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Spring 2010 NEW ISSUES

CHRISTMAS CHORAL MUSIC

eleven titles

SACRED CHORAL MUSIC

four anthems

SECULAR CHORAL MUSIC

piece in praise of music
winter-themed arrangement

VOCAL MUSIC

set of three Christina Rossetti settings

KEYBOARD MUSIC

organ solo

NEIL STIPP [b. 1953]: May Your Life Be Filled With Gladness

• SATB, Organ & optional Oboe • #7424 • $1.95 • c. 4:30
• #7465 • Oboe Part • $1.55

Winner of the 2010 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 Works submitted to the competition must be unpublished, and composed for SATB chorus and organ, with the organ playing a distinctive and significant role.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 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. <www.agohq.org>

The organ plays a significant role in this piece which is in the form of a through-composed hymn concertato. The hymn text by Rae E. Whitney was published in 1998 by Selah Publishing Co., Inc. (Used by permission.) Neil Stipp composed a new hymn tune especially for this setting.

CHRISTMAS CHORAL — Mixed, Treble, or Male Chorus
and Large or Small Chamber Ensemble or Keyboard
CHRISTMAS INSTRUMENTAL — CHRISTMAS KEYBOARD

Version 1: Large chamber ensemble accompaniment: chorus, 3 trumpets, 2 horns, 2 tenor trombones, 1 bass trombone, piano (doubling celesta), harp, 2 percussionists (cymbals, triangle, tom-toms, bass drum, glockenspiel, vibraphone, chimes), timpani (optional)
      • Full score of the SATB version • #7410 • $18.30
      • Full score of the SSAA version • #7411 • $18.30
      • Full score of theTTBB version • #7412 • $18.30
      • Parts for all three versions • #7413 • $36.75

Version 2: Small chamber ensemble accompaniment: chorus, harp, 2 percussionists (cymbals, triangle, tom-toms, bass drum, glockenspiel, vibraphone, chimes), timpani (optional), piano or organ
      • Full score of the SATB version • #7414 • $23.65
      • Full score of the SSAA version • #7415 • $23.65
      • Full score of the TTBB version • #7416 • $23.65
      • Parts for all three versions = #7417 • $26.25

Version 3: Keyboard accompaniment: chorus, piano or organ
• Keyboard/Choral score of the SATB version • #7418 • $2.80

*
• Keyboard/Choral score of the SSAA version • #7419 • $2.80
• Keyboard/Choral score of the TTBB version • #7420 • $2.80

Orchestration of Instrumental Version
(Composer’s Engraved Facsimile Editions)

3 trumpets, 2 tenor trombones, 1 bass trombone, piano, 2 percussionists, (cymbals, triangle, tom-toms, bass drum, glockenspiel, vibraphone, chimes) organ (with pedals)
• Full score • #4744 • $23.65
• Parts • #7409 • $34.15
NB: This version is not intended to accompany any choral version.

“Christmas Intrada is based on the familiar tunes Ding-dong! Merrily on High, Angels from the Realms of Glory, Von Himmel hoch and Sussex Carol. The original version for instruments alone was commissioned by the San Francisco Symphony for its annual Candlelight Choral Christmas Concert. The premiere performance took place on December 8, 1991 at Davies Symphony Hall with Vance George conducting.

A solo organ version of Christmas Intrada received its premiere performance by David Higgs at the San Francisco Symphony’s annual Christmas Pipe Dreams concert at Davies Symphony Hall on December 20, l992.”—David Conte

USE: Christmas services and concerts
     • moderately easy choral parts
     • moderately difficult instrumental and keyboard parts
     • church, college, community, professional choruses

GWYNETH WALKER [b. 1947]: My Beloved Son
     • c. 8:15 (all versions)
     • M.-S. Solo, SSA (divisi) & Organ • #7451 • $3.40
     • Organ/Vocal Score • M.-Sop. Solo, SATB (divisi) & Organ
     • #7452 • $3.40
     • Full Score • M.-S. Solo, SATB (divisi), opt. Brass Quintet, Percussion and Organ • #7453 • $13.15

• Parts • #7454 • $15.75

“My Beloved Son combines two contrasting texts, each portraying the birth of Jesus. The hymn text Come, Thou Long-Expected Jesus by Charles Wesley (1707–1788) is written from an objective viewpoint. The author speaks to Christ and about Christ: ‘Come, thou long-expected Jesus, born to set thy people free; / From our fears and sins release us; let us find our rest in thee.’ In contrast, the poetry of Hildegard of Bingen (1098–1179), in new translations by Christopher Brunelle, expresses the voice of Mary. This is subjective writing: ‘Such knowledge is too wonderful for me: / The form of a woman was lowly, / But it welcomed a King.’”
—Gwyneth Walker

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

GWYNETH WALKER [b. 1947]: Ring out, wild bells
     • c. 4:00 (all versions)
     • SATB (divisi) & Piano • #7457 • $2.80
     • Full Score • SATB (divisi), opt. Brass Quintet, Percussion & Organ • #7458 • $15.75
     • Parts • #7459 • $22.50

SATB (divisi) & piano: #7457; this version also serves as the choral rehearsal score for all versions.
SATB (divisi), opt. brass quintet, percussion & organ: full score = #7458, and the brass and percussion parts = #7459.
SATB (divisi) & organ: the organist should play from the full score (#7458). The conductor should also have a copy of the full score to see the organ part.
• The recording is of the version for SATB (divisi) & organ

“Ring out, wild bells is a Christmas anthem on the poem by Alfred, Lord Tennyson. The text celebrates the image of bells (represented by cascading ‘ringing’ fourths in the piano accompaniment) to herald both the ‘going out’ of the old year, the ‘coming in’ of the new year, and the birth of Jesus. Between the verses of the poem, the composer has inserted a refrain, ‘Come, Lord Jesus.’ This may be interpreted as the prayer of the awaiting world. The refrain repeats, intermingles with the verses, and ultimately expands into the triumphant, closing ‘Come, Lord Jesus, Come Emmanuel!’”—Gwyneth Walker

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

GWYNETH WALKER, arr. [b. 1947]: Light of Light

•Treble Voice(s), SATB (div.) & Org. • #7455 • $3.40 • c. 5:30
“The hymn Let All Mortal Flesh Keep Silence has long been a favorite of the composer. The melody, referred to as Picardy, originated as a traditional French carol. The simplicity of the stepwise melodic line, first ascending, then descending, has an appealing directness. This new arrangement, Light of Light, endeavors to adapt and expand the familiar hymn into an anthem, with a dramatic presentation of the verses. ...The verses are punctuated with the refrain of ‘Alleluia! Glory to the Son of Light, born for us this holy night.’ The emphasis upon light, both in the title of the anthem and in the florid organ accompaniment (perhaps as rays of light), was inspired by the beautiful image in the lyrics referring to Christ as ‘the Light of light descending.’”
—Gwyneth Walker

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

AUSTIN LOVELACE [b. 1919]: A Christmas Roundelay

• Two-part Mixed & Keyboard • #7316 • $1.55 • c. 2:00
This piece employs a text by Edith Lovejoy Pierce which first appeared in the December 1968 edition of The Pulpit published by the Christian Century.

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

DAVID EVAN THOMAS, arr. [b. 1958]: O little town of Bethlehem

• SATB & Harp • #7259 • $1.95 • c. 5:00
• Harp Part • #7260 • $5.25
In this arrangement, Thomas uses the well-known tune St. Louis composed by Lewis J. Redner in 1868 in conjunction with the famous text written in 1867 by Phillips Brooks.

USE: Christmas services and concerts
      • moderately easy choral parts
      • moderately difficult harp part
      • church, college, community, professional choruses

SALLY ANN MORRIS [b. 1952]: Like a Whisper in the Heart

• SATB (divisi) & Harp or Piano • #7364 • $1.95 • c. 3:15
• Harp Part • #7365 • $2.60
This piece employs a text by Sylvia Dunstan (1955–1993) published in 1995 by GIA Publications, Inc. (Used by permission.)

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

STEVEN SAMETZ [b. 1954]: Thou whose birth

• S. Solo, SATB (divisi) & opt. Harp • #7202 • $2.25 • c. 4:00
• Harp Part • #7203 • $2.60
An anthem in two parts, Thou whose birth features a text by Algernon Charles Swinburne (1837–1909) in Part I and the Latin Rite Dona nobis pacem in Part II.

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

STEVEN SAMETZ, arr. [b. 1954]: Be we merry (Salvator mundi natus est)

     • T. & B. Soli, TTBB • #7222 • $1.55 • c. 2:00
In this arrangement, Sametz uses music from Songs of the Nativity (London: John Camden Hotten, 1868) set to words by James Ryman written in 1492.

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

FRANK FERKO [b. 1950]: The Snow Lay on the Ground

• SATB (divisi) • #7408 • $2.25 • c. 6:05
“This setting of The Snow Lay on the Ground is intended to portray some of the mystery as well as the joy surrounding the events of the Nativity of the Lord. Each of the four stanzas is set to different music, but the refrains are all based on the same melody which is harmonized and also treated canonically. The work was commissioned by the Choral Arts Ensemble of Rochester, Minnesota, Michael Culloton, conductor. It was completed in the summer of 2008 and first performed by the Choral Arts Ensemble in a series of three concerts on December 12, 13 and 14, 2008.”—Frank Ferko

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

KEVIN SIEGFRIED [b. 1969]: I sing of a maiden

• Soprano Solo, SATB (divisi) • #7352 • $1.95 • c. 3:30
I sing of a maiden joins two previously published works, There is no rose (#6075) and Adam lay ybounden (#6393), to complete a set of three English carols. While all three carols may be performed individually, I sing of a maiden should be performed as the central movement when performing them as a set.

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

AUSTIN LOVELACE [b. 1919]: Hail to the Lord’s Anointed

• SATB & Organ • #7318 • $1.55 • c. 2:00
This piece employs music by Austin Lovelace based on a folk hymn from William Walker’s Southern Harmony together with the text Hail to the Lord’s Anointed based on Psalm 72 by James Montgomery (1821).

USE: Post-Epiphany and Kingdomtide church services, concerts
• easy
• church, college, community, professional choruses

AUSTIN LOVELACE, arr. [b. 1919]: All beautiful the march of days

• SATB & Organ • #7319 • $1.55 • c. 2:00
In this arrangement, Austin Lovelace uses the English folk melody Forest Green in conjunction with the poem All beautiful the march of days by Frances Whitmarsh Wile (1911).

USE: winter church services (God the Creator), concerts
• easy
• church, college, community, professional choruses

CLARE SHORE [b. 1954]: Tropical Blessing (a Blessing for St. Francis’ Day)

• SAB & Handbells • #7361• $1.55 • c. 50 seconds
(NB: The handbells in this recording are synthesized.)
The words for this anthem are by the composer.

Praise God, the Father, our Creator! / Bless all of us, He is our maker! / Bless paw and hoof, burrow and roost; / Bless equine, bovine, canine, feline, Osprey, egret, woodpecker, Little Blue; / Bless Spot and Puff and Grandma, too. // Praise God, the Father, our Creator! / Bless all things, even alligator!

USE: St. Francis’ Day services, concerts
• easy
• church, high school, college, community, professional choruses

ROBERT KYR [b. 1952]: In Praise of Music

• SATB (divisi) • #6996 • $3.40 • c. 6:00
The composer wrote the words for this piece.

O Music: / One Music / From sound beginning, / From time unfolding— // Only from silence / Emerging and flowing as tones / From the hidden life, Beyond all senses— // Only from stillness / Arising and flowering / As new light from the unknown, / Beyond night and day. // O Music: / You awaken the sleeper from oblivion; / You comfort the mourner with serenity and wisdom; / You heal the wounded with energy and new life; / You charm the lover with sweetness and grace; / You delight the listener with magic and beauty. // O Music: / O lead me always, / From darkness into light, / From wonder to wonder, / From life into greater life. // Heart of my Heart, / O soul of my soul: / O One Music.
USE: concerts
• moderately difficult
• skilled college, community, professional choruses

RANDALL THOMPSON [1899–1984]
DAVID A. SEITZ, arr. [b. 1943]: Velvet Shoes

• SSATTBB & Piano • #7546 • $1.95 • c. 3:36
This winter-themed piece has been popular with vocalists (medium voice and piano [#114]) and treble choruses (treble chorus and piano [#2526]) for decades. With this new arrangement, it can now take its place in the repertoire of mixed choruses.

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

DAVID CONTE [b. 1955]: Three Poems of Christina Rossetti
      I. Rest
      II. Echo
      III. A Hope Carol
  • Mezzo-Soprano & Piano • #7544 • $15.75 • c. 15:20
Publisher’s Note: A Hope Carol is available separately (#7188) and also in versions for SSSA chorus and piano (#6605) and SATB chorus and piano (#7545).

GWYNETH WALKER [b. 1947]: Sanctuary
   • Organ Solo • #7531 • $18.40 • c. 10:45
      1. Reverence
      2. All Nature Sings
      3. A Refuge, Peace

Tracks 1, 4–6 and 13–15 were recorded on April 6, 2010 at The Church of the Redeemer, Chestnut Hill, MA, by the Philovox Ensemble directed by Robert Schuneman. The chorus members were sopranos Yulia Van Doren, Mary Sullivan and Shari Alise Wilson, altos Carrie Cheron, Mary Gerbi and Thea Lobo, tenors Bradford Gleim, Dave Scott and Steven Soph and basses Jacob Cooper, Marc DeMille, Thann Scoggin and Sumner Thompson. The soloists were soprano Shari Alise Wilson and tenor Bradford Gleim (track 1). The producer and engineer was Antonio Oliart Ros and the editing and mastering was by Robert Schuneman, Arsis Audio, Boston, MA.

Track 2, Christmas Intrada by David Conte, was recorded live on December 24, 1997, at Trinity Episcopal Church, Indianapolis, IN, by the choir of Trinity Episcopal Church, Dr. Michael Messina, director of music. Andrew Kotylo was the organist. Permission to use this track was kindly given by Dr. Michael Messina. This is a pre-revision recording.

Track 3, My Beloved Son by Gwyneth Walker, was recorded on December 14, 2007, at Washington National Cathedral, Washington, DC, by the Cathedral Choral Society, J. Reilly Lewis, music director. The soprano soloist was Jennifer Dusek and Washington Symphonic Brass provided the accompaniment. Mark Huffman was the recording engineer. This track is used with the kind permission of Alison Combes.

Track 7, O little town of Bethlehem arranged by David Evan Thomas, was recorded on September 24, 26 and 28, 2006, at Westminster Presbyterian Church, Minneapolis, MN, by the Westminster Presbyterian Church Choir, Jere Lantz, director. Bridgett Stuckey was the harpist. Permission to use this track was kindly given by Melanie Ohnstad.

Track 8, Like a Whisper in the Heart by Sally Ann Morris, was recorded on December 3, 2000, at Charles E. Daniel Memorial Chapel, Furman University, Greenville, SC, by The Furman Chamber Choir, William Thomas, director. Jill Underwood was the harpist. Ed Snape was the recording engineer. This track is used with the kind permission of William Thomas.

Track 9, Thou whose birth by Steven Sametz, was recorded on December 6, 2008, in Packer Chapel, Lehigh University, Bethlehem, PA, by Lehigh University Choral Arts, Steven Sametz, conductor. Andrea Wittchen was the harpist and William Holmes was the recording engineer. Permission to use this track was kindly given by Steven Sametz.

Track 10, Be we merry by Steven Sametz, was recorded on December 7, 2008, in Packer Chapel, Lehigh University, Bethlehem, PA, by the Lehigh University Men’s Glee Club, Steven Sametz, conductor. Will Frece was the tenor soloist, Matt Pollack was the baritone soloist and William Holmes was the recording engineer. This track is used with the kind permission of Steven Sametz.

Track 11, The Snow Lay on the Ground by Frank Ferko, was recorded on December 12, 2008, at Lourdes Chapel at Assisi Heights, Rochester, MN, by the Choral Arts Ensemble, Michael Culloton, conductor. Aaron Manthei was the recording engineer. Permission to use this track was kindly given by Michael Culloton.

Track 12, I Sing of a maiden by Kevin Siegfried, was recorded on February 7, 2009, at Blessed Sacrament Church, Seattle, WA, by The Tudor Choir, Doug Fullington, director. Rebekah Gilmore was the soprano soloist. This track is used with the kind permission of Doug Fullington.

Track 16, In Praise of Music by Robert Kyr, was recorded on March 13, 2010, at Church of the Nazarene, Longview, WA, by Portland Vocal Consort, Ryan Heller, conductor. The recording engineer was Harold Phillips. Permission to use this track was kindly given by Marita Postma.

Track 17, Velvet Shoes by Randall Thompson, arranged by David A. Seitz, was recorded on March 27, 2009, in Sauder Concert Hall, Goshen College, Goshen, IN, by the St. Joseph Valley Camerata, David A. Seitz, conductor. Christine Larson Seitz was the pianist and the recording engineer was Matthias Stegmann. This track is used with the kind permission of David A. Seitz.

All pieces on the recording are © Copyright 2010 by E. C. Schirmer Music Company, Inc., or © Copyright 2010 by Ione Press, Inc. This recording is not authorized for sale, lending, broadcast, or public performance.
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