Spring 2006 NEW ISSUE

SACRED CHORAL - Mixed Chorus and Organ

BARRIE CABENA [b. 1933]: The Day of Pentecost
• SATB & Organ • #6547 • $2.05 • c. 4:45
Winner of the 2004-06 AGO/ECS PUBLISHING Award in Choral Composition Sponsored by the American Guild of Organists and ECS Publishing The AGO/ECS PUBLISHING AWARD IN CHORAL COMPOSITION is a unique collaboration between two organizations dedicated to promoting and enriching the repertoire of organ and choral music: the AGO, a not-for-profit national organization dedicated to the advancement of the organ and choral music professions, and ECS Publishing Corporation, a member of the professional music
publishing business community. Established in 1985 and held biennially, the competition for the AGO/ECS Award is open to all. Works submitted to the competition must be unpublished, and composed for SATB chorus and organ, with the organ playing a distinctive and significant role. The award includes a $2,000 cash prize, publication of the winning composition by ECS Publishing Corporation, and a performance at an AGO National Convention. --Words excerpted from the “News Bulletins” section of the National AGO Web site.

Barrie Cabena is new to ECS Publishing.

This work is a striking setting of words from Acts 2:1- 4, the Introit and Collect for Whitsunday from the 1662 Prayer Book as paraphrased by the composer.
USE: Pentecost services
          • moderately difficult
          • church use only

ADVENT CHORAL — Mixed Chorus and Chamber Orchestra

LIBBY LARSEN [b. 1950]: In a Winter Garden (Advent Meditations & Carols)
S, M-S & T Soli, SATB Chorus & Chamber Orchestra
• Choral Part • #6504 • $11.50 • c. 40.00
• Piano/Vocal Score • #6505 • $29.95 • c. 40.00

I. Evergreens (Carol: pg. 12 on piano/vocal score)
II. Frozen Fountain (Carol: pg. 33 on piano/vocal score)
III. Hot House
IV. Christmas Rose

This piece was commissioned and premiered by VocalEssence (formerly the Plymouth Music Series), Philip Brunelle conductor, with the cooperation of The Jerome Foundation on December 5, 1982 in Minneapolis, Minnesota.

“There is no such thing as art by committee, but it has been my good luck to discover art by collaboration, working on this piece with Libby Larsen (discovering Libby herself has been another stroke of good luck).”

“Collaboration is a mysterious business and, if it works, probably can’t be explained tidily. I did write the words and Libby did write the music, but it is also a fact that the text does not strike me as somehow mine. Libby’s profound sense of language influenced me certainly and, I think, refined and clarified my usual style. Beyond that, when she talked about instrumentation or the sort of voice she had in mind, I found myself subtly but definitely nudged and propelled into language and rhythms I might not have found on my own. In a way [that is] difficult to describe, I began to hear the music—though it wasn’t written completely yet. Or perhaps I should say I began to imagine it. Anyway, the text is not a poem, not a story: it is a libretto, a form unto itself and its music.”

“The story—or circumstances—of the piece is simply told: A contemplative nun who is troubled and unable to pray seeks to resolve her spiritual dilemma as Christmas approaches. She is unable to concentrate because of her terror over ‘the end of the world.’ It is an ancient terror (and, by the way, the traditional meditation theme for Advent), but it carries a contemporary alarm. Like many of us, Sister is unhinged by the threat of nuclear war (‘Don’t we all think of it lately?’ she says). Thomas, the convent gardener, goes about his work—the tasks of decoration and celebration—and provides her, as the season itself finally does, with the courage she needs to be joyous even in the midst of her recognition of peril.”—Patricia Hampl, Librettist

Vocal Forces: Sister (Abbess of the Convent):Mezzo-Soprano, Thomas (long-time gardener at the convent): Tenor, The Garden: Soprano Solo, SATB Chorus

Instrumentation: Flute/Piccolo, Oboe, Harp, Percussion, Strings

The full score and parts are available on rental from the publisher.
USE: Advent services and concerts
           • difficult
           • accomplished church, college, community, professional choruses

CHRISTMAS CHORAL — Mixed Chorus and Harp or Piano

MARK SIRETT [b. 1952]: The Oxen
• SATB & Harp or Piano • #6415 • $2.05 • c. 3:20
• Harp Part • #6726 • $5.00
“Thomas Hardy, born in Dorsetshire, England, was the son of a stonemason. He trained as an architect and worked in London and Dorset for ten years after which he began his writing career as a novelist. His major works are The Return of the Native (1878), The Mayor of Casterbridge (1886), Tess of the D’Uburvilles (1891) and Jude the Obscure (1896); the latter two novels have been considered masterpieces by later generations. Due to harsh criticism of his prose, Hardy left fiction writing for poetry, and published eight collections. The stark landscape of Dorsetshire and the moors where he lived figure prominently in his poetry.”—Mark Sirett
USE: Christmas services and concerts
          • moderately easy
          • church, high school, college, community, professional choruses

CHRISTMAS CHORAL — Mixed Chorus and Chamber Trio

FRANK FERKO, arr. [b. 1950]: Two Irish Christmas Carols
• SATB, Violoncello, Flute & Harp
• Ye Sons of Men, With Me Rejoice • #6032 • $1.75 • c. 2:20
• Good People All, This Christmastime • #6034 • $2.05 • c. 3:44
• Ye Sons of Men, With Me Rejoice • Parts • #6033 • $3.80
• Good People All, This Christmastime • Parts • #6035 • $5.05
“The Two Irish Christmas Carols were composed in 1995 at the request of J. Michael Thompson specifically for inclusion in a recording titled Music for the Twelve Days of Christmas, as performed by the Schola Cantorum of St. Peter’s Church in the Loop and the Kithara Trio with Mr. Thompson conducting. The recording was issued on the Liturgical Press label one year later. The carols in this set... quite well known in Ireland, have been given new harmonizations in these settings...”—Frank Ferko
USE: Christmas services and concerts
          • moderately easy
          • church, high school, college, community, professional choruses

CHRISTMAS CHORAL — Mixed Chorus and Wind Instrument

JAMES SCLATER [b. 1943]: The Piping Carol
• SATB & Alto Recorder (or Flute or Oboe) • #6483 • $2.50 • c. 2:50
• Woodwind Part • #6484 • $2.50
The composer wrote the text and music for this carol in the fall of 2004. It was one of two winners in the VocalEssence 2004 Welcome Christmas! Contest for new carols and was premiered by Philip Brunelle and the VocalEssence chorus at their 2004 Christmas concerts in Minneapolis. Its lively spirit encourages the shepherds to go forth and spread the good news of Christ’s birth.

This carol would go very nicely on the same program with another lovely carol by James Sclater called What Sweeter Music (#5462, $2.05). Whereas the mood of The Piping Carol is extroverted, the mood of What Sweeter Music is introverted.
USE: Christmas services and concerts
         • moderately easy
         • church, high school, college, community, professional choruses

ADVENT & CHRISTMAS CHORAL — Mixed Chorus unaccompanied

THOMAS BOLD [b. 1952]: Two Advent Introits
• SATB • #6331 • $1.45 • c. 1:20
1. Prepare ye the way
2. Up, joyous raise your song
Gentle Mary • SATB • #6329 • $1.45 • c. 2:00
The well-known texts employed in Two Advent Introits receive effective treatment by the composer in these brief but striking introits. Distinctive harmonic shifts and mild dissonances add to the effective word setting.

Gentle Mary is composed to words written by Joseph Simpson Cook in 1919 about Mary and her baby Son. The same descriptions of the music and word setting used for Two Advent Introits hold true here.
USE: Advent services and concerts / Christmas services and concerts
         • moderately easy
         • church, high school, college, community, professional choruses

CHRISTMAS CHORAL — Mixed Chorus unaccompanied

KEVIN SIEGFRIED [b. 1969]: Adam lay ybounden
• SATB (divisi) • #6393 • $1.45 • c. 2:30
This setting of the well-known ancient carol text received its premiere performance on New Year’s Eve, 2004, by The Choir of The Church of the Advent, Boston, Massachusetts, Edith Ho, Director. The edition contains a pronunciation guide and glossary.
USE: Christmas services and concerts
• moderately difficult (for divisi writing and soprano range)
• skilled church, high school, college, community, professional choruses

STEPHEN CHATMAN [b. 1950]: Jumalisten joucko (Rejoice, let us rejoice!)
• SATB (divisi) • #7.0450 • $2.05 • c. 3:00
Stephen Chatman’s arrangement and English versification of the Medieval Finnish chant Jumalisten joucko was commissioned by the Elmer Iseler Singers, Toronto, Lydia Adams, director. It was first performed in 2002 on the same concert program with Chatman’s A Christmas Lullaby (Catalog No. 7.0454 [SSAATBB]).

The piece evolves gradually from a soft, simple chant with drone to denser textures, featuring added parallel harmony, imitative counterpoint and an intense climax.

The score includes the original text in Finnish, an IPA transliteration with syllabification, a literal English translation and an English singing translation.
USE: Christmas services and concerts
• moderately difficult (for divisi writing and vocal ranges)
• accomplished church, college, community, professional choruses

DANIEL PINKHAM [b. 1923]: Jubilate Deo and Benedicamus Domino
• SATB • #6347 • $1.45 • c. 2:00
Jubilate Deo
Benedicamus Domino
Sung in Latin, these two pieces feature the words (respectively) “Rejoice in God, all ye lands. / Serve the Lord with singing. Alleluia.” and “Let us praise the Lord. / Let us give thanks to God.” Although they feature Pinkham’s trademark dissonances and shifting meters, they are not very difficult to sing.
USE: Jubilate Deo - Christmastide or general services, concerts
           Benedicamus Domino - conclusion of services, general concerts
                    • moderately easy
                    • church, high school, college, community, professional choruses

CHRISTMAS CHORAL — Mixed Chorus and Organ

DEREK HEALEY [b. 1936]: Awake, and Join the Cheerful Choir
• SATB & Organ • #6206 • $1.75 • c. 1:50
This is a setting of an anonymous early 19th-century text preserved in a rural area of Thomas Hardy’s Dorset. The composer strove to preserve the feeling of strength inherent in the text by employing frequent doubling between the soprano and tenor, and the alto and bass parts. Marked use of imitation and canon also occurs.
The organ part is spirited, employing octave doubling between the hands in the recurring introductory two-measure phrases.
USE: Christmas services and concerts
          • moderately difficult
          • skilled church, college, community, professional choruses

SACRED CHORAL — Mixed Chorus and Organ

DAVID CONTE [b. 1955]: Nunc dimittis (Now let thy servant depart in peace)
• SATB & Organ • #6045 • $2.05 • c. 3:30 (pre-revision recording)
Nunc dimittis was commissioned by the Episcopal Church in Almaden, San Jose, California, Margaret Kvamme, Music Director, in celebration of the ministry of the Reverend and Mrs. Nolan Redman. The work was premiered on July 7, 2002. Matthew Dirst was the organist.
USE: services (canticle, Epiphany, evening)
         • moderately easy
         • church use only

RONALD ARNATT [b. 1930]: Psalm 148 (Hallelujah! Praise God in the Heavens)
• SATB, Congregation & Organ • #5674 • $2.05 • c. 4:10
This latest addition to the Psalm Songs Series features a new translation by the composer. The tune is based on a simple melodic variant of the ascending major scale. The congregation part which appears on the back cover may be freely photocopied and distributed.
USE: services (general)
         • moderately easy
         • church use only


GWYNETH WALKER [b. 1947]: A Song of Praise
• SATB & Organ • #6286 • $2.05 • c. 3:45
“The lyrics for this hymn are adapted from words by Isaac Watts (1674–1748) for I Sing the Mighty Power of God. However, instead of ‘might’ and ‘power,’ this song emphasizes beauty and gentleness. The closing lines, ‘Wherever humankind may be, the Lord is present there,’ seem particularly healing in these times of destruction and loss. Wherever humanity is present, there, too, is the voice of God.”

“This is an energetic hymn, with many Amens: staccato, loud, joyous. For the flowing seas, the sun and stars, the plants and flowers and all that live praise the beauty of the Lord. Amen!”—Gwyneth Walker
USE: services (general)
         • moderately easy
         • church use only

SECULAR CHORAL — Treble Chorus unaccompanied

ROBERT KYR [b. 1952]: From the Circling Wheel
1. Song to the Creator
• SSAA • #6245 • $2.05 • c. 5:56
2. Song of the Virgin to Her Son
• SSAA • #6246 • $2.05 • c. 5:17
3. Song to the Virgin
• SSAA • #6247 • $2.05 • c. 4:53
“From the Circling Wheel is a cycle of motets that I was commissioned to write for Tapestry, the women’s vocal ensemble founded by Laurie Monahan. I was asked to consider setting the four texts that Hildegard von Bingen wrote but never set. In the end, I decided to compose music for only three of them. Then, after more closely studying each text, my intentions became radical; Latin felt too distant, so I rendered each poem into English. The process of creating the texts anew helped me to internalize them more completely and the rhythms and gestures of the music emerged from my effort to ‘find’ the poems in English. Each of the motets addresses a different aspect of creation as it relates to the notion of a circle or circling wheel.”—Robert Kyr
USE: concerts
        • moderately difficult
        • middle or high school, college, community, professional choruses

CHANUKAH CHORAL — Mixed Chorus unaccompanied

MARK ZUCKERMAN YIDDISH CHORAL SERIES
This new issue brings the second 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]:
O, ir kleyne likhtelekh
• SATB • #6189 • $1.75 • c. 3:14
Fayer, fayer!
• SATB • #6218 • $1.75 • c. 1:00
“Chanukah, the Jewish Festival of Lights, celebrates the Maccabees’ victory against the invading Syrians. In rededicating the Temple, which had been defaced by the Syrians, one day’s lamp oil miraculously burned for eight days, commemorated since by lighting candles on each of the eight days. In O, ir kleyne likhtelekh (O,
You Little Candles) the Chanukah candles evoke a bittersweet contrast between the ancient Chanukah story and the oppression of Jews in the Russia of Czar Alexander III.”

“Originally about lokshn (noodles), Fayer, fayer has been adapted to celebrate latkes (potato pancakes), one of Chanukah’s favorite foods.”—Mark Zuckerman
USE: Chanukah and winter season concerts
         • moderately easy
         • high school, college, community, professional choruses

CHRISTMAS CHORAL — Mixed or Men’s Chorus and Piano

SUSAN GARDNER, arr. [b. 1957]: O what a pretty little baby
• SATB & Piano • #6689 • $1.75 • c. 3.40
• TTBB & Piano • #6690 • $1.75 • c. 3.40
(Due to audience noise, the recording begins in bar #2.)
O what a pretty little baby is traditional Gospel music appropriate not only during Christmastime in church, but in the concert hall as well. It makes for a rousing ending to a program at any time of year.
USE: Christmas services and concerts
          • moderately easy
          • church, high school, college, community, professional choruses

MUSIC FOR ORGAN SOLO

FRANK FERKO [b. 1950]: Variations on “Veni Creator Spiritus”
• Organ Solo • #6555 • $20.00 • c. 11:00
USE: church services, concerts, auditions
• difficult

ALAN MILLS [b. 1964]: Wedding Postlude
• Organ Solo • #6516 • $5.00 • c. 3:00
• moderately difficult

DANIEL PINKHAM [b. 1923]: Lections
I. Processional, II. Trumpet Dialog, III. Lament from the deep,
IV. Pastorale for the Flutes, V. Aria, VI. Caprice
• Organ Solo • #6462 • $15.00 • c. 12:00

The Saint Luke Organ Book
I. Processional, II. In Nomine, III. A Psalm,
IV. And all the Company of Heaven, V. Sabbath Rest,
VI. The Bells
• Organ Manuals • #6599 • $10.00 • c. 11:00

The Garden of the Muses
I. Calliope, II. Clio, III. Erato, IV. Euterpe, V. Polyhymnia,
VI. Urania, VII. Thalia, VIII. Melpomene, IX. Terpsichore
• Organ Manuals • #6502 • $20.00 • c. 22:00
• moderately difficult (all three)

RECORDING CREDITS - The Philovox Ensemble

Tracks 1, 7, 10-11, 15-17 and 22 were recorded on January 18, 2006 at St. Paul’s Church in Brookline, MA and on January 22, 2006 at Church of the Redeemer, Chestnut Hill, MA by the Philovox Ensemble directed
by Jennifer Lester. The instrumentalists were Heinrich Christensen, organ (tracks 1 and 15-17) and Roy Sansom, alto recorder (track 7). The members of the Philovox Ensemble were sopranos Emily Browder, Elizabeth
Canterbury and Jayne Tankersley, altos Carrie Cheron, Thea Lobo and Kristin Vienneau, tenors Bradford Gleim, Craig Hanson and Steven Soph and basses Glenn Billingsley, Thomas Bold, Jacob A. Cooper and Sumner
Thompson.

Tracks 2-3, 8-9, 13-14, 18 and 21 were recorded on March 22, 2006, at St. Paul’s Church in Brookline, MA by the Philovox Ensemble directed by Jennifer Lester. The instrumentalists were Michael Monroe, piano (tracks 2-3) and Heinrich Christensen, organ (track 18). 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. The soprano soloist on track 3 was Jayne Tankersley.

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 12, Jumalisten joucko by Stephen Chatman: from the CD Puer natus in Bethlehem, Alleluia! (CBC Records MVCD 1165, 2003). Choir: Elmer Isler Singers; Lydia Adams, Conductor. Thanks to CBC Records for permission - www.cbcrecords.ca.

Track 23, O what a pretty little baby by Susan Gardner was recorded February 18, 2006 at St. Thomas Church, New York City for the ACDA Eastern Division Convention. It was performed by the Rutgers University Glee Club, Patrick Gardner conductor, Holly Chatham, piano, Sean Plante, soloist. The recording by Mark Custom Recording Service, Inc., is used by permission.

Tracks 5-6, Ye Sons of Men, With Me Rejoice and Good People All, This Christmastime by Frank Ferko: these recordings are taken from the collection Music for the Twelve Days of Christmas, performed by The Schola Cantorum of St. Peter’s in the Loop, J. Michael Thompson, director, and published by Liturgical Press, Collegeville, Minnesota. 800.858.5450. All rights reserved. Used with permission.

Tracks 19-20, Song to the Creator and Song to the Virgin by Robert Kyr come from the commercial CD Hildegard von Bingen: Celestial Light sung by the vocal group Tapestry on Telarc Records (CD-80456). These tracks are used by permission of Telarc Records.

Track 4, The Oxen by Mark Sirett, was recorded by the Interlochen Arts Academy Choir, Interlochen, Michigan, Laurence Smith, Conductor. The harpist was Joan Raeburn Holland. Permission to use this track was kindly
given by Laurence Smith.