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Fall 2009 NEW ISSUES

SACRED CHORAL MUSIC

• post-Lenten anthem
• congregational hymn
• Lenten anthem
• Easter hymn of resurrection
• anthem requesting strength for service
• anthem on the Trinity
• peace prayer
• funeral anthem
• three anthems inspired by traditional American hymn tunes
• Irish blessing
• alleluia
• three settings of American folk hymns
  
  

SECULAR (MAYBE SACRED) CHORAL MUSIC

• peace-themed work
• nature-themed piece
• song of mourning

SECULAR CHORAL MUSIC

• Native American wedding blessing (two versions)
• nature-themed piece
• six Langston Hughes settings under one cover
• setting of an American folk tune
  

VOCAL MUSIC

• Thomas Merton settings

INSTRUMENTAL MUSIC

• two trios

SACRED CHORAL — Mixed Chorus and Instruments

FRANK FERKO [b. 1950]: Omnipotens Deus dies
   • SATB, Brass Quintet & optional Timpani • c. 3:35
   • Full Score • #7106 • $7.50
   • Parts • #7107 • $12.50
   • Keyboard/Choral Score • #7108 • $1.85
   Instrumentation: 3 Bb Tpts., 2 Tbns. & opt. Timp.

“The text is the blessing for the Twenty-first Sunday after Pentecost found in the Benedictional of Archbishop Robert, a tenth-century service book combining a series of episcopal benedictions with a set of pontifical offices.” —Frank Ferko, April 2007

Although the title of this piece is in Latin, the lyrics are entirely in English. The keyboard part in the keyboard/choral score is for rehearsal only. This work should always be performed with either brass quintet or brass quintet and timpani.

USE: services, concerts
     • moderately difficult
     • skilled church, college, community, professional choruses

SACRED CHORAL — Mixed Chorus and Organ

NICK STRIMPLE [b. 1946]: Valley of Bones
   • Speaker, SATB, Org. & opt. Congr. • #1.3358 • $1.85 • c. 5:50

“The first part of Valley of Bones was written sometime in the late 1980s as underscoring for the reading of Ezekiel 37:1–14. The second part, Almighty God who brought us forth from death to life was added in 2005, with a final revision early in 2007. While it can be performed by chorus and organ alone, congregational participation in the second part greatly adds to its effectiveness. Also, two readers can be used if desired: one for the voice of Ezekiel and one for the voice of God.”—Nick Strimple

Valley of Bones can be performed in the following ways: 1. As written, 2. first part only (mm. 1–16), as written, 3. first part, as written, followed by any appropriate anthem or congregational hymn of praise, 4. second part only, as written, beginning with the organ bridge passage (m. 17).

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

DEREK HEALEY [b. 1936]: Breathe in me, O Holy Spirit
   • Tenor Solo, SATB & Organ (ad lib.)* • #7422 • $1.85 • c. 3:23

“Although this anthem is intended primarily for general liturgical use, it is probably most suitable for Lent. The organ part is ad libitum and, if used, should act only as a support for the voices. The soprano part should be sung slightly in relief over the other voices. As always, clear enunciation is paramount.”—Derek Healey

* This track was recorded without organ accompaniment.

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

SACRED CHORAL— Mixed Chorus and Instruments or Organ

GWYNETH WALKER [b. 1947]: Hymn of Resurrection
   • SATB & Organ, opt. Brass Quartet & Timpani • c. 3:15
   • Full/Choral Score* • #7199 • $2.15
   • Parts • #7200 • $20.00

* The recording is with organ accompaniment.

Instrumentation: 2 C (or Bb) Tpts., 2 Tbns. (Hn. sub. for 1), Timp. & Org.

This festive and triumphant Easter anthem was written for the Congregational Church of New Canaan, Connecticut, in which the composer spent her childhood years. The famous aria from Handel’s Messiah with the very appropriate words “I know that my Redeemer liveth!” served as the starting inspiration. Further investigation led to the discovery of the 19th-century poem by Jessie B. Pounds, I Know that my Redeemer Liveth. The poem was adapted in various ways to create inspirational lyrics for the Easter season. The opening stanza returns at the end, but reordered so that the closing line is “My Savior lives again!”

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


SACRED CHORAL — Mixed Chorus and Organ

LEO NESTOR [b. 1948]:
   Strengthen for Service • SATB & Org. • #7118 • $1.85 • c. 3:00
   O lux beata Trinitas • SATB & Org. • #7141 • $1.85 • c. 5:00

“(Strengthen for Service) is composed in the form of a sacred song, gesitliches Lied or cantio sacra, modeled after those melodies sung since the early days of the Church and happily continued into our day. These melodic settings identify themselves more with song form than with the relatively more elaborate forms of
motet, verse anthem, the earlier free-rhythm chorale and psalm tune or the later, more metric chorale.”

“O lux beata Trinitas, a succession of three brief movements, begins with a toccatalike Flourish in which the filigreed articulation of the organ is well matched by the angular cantus of the choir. The Dialogue presents a vagrantly tonal sostenuto harmonization of the chorale for chorus and organ in which coloristic registrations
would well serve. The organ’s idyllic Cantilène is joined by a countermelody introduced by treble voices in unison, then passed to the men’s voices as the women add yet another melodic thread to the tapestry. The petit triptyque evanesces with gentleness.”—Leo Nestor

USE: services, concerts
   • moderately difficult (#7141 has a difficult organ part)
   • accomplished church, college, community, professional choruses

SACRED CHORAL — Mixed Chorus unaccompanied

LEO NESTOR [b. 1948]: Peace Prayer of Saint Francis
   • SATB • #7037 • $1.85 • c. 2:30

“The peace prayer has been living in my mind since cherished high school and undergraduate college years spent in the Franciscan seminaries at Missions Santa Bárbara and San Luís Rey in California. The prayer itself suggested the form of sacred part song, long a tradition in the Church. I chose to set the text as a lyric
episode and without repetition, allowing the work to derive its structure more from musical constructs than from the prose form.”—Leo Nestor

USE: services, concerts
     • moderately difficult
     • skilled church, college, community, professional choruses

JAMES GRANVILLE EAKIN III [b. 1973]: Still Waters
   • Soprano Solo, SATB (divisi) • #7478 • $1.85 • c. 4:30

This setting combines the traditional Latin text In Paradisum with English words from Psalm 23 (King James Version) as adapted by the composer. The composer’s preference is that this piece be sung either non vibrato or with very little vibrato.

However, conductors are free to interpret it as they see fit. This piece may be transposed up a half-step if the E-flats at the end are too low for the basses. The edition includes a running translation by the editor for the Latin words.

USE: memorial services, funerals, concerts
     • moderately difficult
     • accomplished church, college, community, professional choruses

DAVID ASHLEY WHITE [b. 1944]: Saw ye my Savior?
   • SATB • #6808• $1.85 • c. 2:00

The melody the composer used in this setting is inspired by the tune Crucifixion (Church Harmony, 1834). The words are traditional American.

Saw ye my Savior and God? / O, he died on Calvary / to atone for you and me, and to free us from sorrow’s great load. // He was extended, painfully nailed to the cross; / then he bowed and died, / thus my Lord was crucified, / to atone for a world that was lost.

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

JAMES McCULLOUGH, arr. [b. 1939]: Come Away To The Skies, My Beloved, Arise!
   • SATB Soli (or Semi-chorus), SATB • #7017 • $2.15 • c. 3:30

This is a setting of the tune from the early American folk hymn Exultation. The words by Charles Wesley (1707–1788) are from The Southern Harmony & Musical Companion (1854).

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


SACRED CHORAL — Mixed Chorus and Whistler
(or Recorder or other Instrument) and optional Keyboard

CLARE SHORE [b. 1954]: Show Me the Way, Lord
   • SATB, Whistler (or Inst.) & opt. Kbd. doubling • #5272• $1.50 • c. 2:12

The introduction to the piece is adapted from the traditional American folk tune Wayfaring Stranger. The words are by the composer.

Note: In lieu of a whistler, singers from the chorus hummed for the recording.

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

SACRED CHORAL — Mixed Chorus unaccompanied

DAVID CONTE [b. 1955]: An Irish Blessing
   • SATB • #7038 • $1.50 • c. 1:00
This is a setting of the well-known traditional Irish blessing.

May the road rise up to meet you, / May the wind be always at your back. / May the sun shine warm upon your face, / May the rains fall soft upon your fields. And until we meet again, / May God hold you in the palm of his hand.

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

JUDITH SHATIN [b. 1949]: Alleluia
     • Soprano Solo, SATB • #7159 • $2.15 • c. 3:30

“I composed my Alleluia in November, 2001. It was a direct response not only to the general terror of the 9/11 attacks, but specifically to the death of firefighter Timothy Welty, son of my friend Bill Welty and stepson of my late friend and colleague Louisa Panou Takahashi. Many others in our community lost family and friends in the attacks in New York City and Washington, DC. One might wonder why I chose to compose an Alleluia, since it is a song of praise. I have used it to express a blend of comfort and defiance, to sing against the dark, but in
knowledge of it.”—Judith Shatin

USE: services, concerts
     • moderately difficult
     • accomplished college, community, professional choruses

SECULAR CHORAL — Mixed Chorus unaccompanied

DAVID EVAN THOMAS [b. 1958]: Now you will feel no rain
   • SATB • #6981 • $1.85 • c. 3:00
   • SSAA • #6982 • $1.85• c. 3:00

This is a setting of the the well-known traditional Native American wedding blessing (translator unknown).

Now you will feel no rain, for each of you will be shelter to the other. / Now you will feel no cold, for each of you will be warmth to the other. / Now there is no loneliness. / Now you are two persons, but there is only one life before you. / Go now to your dwelling, to enter into your life together. / And may your days be good and long upon the earth.

USE: weddings, love-themed concerts or services
     • moderately easy
     • church, high school, college, community, professional choruses

Other than one reference to the scriptures, the text for this composition is by the composer.

Now is a time of war: / O Earth! Do not conceal / The blood shed on thee. / May all men and women / Beat their swords into ploughshares. / Now is the time for peace, Tomorrow will be too late: / Dance and shout and sing! / Time for change, time for action, / Time for courage, time for truth, / Time for justice, time for peace. / Now is the time for peace!

USE: peace-themed concerts or services
     • moderately easy
     • church, high school, college, community, professional choruses

SECULAR CHORAL — Mixed Chorus and Piano

STEPHEN CHATMAN [b. 1950]: Nature’s Cry
   • SSATB & Piano • #7.0549 • $2.65 • c. 5:00

The text by Tara Wohlberg is about the need for human beings to be better stewards of the beautiful world in which we live.

Our beautiful world is in danger, / suffering now in the dark. / Praying at night, gently reaching upward, / a single voice, struggling out of / the shadows.
Words © Copyright by Tara Wohlberg. Used by permission.

USE: nature-themed concerts or services
     • moderately easy
     • church, high school, college, community, professional choruses

STANLEY M. HOFFMAN [b. 1959]: Nature
   • SATB & Piano • #7432 • $2.15 • c. 4:00

“Nature was composed expressly for the 2008–2009 Longfellow Chorus International Composers Competition. It was awarded co-first prize, known as ‘The Longfellow Chorus Prize.’

The poem Nature by Wadsworth Longfellow (1807–1882) compares a sleepy child being led off to bed to elderly people waiting for death. The reasons I chose this poem from among so many by this gifted poet are twofold: my father passed away in 2001 and my only child was born in 2004. I have personal experience with both realities.”—Stanley M. Hoffman

USE: concerts, funerals, memorial services
     • moderately easy
     • church, high school, college, community, professional choruses

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

STEVEN SAMETZ [b. 1954]: Child of Song
   • Soprano Solo, SATB & Chamber Ensemble
   • Full Score • #6933 • $7.50 • c. 7:00
   • Parts • #6934 • $17.50
   • Piano/Vocal Score • #6935 • $2.15

Instrumentation: A. Fl., Bb Cl., Hn., 1 Perc. (Mar., Vib., Sus. Cym., Tri.), Hp.

“Child of Song is a small portrait of the tragedy that occurs when a parent loses a child. It is humbly offered to all who have suffered the untimely loss of a loved one.

When I considered the addition of a chorus to the original piece, I was reminded of choral literature which expressed the connection of mother and child. For me, the most poignant expression of this is found in the fifth movement of Brahms’ Ein Deutsches Requiem, where the soprano soloist speaks as a motherly voice
from heaven, singing, “You have had sorrow. I will comfort you; I will see you again.” In Child of Song, the roles are inverted: the soprano sings as a mother who has lost her child and asks that the spirit of her child be with her in her last hour. It is the chorus, quoting from Brahms’ Requiem, that ethereally speaks the words from the departed child, recognizing the parents’ grief and offering a calm assurance of comfort, as from a mother, that they shall see each other again.”—Steven Sametz

USE: concerts, funerals, memorial services
     • moderately difficult
     • skilled church, college, community, professional choruses

SECULAR CHORAL— Mixed Chorus and Piano Four-hands

WILLIAM AVERITT [b. 1948]: Afro-American Fragments
     • S. Solo, SATB & Piano Four-hands • #7144 • $7.25 • c. 16:00
   1. Wonder
   2. When Sue Wears Red
   3. Dream Dust
   4. Song for Billie Holiday
   5. Feet o’ Jesus
   6. Fire!

This set of songs on texts by Langston Hughes (1902–1967) won the 1992 Contemporary Choral Composition Competition from the Roger Wagner Center for Choral Studies.

Editor’s Note: Since this piece has been in circulation since 1992, the page numbering and layout of the composer’s original edition have been retained. Thus, choirs that already have copies of this piece can order matching replacement copies from the publisher as needed.

USE: concerts
      • moderately difficult
      • accomplished college, community, professional choruses

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

GWYNETH WALKER, arr. [b. 1947]: Wayfaring Stranger
   • Full Score • SATB, Brass Quintet, Percussion & Piano • #7401 • $10.00 • 4:30
   • Parts • #7402 • $25.00
   • Piano/Choral Score • #7403 • $2.65

Instrumentation: 2 C (or Bb) Tpts., Hn., Tbn., Tba., 1 Perc. (H. & L. T.-ts., Tri., Bngs., Sus. Cym., Cr. Cyms.) & Pno.

“Wayfaring Stranger is based on the traditional American song I am a Poor, Wayfaring Stranger. The lyrics describe two forms of journey—the journey ‘home’ to be with parents, and the journey to the ‘Heavenly home’ to be with God. These two journeys merge, as one seeks to join with one’s earthly parents in heaven just
as one meets with the Heavenly Father at the end of the final voyage. The imagery of the text is varied, from the tenderness of longing for parents to the celebration of ‘singing to my God!’ Thus, the musical setting endeavors to highlight this emotional range. Each verse receives a different musical expression relevant to
the lyrics. The depths of longing (lowest vocal range) associate with missing one’s mother, and the heights of celebration arrive with the words ‘I’ll soon be free of earthly trials.’ The musical language is characterized by a recurrent rhythmic underpinning. This walking pattern reflects the journey home—a deliberate tempo
with increasing energy. ‘Precious Savior, bring me home!’”—Gwyneth Walker

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

SACRED CHORAL— Mixed Chorus and Instrumental Ensemble

GWYNETH WALKER, arr. [b. 1947]: Together in Song
   • Full Score • SATB, Brass Quintet, Percussion & Piano • #6762 • $30:00 • 13:30
   • Parts • #6763 • $44.00
   1. Hear the Trumpet Sound • #6791 • Choral Score • $2.65 • 3:40
   2. Prayer • #6792 • Choral Score • $2.65 • 5:00
   3. The Gospel Plow • #6793 • Choral Score • $3.25 • 4:30

Instrumentation: 2 C (or Bb) Tpts., Hn., Tbn., Tba., 1 Perc. (Bngs., Tri., Tamb., T. Blks., Slpstck., Mar., T. Dr., T.-ts.) & Pno.

“Together in Song is a three-song set of contemporary adaptations of American spirituals. The intent is to enjoy and enlarge upon these familiar songs in musical settings for chorus, brass quintet, percussion and keyboard. A brass introduction leads into the first song, Hear the Trumpets Sound, based on My Lord, What a Morning! This song was selected, in part, because of the lyrics ‘You will hear the trumpets sound to wake the nations underground.’

These lines give special impetus to the use of trumpets in this music. In addition, the energy expressed in the words ‘wake the nations’ is the essence of this song. The tempo is lively and the mood is generally boisterous and celebratory.

Prayer is based upon Let Us Break Bread Together. This is a quiet, gentle song. The brass playing is sustained, often presenting the rhythms of five quarter-notes - dotted-half note on the words ‘Lord have mercy on us.’ Near the end of the song, the music grows in intensity and dynamics for the verse (newly rendered words) ‘May our song rise together, and bring us peace.’

Percussion is a featured part in The Gospel Plow. This includes percussion instruments played by members of the chorus. This arrangement of the gospel song Hold On! endeavors to build upon the strength and vitality of the original.

As the hands ‘hold on’ in the lyrics, so do the singers’ hands (and feet) present rhythmic elements. A special focus is placed on the stanza ‘The only chain that we can stand is that chain that goes from hand to hand.’ Indeed, these are the words that close the song. The essence and joy of community singing is the bond
that is formed among the members of the chorus, together in song.”—Gwyneth Walker

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

VOCAL MUSIC

FRANK FERKO [b. 1950]: Merton Songs
   • Baritone & Piano • #7396 • $20.00 • c. 17:35
   I. In Silence
   II. Wisdom
   III. The Evening of the Visitation
   IV. “Reduced to This”
   V. Song for Nobody

   Never Call a Babysitter in a Thunderstorm
   • Baritone & Piano • #7397 • $7.50 • c. 3:56

Both pieces are moderately difficult.

INSTRUMENTAL MUSIC — Trio Scores and Parts

GREGORY HUTTER [b. 1971]:
   Trio
   • Cl., Vc. & Pno. • Score & Parts • #6942 • $22.50 • c. 10:00
   • moderately difficult

   Trio for Violin, Clarinet and Piano
   • Vn., Cl. & Pno. • Score & Parts • #6947 • $40.00 • c. 11:00
   • moderately difficult

RECORDING CREDITS - The Philovox Ensemble

Tracks 8–12 were recorded on March 23, 2009 at the recording studio of WGBH Radio, Boston, MA, by the Philovox Ensemble directed by Robert Schuneman. The members of the chorus were sopranos Yulia Van Doren, Mary Sullivan and Shari Alise Wilson, altos Jennifer Ashe, Carrie Cheron and Mary Gerbi, tenors Randy McGee, Owen McIntosh and Michael Barrett and basses Marc DeMille, Sumner Thompson, Thann Scoggin and Darrick Yee. On track 9, the tenor soloist was Owen McIntosh and the members of the solo quartet were Mary Sullivan, soprano, Carrie Cheron, alto, Randy McGee, tenor and Marc DeMille, bass. The soprano soloist on track 12 was Yulia Van Doren.
Tracks 2–6, 13, 15–16 and 21 were recorded on September 16, 2009 at the recording studio of WGBH Radio, Boston, MA, and on September 30, 2009 at the Church of the Redeemer, Chestnut Hill, MA, by the Philovox Ensemble directed by Robert Schuneman. The members of the chorus were sopranos Yulia Van Doren, Mary Sullivan and Shari Alise Wilson, altos Carrie Cheron, Mary Gerbi and Catherine Hedberg, tenors Marc DeMille, Bradford Gleim, Randy McGee and Dave Scott and basses Jake Cooper, Thann Scoggin, Sumner Thompson and Darrick Yee. The organist was Heinrich Christensen (tracks 3–5) and the pianist was Scott Nicholas (tracks 15–16 and 21). The tenor soloist was Bradford Gleim (track 2).
The producer, engineer and editor was Antonio Oliart Ros and the mastering was by Robert Schuneman, Arsis Audio, Boston, MA.

RECORDING CREDITS - Arsis Audio CD 161

Track 17 is taken from Arsis CD 161, I Have Had Singing. It was recorded on June 21–22, 2006 at Packer Memorial Church, Lehigh University by The Princeton Singers, Steven Sametz, director. Margaret Anne Butterfield was the soprano soloist and the instrumentalists were Robin Kani, alto flute, Deborah Andrus, clarinet, Daniel Braden, horn, Steven Mathiesen, percussion and André Tarantiles, harp. The producer and digital editor was Robert Schuneman, Arsis Audio, Boston, MA. The recording engineer was Edward J. Kelly, Mobilemaster, Burtonsville, MD.

RECORDING CREDITS - Guest Artists

Track 1 was recorded on December 12, 2008, at Beverly Hills Presbyterian Church, Beverly Hills, CA. The performance was by the USC Thornton Chamber Singers, Dominic Gregorio, conductor, Nick Strimple, speaker and Paul Meier, organ. Ben Maas was the recording engineer and editor. This track is used with the
kind permission of Nick Strimple.
Track 7 was recorded on April 3, 2009 at Visitation Catholic Church in Kansas City, MO. The performance was by the University of Missouri-Kansas City Collegium Vocale conducted by Dr. Ryan Board. The soprano soloist was Ida Nicolosi. The recording engineer was James Granville Eakin III. Permission to use this track was kindly given by Dr. Ryan Board.
Track 14 was recorded on March 15, 2009 live at Trinity Episcopal Cathedral, Portland, Oregon. The performance was by the Coro Pacifica of the Pacific Youth Choir, Mia Hall Savage, conductor. Chorus members playing percussion were Octavia Houha-McAloon and Rose Robel. The recording engineer was Frank Stearns. This track is used with the kind permission of Mia Hall Savage.
Tracks 18–20 were recorded on November 10, 1991 at the Church of the Epiphany, Washington, DC. The performance was by the Washington Singers, the late Paul Hill, conductor. The soprano soloist was Shelley Waite and the pianists were Sondra Proctor and Lamar Sims.
Tracks 22–24 were recorded on May 19, 2006, in Memorial Hall, University of North Carolina, Chapel Hill, NC. The performance was by the Chapel Hill Community Chorus, Dr. Sue Klausmeyer, conductor and artistic director. Chorus members playing percussion were Laura Ahlstrom, Ginger Sickbert and Jay Hargrove. The instrumentalists were Marianne Kremer, piano, and the brass players were members of Carolina Brass (Timothy Hudson, Dennis de Jong and Ken Raskin, trumpet, Michael Hrivnak, Andy Downing and Scott Buford, horn, David Wulfeck, Hoyt Andrew and Steve Wilfong, trombone, Steve Truckenbrod, tuba and Eric Corwin and Patrick Hanna, percussion). The recording was made by Mark Manring Recording, Inc. Permission to use these tracks was kindly given by Dr. Sue Klausmeyer.

All pieces on the recording are © Copyright 2009 by E. C. Schirmer Music Company, Inc., or © Copyright 2009 by Highgate Press, Inc., © Copyright 2009 by Ione Press, Inc. This recording is not authorized for sale, lending, broadcast, or public performance.