Spring 2007 NEW ISSUE

ADVENT & CHRISTMAS CHORAL — Mixed Chorus and Keyboard (or Brass)
DEREK HEALEY [b. 1936]: When Shades of Night
     • SATB & Piano or Organ (ad lib.) • #6313 • $1.85 • c. 2:40

The Virgin
     • Sop. Solo (or Instrument in C), SATB & Keyboard (ad lib.)
     • Score & Part • #6311 • $1.85 • c. 2:45

The Lord He Comes
     • SATB & Organ or Brass Trio
     • Organ/Choral Score • #6309 • $1.85 • c. 2:00
     • Full Score & Parts • #6310 • $8.75
When Shades of Night - “This carol is set to a 19th-century translation of Charles Coffin’s Latin hymn In noctis umbra desides. The four verses, which increase in intensity throughout, describe the longing felt by the weary Christian waiting for the coming of the Lord. The idiom is traditional with some use of chromaticism in the manner of Peter Warlock.”

The Virgin - “The text of this carol is of interest since one does not normally associate the writings of Henry David Thoreau with formal Christianity, with the result that this two-verse quatrain exhibits a notable freshness in its imagery. This text is sung by the choir with a wordless soprano solo line acting as a frame to the verses. The solo line may be played by a C instrument, if so desired. The work is written in the Dorian mode, a scale frequently found in folk music of both the British Isles and Appalachia.”

The Lord He Comes - “With its text from the combined pens of Isaac Watts and an anonymous Dorset author, I have sought to evoke the world and times of Thomas Hardy in this carol. The choral writing, in the rural English folk style, is similar to that found in Appalachian shape-note hymns; the melodic element takes precedence
over the normal rules of classical harmony. Such a performance as I have envisaged would have been by a band of waits or wassailers visiting the homes of the gentry in earlier times.”
—Derek Healey
USE: When Shades of Night - Advent carol for services or concerts
   The Virgin - Christmas or Marian carol for services or concerts
   The Lord, He Comes - Christmas services or concerts in church
     • moderately difficult
     • accomplished church, college, community, professional choruses

CHRISTMAS CHORAL — Mixed Chorus and Keyboard

DANIEL PINKHAM [1923-2006]: Still this night
     • SATB & Keyboard • #6641 • $1.50 • c. 2:30
The text for this Christmas carol is by the composer. “Still this night of adoration, / Stars gleam in a cloudless sky. / Shepherds sing their simple carols, / From on high the glad reply: ‘Peace on earth and joy in heaven, / Your salvation draweth nigh.’ / Step inside the noisy stable. / Leave outside the winter’s cold. / Listen to
the herald angels / Playing on their harps of gold. / There behold a tiny baby / As Isaiah once fortold. / Soft he sleeps within the manger. / Cradle songs now to him sing. / See the Wise Men deeply bowing, / Rich the royal gifts they bring. / Join the rustic folk in piping / Fanfares to the newborn King.”
USE: Christmas services, concerts
       • moderately easy
       • church, high school, college, community, professional choruses

CHRISTMAS CHORAL — Mixed Chorus, Harp and Keyboard

DAVID CONTE [b. 1955]: The Snow Lay on the Ground
     • SATB, Harp & Organ or Piano • #6419 • $2:15 • c. 4:00
     • SSAA, Harp & Organ or Piano • #6420 • $2:15 • c. 4:00
     • TTBB, Harp & Organ or Piano • #6421• $2:15 • c. 4:00
     • Harp Part • #6422 • $2.65
This setting of an anonymous 19th-century text found in the Episcopal Hymnal is written in verse-anthem style. The scoring for harp and keyboard makes it an ideal companion piece for Britten’s A Ceremony of Carols and Susa’s Carols and Lullabies. The Snow Lay on the Ground is equally effective with either organ or piano, making it practical for use in both churches and schools.
USE: Christmas services and concerts
     • moderately easy
     • church, college, community, professional choruses

CHRISTMAS CHORAL — Mixed or Treble Chorus and Orchestra or Piano

GRANT COCHRAN, arr. [b. 1962]: What Child Is This?
     • Piano/Choral Score • SATB & Piano • #6698 • $1.85 • c. 5:40
     • Piano/Choral Score • SSA & Piano • #6700 • $1.85 • c. 5:40
     • Full Score • SATB & Orchestra • #6699 • $30.00
     • Full Score • SSA & Orchestra • #6701 • $30.00
     • Orchestral Parts for Both Versions • #6702 • $35.00
“Like many of my arrangements, What Child Is This? was written for the ensemble that I conduct, the 160-voice Anchorage Concert Chorus and was premiered at our annual Holiday Pops concert. Though the work was written for chorus and full orchestra (with a prominent role for piano), it may be successfully performed with just piano accompaniment. With a mood of gentle fluidity and quiet contemplation, the piece has been an Anchorage audience (and musicians’) favorite since its first performance in December of 1994.”
—Grant Cochran
The instrumentation is 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trombones, timpani, percussion (1 player playing suspended cymbal, triangle, chimes and glockenspiel), piano and strings.
USE: Christmas services and concerts
     • moderately easy
     • church, high school, college, community, professional choruses

CHRISTMAS CHORAL — Mixed Chorus unaccompanied

GRANT COCHRAN, arr. [b. 1962]: The Boar’s Head Carol
     • 2 Tenor & 1 Baritone Soli, TTBB • #6692 • $1.85 • c. 2:45
     • Alto, Tenor & Bass Soli, SATB • #6693 • $1.85 • c. 2:45
“The Boar’s Head Carol is a rousing arrangement of the well-known English carol that I first set for four-part men’s chorus. (With the urging of some my female singers who complained of 'being left out of the fun,' an SATB edition was later created.) The arrangement utilizes varying textures (unison, two, three and four-part writing), a triple meter solo-trio section, and a wandering melodic line.”
—Grant Cochran
USE: Christmas concerts
     • moderately easy
     • church, high school, college, community, professional choruses

DAVID ASHLEY WHITE [b. 1944]: Adam lay ybounden
     • SATB • #6500 • $1.50 • c. 1:10
“The splendid carol text Adam lay ybounden is one of the mainstays of the Christmas Eve Lessons and Carol Service, where it follows the first reading from Genesis 3. It comes from the 15th century and is found in the Sloan MS. It is also one of those wonderful texts that are ‘macaronic,’ meaning two languages are employed, in this case, English and Latin.”

“The ultimate point of the text’s message is salvation, and while Adam, the apple, clerkès, and the Queen of Heaven all play parts in the telling of the story of the fall from grace, Christ is not specifically named, although it is through him that salvation would come. The anonymous author sends us the message that if Adam (and Eve)
had not partaken of the fruit, and if that act had not then set the Christian story in motion, there would be no reason for Christ to have come to save humankind.”

“A number of composers have set Adam lay ybounden in various ways. Because I found the words especially full of vivid dramatic energy, I chose an often-stark harmonic language as well as a sixteenth-note driving rhythmic figure that essentially binds the music together. To further the text painting, at the mention of ‘our lady,’ I
composed an ascending soprano line that reaches the highest note in the setting, an A, which, of course, refers to ‘heaven.’ ”
—David Ashley White
USE: Christmas services and concerts
     • moderately easy
     • church, high school, college, community, professional choruses

ADVENT & CHRISTMAS CHORAL — Mixed Chorus unaccompanied

ALAN MILLS [b. 1964]: The Lord at first did Adam make
     • SATB • #6515 • $2.15 • c. 3:00
“The Lord at first did Adam make is a ‘composed carol’ in the English tradition that stretches back at least as far as the 15th-century. I have taken the words from an old folk-carol and so the melody has something of a folk-music flavor— although 20th-century developments influence the harmonic treatment given. Obviously, such a piece is suitable for church or concert use at Christmas-time and during the Advent period. The chorus of the text keeps repeating that ‘this is Christmas Eve,’ though one should not see this as limiting all possible
performances to that one night of the year!”
—Alan Mills
USE: Advent and Christmas services and concerts
     • moderately easy
     • church, high school, college, community, professional choruses

CHRISTMAS CHORAL — Mixed Chorus unaccompanied

CLARE SHORE [b. 1954]: Three a cappella Carols
1. Joy to the World • SATB • #6628 • $1.50 • c. :38
2. Silent Night • SATB • #6629 • $1.50 • c. 1:18
3. Good King Wenceslas • SATB • #6630 • $1.85 • c. 1:45
Suitable for small or large choruses, Clare Shore’s Three a cappella Carols utilize traditional English texts in new musical settings. Performed as a set, the three songs offer contrast in style and length, beginning with two brief carols —a jubilant Joy to the World, followed by the more somber Silent Night—and culminating in the lively Good King Wenceslas, with optional solos. The carols are accessible to the listener and are suitable for sacred or secular occasions.
USE: Christmas services and concerts
     • moderately difficult
     • skilled church, high school, college, community, professional choruses

NESTOR TAYLOR [b. 1963]: A Cradle Song
     • Four (or two) Alto Soli, SATB (divisi)
     • #6485 • $1.85 • c. 2:20
A lovely, useful setting of the famous William Blake text, A Cradle Song was completed in Athens, Greece, on Christmas Day, 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 and low ranges)
     • skilled church, college, community, professional choruses

BERN HERBOLSHEIMER [b. 1948]: Silent Night (Stille Nacht)
     • SATB (divisi) • #7.0494 • $1.85 • c. 3:30
“This setting of Silent Night (Stille Nacht) is a richer alternative to the more traditional settings. I would ask the performers to pay special attention to the longer phrases which better clarify the text in English as well as in the original German.”
—Bern Herbolsheimer
USE: Christmas services and concerts
     • moderately difficult (for divisi and harmonies)
    • accomplished church, college, community, professional choruses

CHRISTMAS CHORAL — Mixed Chorus and Chamber Orchestra (or Piano or Harp)

BERN HERBOLSHEIMER [b. 1948]: Silly Shepherds, Stop Your Sleeping
     • Choral Score • SATB & Pno. or Hp. • #7.0492 • $2.15 • c. 4:30
     • Harp Part for the Choral Score • #7.0493 • $2.65
     • Full Score • #7.0518 • $13.25
     • Orchestral Parts • #7.0519 • $28.90
“The melody of Silly Shepherds, Stop Your Sleeping is taken from an early collection of French chansons, specifically the Chanson de M. Deon, dated 1712. The original text was secular, but I have set this charming melody to a Christmas text which becomes gentler with each successive verse.”
—Bern Herbolsheimer

The instrumentation for the orchestral version is as follows: 2 flutes, 2 oboes, 2 clarinets in B-flat, 2 bassoons, 2 horns in F, 2 trumpets in B-flat, 2 trombones, 2 percussion (I plays roto toms and timpani, II plays snare
drum, triangle and bass drum), harp or piano, strings.
USE: Christmas services and concerts
     • moderately easy
     • church, high school, college, community, professional choruses

SECULAR CHORAL — Mixed Chorus unaccompanied

MARK ZUCKERMAN YIDDISH CHORAL SERIES
This new issue brings another 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]: Harbstlid
     • SATB • #6214 • $2.15 • c. 3:20
“Harbstlid is from Zumerteg (Summer Days), a collection of 20 songs by Beyle Schaechter-Gottesman. This arrangement was written especially for the Jewish People’s Philharmonic Chorus, conducted by Binyumen Schaechter, the poet’s nephew and himself a composer.”
—Mark Zuckerman
USE: concerts
     • moderately easy
     • high school, college, community, professional choruses

SECULAR CHORAL — Treble Chorus and Piano

STEPHEN CHATMAN [b. 1950]: Stars, Blue, Ice
     • Two-part Treble & Piano • #7.0499 • $2.15 • c. 4:00
1. Stars (pg.3 on octavo)
2. Blue (pg.7 on octavo)
3. Ice (pg.9 on octavo)
Commissioned by the Oriana Singers, Toronto, William Brown, director, Stars, Blue, Ice was part of an imaginative project called “Children’s Voices” in which six Canadian composers and selected Toronto poets from kindergarten to grade 12 collaborated to create a concert of new settings for treble chorus based on seventeen new poems. Chatman chose to set three poems, Stars, Blue and Ice from 171 winning poems in the anthology, “Urban Voices” (2003), published by the Toronto District School Board.
USE: concerts
     • moderately easy
     • children’s or women’s choruses

SECULAR CHORAL — Treble Chorus unaccompanied

CRAIG DeALMEIDA [b. 1976]: Three Songs of Innocence
     • SSA • #6439 • $2.65 • c. 4:30
1. The Echoing Green (pg.1)
2. Nurse’s Song (pg.7)
3. Laughing Song (pg. 12, midway down)
“Completed in 2000, Three Songs of Innocence was commissioned for and performed by the North Carolina Governor’s School Chorus in Winston-Salem, directed by Leandra AnafShalom. Beneath the delightful word-play of all the songs lie mysterious inter-textual connections. The ideas of laughing, echoing, the green, the hills and reflections upon youth are all struck in fleeting references, but the main idea, playfulness, is depicted through the use of never-quite-settled harmonies and rhythms.”
—Craig DeAlmeida
USE: concerts
     • moderately difficult (for changing meters)
     • skilled children’s or women’s choruses

GWYNETH WALKER [b. 1947]: The Tree of Peace
     • Women (SSAA divisi) & Pno. • #6463 • $3.25 • c. 5:30
     • SATB divisi & Chamb. Orch. or Pno. • #6939 • $3.25 • c. 5:30
     • Full Score • #6940 • $20.00
     • Parts • #6941 • $80.00
“The text for The Tree of Peace is adapted from the Quaker poem, ‘O Brother Man,’ by John Greenleaf Whittier (1807–1892). This adaptation of the poem broadens the scope of the original with more inclusive language, opening with:‘O, my sister and my brother, all who walk upon this earth, fold to your hearts each other.’ A new text fragment, ‘Listen, listen to one another,’ is introduced into the poem, and serves as an interlude between stanzas. The final sentence of the original poem becomes the focal point of this work, returning many times: ‘Love shall tread out the fire of anger, and in its ashes plant a tree of peace.’ The musical setting reflects the dual nature of the title, ‘Tree’ (strength) and ‘Peace’ (tenderness). Passages of tenderness alternate and intertwine with passages of strength to form a confluence of the message: a prayer for peace.”
—Gwyneth Walker

The instrumentation of the version for SATB chorus and chamber orchestra is 2 flutes, 1 oboe, 1 clarinet, 1 bassoon, 2 horns, two trumpets, 1 trombone, 1 percussionist and strings. The composer currently has no plans to create a version for women’s chorus and chamber orchestra.
USE: concerts
     • moderately easy
     • mature high school, college, community, professional choruses

INSTRUMENTAL MUSIC — Keyboard

STANLEY M. HOFFMAN [b. 1959]: Variations on “Dank sei dir, Herr”
     • Organ Manuals or Piano Solo • #6922 • $5.00 • c. 3:10
• moderately easy

RECORDING CREDITS - The Philovox Ensemble

Tracks 1-3 and 16 were recorded on January 10, 2007, at Church of the Redeemer in Chestnut Hill, MA, and on January 14, 2007, at the recording studio of Futura Productions, Roslindale, MA, by the Philovox Ensemble
directed by Jane Ring Frank. The organist was Heinrich Christensen (tracks 2-3) and the soprano soloist was Adriana Repetto (track 2). The members of the Philovox Ensemble were sopranos Adriana Repetto, Mary
Sullivan and Yulia Van Doren, altos Mary Gerbi, C. Heather Holland and Martin Near, tenors Eric P. Esparza, David McSweeney and Steven Soph and basses Glenn Billingsley, Jacob A. Cooper, Marc DeMille and Darrick
Yee.

Tracks 4, 7-12 and14-15 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
(tracks 4, 14-15). The vocal solists were alto Mary Gerbi, tenor David Thorne Scott and bass Marc DeMille (track 7), soprano Adriana Repetto, alto Mary Gerbi, tenor David Thorne Scott and bass Marc DeMille (track
9) and soprano Jennifer Ashe, alto Marti Near and bass Marc DeMille (track 12). 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. 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 5, The Snow Lay on the Ground by David Conte was recorded May 13, 2006 at St. Mary’s Roman Catholic Church, Rochester, NY. It was performed by the Christ Church Schola Cantorum, Stephen Kennedy, Director. The harpist was Kathleen Bride and the organist was David Higgs. This track will appear on an ARSIS Audio CD featuring music by David Conte which will be released at a future date.

Track 6, What Child is This? arranged by Grant Cochran, was recorded December 15, 2006 at Atwood Concert Hall, Alaska Center for the Performing Arts. The performance is by the Anchorage Concert Chorus and Orchestra, Grant Cochran, Conductor. The recording engineer was Bob Amos. Permission to use this track was kindly given by Grant Cochran.

Track 13, A Cradle Song 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. This track is used with the kind permission of Jonathan Miller.

Tracks 17-19, Stars, Blue, Ice by Stephen Chatman were recorded at the premiere performance May 8, 2004 at Grace Church on the Hill, Toronto, Ontario. The performance is by The ORIANA Women’s Choir, William
Brown, Director. The pianist was James Bourne. Permission to use this track was kindly given by William Brown.
Tracks 20-22, Three Songs of Innocence by Craig DeAlmeida were recorded by the North Carolina Governor’s School Chorus, Leandra AnafShalom, Director. This track is used with the kind permission of David Mills.

Track 23, The Tree of Peace by Gwyneth Walker was recorded in March of 2003 at the Indiana History Center. It was performed by the Indianapolis Women’s Chorus, Pam Blevins Hinkle, Artistic Director. The pianist was
Holling Smith-Borne. The recording engineer was Marg Herder. Permission to use this track was kindly given by Jonathan Miller.

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.