Miller, artistic director. The recording engineer was John McCortney. Permission to use this track was kindly given by Jonathan Miller.

Track 15, Walk On Up to Heaven by Gwyneth Walker, was recorded on October 23, 2004, at the Steadman Theater on the campus of Mansfield University (PA) by the Mansfield University Concert Choir, Peggy Diane Dettwiler, conductor. The clarinetist was Timothy Walck, the pianist was Natalie True and the recording
engineer was Russ Clark. This track is used with the kind permission of Peggy Diane Dettwiler.


All pieces on the recording are © Copyright 2007 by E. C. Schirmer Music Company, Inc., or © Copyright 2007 Highgate Press, Inc, or © Copyright 2007 Ione Press, Inc. This recording is not authorized for sale, lending,
broadcast, or public performance.