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Dt Dies Irae (from "Requiem")—Michael John
Trotta. Pulsating rhythmic ostinatos, cluster
harmonies, and soaring soprano lines are all
present in this exciting a cappella concert work,
possessing all the elements you'd expect from the
composer of Veni, Veni Emmanuel. Based on the
13th century Dies Irae chant, the exciting minor
texture contrasts driving rhythms and beautiful
legato singing, while still remaining accessible. A
perfect way to showcase your choir as a concert
opener or closer.
11315425 SATB. . . . . . . . . . . . . . . . . . . M 2.65
t Dominus Vobiscum—Jacob Narverud. This
powerful, flowing a cappella work in Latin opens
with a beautiful unison chant and closes with a
quiet "Amen." It is infused with interesting and
varied harmonies, changing meter, and dramatic
dynamics. This will bring out the musicianship of
your a cappella voices very nicely!
11195040 SATB. . . . . . . . . . . . . . . . . . . M 1.95
t Earth Song—Frank Ticheli. A cry for peace in a
world torn by war, this poignant a cappella setting
of an original text is filled with striking dynamic
contrasts. "Sing, Be, Live, See... This dark stormy
hour, the wind, it stirs. The scorched earth cries
out in vain... But music and singing have been my
refuge, and music and singing shall be my light..."
11196150 SSAA . . . . . . . . . . . . . . . . . . M 2.25
The Ecchoing Green (from "Diptych of
Innocence and Light")—Eurico Carrapatoso.
The Ecchoing Green is the second movement
from Diptych of Innocence and Light. One of
Portugal's most prolific composers, Carra-
patoso's artistry and brilliance is captured in this
work for more advanced TTBB chorus. With a
flowing and supportive piano accompaniment
and a beautiful William Blake text, this will make a
splendid addition to any concert program.
11200573 TTBB. . . . . . . . . . . . . . . . . . MA 2.65
t Erlkonig—Franz Schubert/arr. Jim Clements.
This vocal arrangement of the classic Schubert
song arranged for VOCES8 tells the terrifying
tale of a young boy and his father being chased
by the Erl King. Each voice has a chance to
inhabit the characters from the story, while
Schubert's original piano part is brought to life
by the other voices.
11195964 SSAATTBB . . . . . . . . . . . . . MA 4.50
Everyday Wonders (The Girl from Aleppo)—
Cecilia McDowall. Everyday Wonders: The Girl
from Aleppo tells the extraordinary story of
Nujeen Mustafa, a Kurdish teenager with cerebral
palsy forced by war to flee her home and embark
on an arduous journey to Europe with her sister.
Pushed in a wheelchair by her sister, Nasrine, from
Aleppo to Germany, her journey was the subject
of much publicity. Throughout many months,
Nujeen remained brave, blithe and articulate.
This 18-minute cantata traces Nujeen's journey
with a musical narrative using chorales, haunting
vocal solos, intense solo violin passages, restless
choruses, and body percussion to follow the
sisters through various countries to their ultimate
destination in Germany. It is the story of a journey
of hope and extraordinary fortitude against all
odds. The five movements are: 1. Orphans of
the World; 2. Thousands milling at the border
(The Journey); 3. I had never seen the sea before;
4. A lost tribe pushed from border to border; 5.
Everyday Wonders.
11315643 SSA Vocal Score . . . . . . . . . . 12.95
Exsultate! Jubilate!—Kyle Pederson. This
unique setting pairs the iconic Latin text with
a new, original English text which responds
to the question: Why do we rejoice and shout
our praises to God? The music captures the
energy, rhythm, and exuberance inherent in the
phrases "exsultate Deo" and "jubilate Deo," but
also reflects the quiet joys found in gratitude
for the daily gifts of breath and light. The piano
accompaniment is rhythmic and lively.
11197399 SATB. . . . . . . . . . . . . . . . . . . M 2.60
11208080 SSAA . . . . . . . . . . . . . . . . . . M 2.60
Flying Solo—Philip E. Silvey. This powerful
message is about mustering the courage to leap
from one stage of life into the next. Melodic lines
are juxtaposed with a lively piano accompaniment
creating bold expressiveness and strong
harmonies in this fantastic original concert
offering. Inspiring!
11195041 SATB. . . . . . . . . . . . . . . . . . . M 2.75
11198195 SSA. . . . . . . . . . . . . . . . . . . . M 2.75
Fresh and Fearless—Daniel Elder. A poem by
Sara Teasdale is the inspiration for this light, airy
work. It appropriately conveys the springtime
theme of the text, with a driving piano part that
evokes the energy and wonder of new beginnings.
"The spring is fresh and fearless and every leaf is
new, the world is brimmed with moonlight, the
lilac brimmed with dew..."
11200584 SSAA . . . . . . . . . . . . . . . . . . M 2.95
t The Gate is Open—Elizabeth Alexander. The
Gate is Open offers a work full of stillness and
mystery. Its three central symbols—the gate, the
woods, and the Star are explored but instead of
explaining, an exquisite invitation is issued to all
who pass through this open gate, seeking that
which can only be found "on the other side of fear,
of hopelessness."
11195991 SATB. . . . . . . . . . . . . . . . . . . M 3.50
D Gloria—Rollo Dilworth. With a fun gospel texture,
this work sets the Latin text with a bluesy groove.
A marvelous piano accompaniment provides
support for rhythmic choral parts which are
written with musically satisfying yet achievable
harmonies. Impressive!
11204342 SATB. . . . . . . . . . . . . . . . . . . M 2.10
Great Flowing River—James Eakin. The lyrics
for this song were written in response to the tragic
and sudden death of a loved one and capture
the spirit of the loss as "the great flowing river of
love." Featuring a soloist and accompanied by
piano, violin, and cello, the lovely flowing vocal
lines and stirring harmonic motion illustrate the
joy and love found in memories of life together.
11204344 SATB divisi . . . . . . . . . . . . . . M 2.50
11204345 TTBB divisi . . . . . . . . . . . . . . M 2.50
Hands Are Knockin'—Kyle Pederson. A
fascinating mix of English and Arabic text
reinforces the universal message to open our
minds, hearts, and hands to each other. The
lively piano accompaniment, notated djembe
percussion part, and syncopated vocal lines
that highlight the text come together to create a
meaningful piece that will be long remembered.
Exceptional!
11196420 SSAA or SA divisi . . . . . . . . . M 2.25
t Ho Boys, Can't Line 'Em—arr. Anthony Trecek-
King. This work song portrays the conditions
in which African Americans found themselves
living and working during the post-Civil War
reconstruction. This incredibly dynamic work for
tenor-bass choir is written in a call-and-response
style with rhythms that imitate the task of lining
out a railroad track.
11190113 TTBB. . . . . . . . . . . . . . . . . . . M 2.75
Home (from "The Sacred Veil")—Eric Whitacre.
"You feel like home." A beautiful glimpse into the
moment that poet Charles Anthony Silvestri knew
that he fell in love with his wife, Julie, this plaintive
piece expresses joy tinged with sadness. This
is the third movement of "The Sacred Veil," a
twelve-movement work written with Silvestri that
chronicles his journey through life, love, cancer,
and ultimately, the death of his wife.
11196197 SATB divisi . . . . . . . . . . . . . . M 2.75
t Hope Is the Thing with Feathers—Noah
Salem. This distinguished text by Emily Dickinson
is given a beautifully introspective treatment by
new composer Noah Salem. Carefully crafted
vocal lines and lush, closely moving harmonies
are hallmarks of this modern a cappella setting
for mixed voices. Sensibly placed divisi help add
to the full palate of choral colors in this work for
advancing choral ensembles.
11195575 SATB divisi . . . . . . . . . . . . . . M 2.10
t Hope Is the Thing with Feathers—Christopher
Tin. Emily Dickinson's poem on the fragility of
nature, as well as our own hand in its destruction,
finds an elegiac tone in this deeply melodic
original work.
11202993 SSATBB . . . . . . . . . . . . . . . . M 2.15
t How Sweet the Sound—Kyle Pederson. This
work has the ethos of a spiritual, with the text and
a few riffs inspired by Amazing Grace. The choir,
considering the power of grace in song, affirms
that no trouble, no shame, no valley is too deep
for the healing gift and power of soul-freeing
grace. The music has a driving quality, with the
choir occasionally backing up the soloist with
humming, quick commentary, or a sustained
neutral syllable.
11199452 SATB A Cappella Version . . . . 2.80
11199453 SATB Piano Accompaniment
Version . . . . . . . . . . . . . . . . . . . 2.80
t Hurt—Trent Reznor/arr. Eric Whitacre. The
heartbreaking words of Trent Reznor have
connected with listeners in the Nine Inch Nails
original, Johnny Cash's cover version, and now
the contemporary choral sound of Eric Whitacre.
Dissonances based on tritones and clusters
convey the deep sense of pain reflected in this
text, and the ethereal soprano solo soars above
this haunting a cappella texture.
11166288 SATB divisi or SSAATTBB . MA 3.10
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