Fall 2008

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Fall 2008 NEW ISSUE

SACRED CHORAL — Mixed Chorus and Instruments

GIANCARLO AQUILANTI [b. 1959]: Mass: A Celebration of Life
• Complete Mass • Piano/Vocal/Percussion Score
• S & T Soli, SATB, Perc. & Pno. • #6733 • $13.10 • c. 45:00
• Percussion Part (set of 2) • #6734 • $15.00
• Kyrie • Extract • Piano/Vocal Score
• SATB & Pno. • #6735 • $2.65 • c. 7:30
• Gloria • Extract • Piano/Vocal Score
• S & T Soli, SATB & Pno. • #6736 • $3.90 • c. 12:30
• Sanctus • Extract • Piano/Vocal Score
• S Solo, SATB & Pno. • #6737 • $3.90 • c. 10:30
• Agnus Dei • Extract • Piano/Vocal Score
• S & T Soli, SATB & Pno. • #6738 • $2.65 • c. 6:00

Performance Options:
1) Soloists, chorus, piano and percussion (#6733 – complete Mass)
The percussion part (#6734) includes guiro, maracas, tambourine and tenor drum.

2) Soloists, chorus and piano (four extracts)
Kyrie (#6735), Gloria (#6736), Sanctus (#6737) and Agnus Dei (#6738).

3) Chamber orchestral accompaniment (full score and parts on rental).

4) Large orchestral accompaniment (full score and parts on rental).

Instrumentation:
Version for Chamber Orchestra: Flute, Oboe/English Horn, (if E.H. is missing, play the Clarinet cues), Clarinet in B-flat, Bassoon, Horn in F, 2 Trumpets in Bflat, Tenor Trombone, Timpani, Percussion – 1 player (Xylophone, Glockenspiel, Tubular Bells, Claves, 4 Toms + Cymbal, Maracas, Tambourine, 2 Wood Blocks,
Triangle, Snare Drum, Bass Drum), Strings.

Version for Large Orchestra: 2 Flutes, 2 Oboes (2 doubles on English Horn), 2 Clarinets in B-flat, Bass Clarinet, 2 Bassoons (2 doubles on Contrabassoon), 4 Horns in F, 3 Trumpets in C, 2 Tenor Trombones, 1 Bass Trombone, Tuba, Piano, Timpani, Mallets (Xylophone, Glockenspiel, Tubular Bells), Percussion I – 2 players ( Claves, 4 Toms + Cymbal, Tambourine, High-Hat, Vibraslap), Percussion II – 2 players (Triangle, Snare Drum, Bass Drum, Crash Cymbals, Maracas, Guiro, Suspended Cymbal, Tambourine), Strings.

“Massimo Archetti was a dear friend of mine; we grew up together in a small city called Jesi (Italy), attended the same local schools, sang in the same choir, and walked to work together every morning for years. One evening, while he was driving to a nearby city, Massimo had a car accident which ended his life. He was only 29 years old. For a while I only had regrets, for the things we could have done and said and did not, and for the time we could have spent together and did not. I wrote this composition in his memory and composed it for the choir in which we both sang.” —Giancarlo Aquilanti
USE: services, concerts • moderately difficult • skilled church, college, community, professional choruses

SACRED CHORAL — Mixed Chorus unaccompanied

GIANCARLO AQUILANTI [b. 1959]: Ubi caritas
• SATB • #7166 • $1.85 • c. 5:00
“Wherever love and charity are found, God is present there.”
An attractive, easy-to-perform setting of the traditional, well-known Latin text.
USE: services, concerts • moderately easy • church, high school, college, community, professional choruses

SACRED CHORAL — Mixed Chorus and Instruments

GIANCARLO AQUILANTI [b. 1959]: Magnificat
• Piano/Vocal Score • SATB Soli, SSAATTBB, Brass Ens., Timp. & Perc. • #7146 • $13.10 • c. 22:00
The Magnificat is the text Mary sings after she is informed by the Archangel Gabriel that she will become the mother of God.
“I was born and raised in Jesi, a small city along the Adriatic coast of Italy. I grew up in the shadow of the church ‘campanile,’ meaning ‘I was raised in a Catholic community.’ My life revolved around it: family, friends, the priest, Sunday services, Sunday school. The church was a crucial part of my education. I was always intimidated by the figure of God, an unknown entity to me. However, this was not the case for the figure of Mary. I always thought that this young lady must have been so puzzled and worried when the Archangel Gabriel announced to her that she would become the mother of God. She was an unknown woman until his birth, and a mother for all eternity afterwards. Did she regret accepting this responsibility while crying under the cross on the day her son died?” —Giancarlo Aquilanti
USE: services, concerts • moderately difficult • accomplished church, college, community, professional choruses

SACRED CHORAL — EASTER SEASON
unaccompanied Chorus (various voicings)

 

Thomas Bold Cantus Hymnus Choral Series

The artwork, Choir Rehearsal, is by Malcolm Tuffnell, currently of Goleta, California.
© Copyright 2006 by Malcolm Tuffnell. Used by permission.

 

This new issue brings the third and final installment in the Thomas Bold Cantus Hymnus Choral Series. Inspired by the success and charm of the collaboration of songs and hymns, Thomas Bold has completed the Cantus Hymnus Choral Series, joining new melodies set to poems of Janet Lewis to familiar hymn tunes for various seasons and occasions in the Christian church year.

THOMAS BOLD, arr. [b. 1952]:
Travel Note
• S Solo, Two-part Mixed • #6770 • $1.50 • c. 1:15
Travel Note (based on Langran) – Ash Wednesday, Lent
Weary of earth, and laden with my sin, / I look at heav’n and long to enter in. . . Hymn text: Samuel J. Stone, 1866
The Chord
• A Solo, TTBB • #6771 • $1.85 • c. 1:30
The Chord (based on Heinlein) – Lent
Forty days and forty nights / Thou wast fasting in the wild. . . Hymn text: George Hunt Smyttan, 1856

Out of a Dark Wood
• T or Bar Solo, Two-part Mixed • #6772• $1.85 • c. 1:30
Out of a Dark Wood (based on St. Theodulph) – Palm Sunday
All glory, laud, and honor / To thee, Redeemer, King. . . Hymn text: St. Theodulph, c. 820, Tr. John Mason Neale, 1854

The Earth-Bound
• S Solo, ATB • #6773 • $1.85 • c. 2:30
The Earth-Bound (based on Wondrous Love) – Passion-Tide
What wondrous love is this, O my soul, O my soul. . . Hymn text: Alexander Means (1835)

Morning Devotion
• M-S or A Solo, SATB • #6774 • $1.85 • c. 2:00
Morning Devotion (based on St. Kevin) – Easter
Come ye faithful, raise the strain / Of triumphant gladness. . . Hymn text: St. John of Damascus, 8th century, Tr. John Mason Neale, 1853

Time and Music
• B Solo, SSA • #6775 • $1.85 • c. 1:30
Time and Music (based on Llanfair) – Ascension
Hail the day that sees him rise, Alleluia! / Glorious to his native skies: Alleluia! Hymn text: Charles Wesley, 1739
USE: services, concerts • moderately easy (all six) • church, high school, college, community, professional choruses

SACRED CHORAL — RUSSIAN
Mixed Chorus unaccompanied

ALEXANDER KASTALSKY [1856–1926] / ANTHONY ANTOLINI, ed.:
Svete tikhi (Gracious light)
• SATB • #6675 • $1.85 • c. 4:00

PIOTR ILYITCH TCHAIKOVSKY [1840–1894] / ANTHONY ANTOLINI, ed.:
Kheruvimskaya (“Cherubic Hymn” from The Liturgy of St. John Chrysostom)
• SATB (divisi) • #6782 • $2.15 • c. 7:30
ECS Publishing is proud to present two more scholarly, performance editions of Russian music edited by Anthony Antolini. Each one includes voluminous historical notes, an explanation of the editorial method, a pronunciation guide for the Slavonic transliteration and an English singing translation.
N.B.: No. 6675 replaces No. 1105 and No. 6782 replaces No. 2227 in the ECS Publishing catalog.
USE: services, concerts • moderately easy • church, high school, college, community, professional choruses

SACRED CHORAL — Mixed Chorus unaccompanied

STANLEY M. HOFFMAN [b. 1959]: A Prayer for Peace
• SATB • #7142 • $1.50 • c. :47
Freely based on the traditional Hebrew prayer Oseh Shalom as adapted by the composer, this brief piece is appropriate for use as an invocation.
USE: peace-related services, concerts • moderately easy • temple, church, high school, college, community, professional choruses

SACRED CHORAL — Mixed Chorus and Instrument

DAVID ASHLEY WHITE [b. 1944]: The Ransom of a Soul
• SATB & Vn. (or Fl., or Ob.) • #6759 • $1.85 • c. 2:20
The ransom of a soul / is more than we can pay; / O may we all remember well, / that only God can save. Yes, you alone, O God, / come to redeem your own; / a shepherd who will seek the lost, / and bring them safely home.
The powers of this world, / whose grip had held us fast, / are nailed onto the cross of Christ, / and we are free at last.
Scriptural reference: Colossians 2:13-15.
Words © copyright 2006 byRichard Leach.
Used by permission.
USE: services, concerts • moderately easy • church, high school, college, community, professional choruses

SACRED CHORAL — Mixed Chorus and Keyboard

BARRIE CABENA [b. 1933]: Rejoice together ev’ry one (Op. 125, No. 3)
• SAB & Kbd. • #6875 • $1.85 • c. 2:10
Barrie Cabena composed the music for this setting in 1983 and it was published by Jamar Music Limited under the title Now glad of heart be every one! In 2007, the composer decided to replace the former English translation of this passage from Gesangbuch der Brueder (1544) with his own, new translation.
USE: Easter season services, concerts • moderately easy • church, high school, college, community, professional choruses

SACRED (MAYBE SECULAR) CHORAL — Women’s Chorus unaccompanied

ROBERT KYR [b. 1952]: Love as a Child
• M-S Solo, Women’s Chorus (SSA) • #7176 • $1.85 • c. 4:50
In 1995, vocalist Laurie Monahan founded the vocal ensemble Tapestry of which she is still a member. She wrote the text for Love as a Child and allowed Robert Kyr to adapt it for this composition. Love as a Child has been recorded by Tapestry on the CD Faces of Women (MDG 3441468).
The text is based upon Corinthians 13:11-12.
“When I was a child, I spoke love as a child: / ‘You are mine forever and I am yours forever!’”
USE: services, concerts • moderately difficult • skilled church, college, community, professional choruses

SACRED (MAYBE SECULAR) CHORAL — Mixed Chorus and Chamber Orchestra or Piano

GWYNETH WALKER [b. 1947]: Tell the Earth to Shake
• Piano/Choral Score • SATB (div.) & Pno. • #6423 • $2.65 • c. 4:15
• Full Score • #6937 • $17.50
• Parts • #6938 • $55.00
Instrumentation:
2 flutes, 1 oboe, 1 clarinet, 1 bassoon, 2 horns, 2 trumpets, 1 trombone, percussion (1 player) and strings.
“The poem Earthquake, by the Trappist Monk Thomas Merton (1915–1968), presents the powerful voice of God. This is an insistent poem, with repetitions of stanzas and only slight variations. Through forceful restatement, the poem grows into the closing lines. The musical setting adopts the form of the poem. As the lyrics are structured into verse ‘pairings,’ so the men’s voices are paired with and answered by the women’s voices. The alternation continues several times, with the tonal center shifting up a step with each section. The modulations, intended to increase the strength and intensity of the song, are effected through sections of ‘pacem’ (peace). This word has been inserted by the composer to form bridges between the verses. For, as the earth will shake, so peace becomes the means of bringing the people together as one.” —Gwyneth Walker (paraphrased)
USE: services, concerts • moderately easy • church, high school, college, community, professional choruses

SECULAR CHORAL — Mixed Chorus and Piano

DARON ARIC HAGEN [b. 1961]: O, For Such a Dream
• S Solo, SATB & Pno. • #6716 • $2.15 • c. 3:00
“During the summer of 1990 in Sweet Briar, Virginia, during a residency at the Virginia Center for the Creative Arts — as the United States began moving armed forces into the Gulf — I set words from a letter of 16 August 1864 from Ann Smith to her husband David that underlined the human toll taken by the prosecution of war. The resulting song was part of a cycle for soprano, flute, and piano entitled Dear Youth (Catalog No. 4677). Sixteen years later, Robin Bourguignon, the soprano who first sang Dear Youth, asked me to choose one of the songs to reinterpret for mixed chorus. I chose O, for Such a Dream, the text for which I originally drew from Who Only Stand and Wait: Civil War Letters of David and Ann Smith, 1863- 1865 (ed. by H. C. Phelan. Almond, NY: 1990.). Because plus ça change, plus c’est la même chose, I was compelled to say yes.” —Daron Hagen
USE: concerts • moderately easy • high school, college, community, professional choruses

SECULAR CHORAL — Men’s or Mixed Chorus and Piano

TILL MacIVOR MEYN [b. 1970]: The City in the Sea
• SATB (divisi) • #6636 • $2.65 • c. 5:45
• TTBB (divisi) • #6635 • $2.65 • c. 5:45
These are both dramatic settings of the classic poem by Edgar Allan Poe (1809–1849) as adapted by the composer.
Lo! Death has reared himself a throne
In a strange city lying alone
Far down within the dim West,
Where the good and the bad and the worst and the best
Have gone to their eternal rest.
USE: concerts • moderately difficulty • accomplished college, community, professional choruses

SECULAR CHORAL — RUSSIAN
Children’s or Mixed Chorus and Piano

VADIM PROKHOROV, ed. [b. 1946]: Zain’ka (Hey, Bunny)
• Three-part Children’s Chorus & Pno. • #6719 • $1.85 • c. 2:00

NIKOLAI RIMSKY-KORSAKOV [1844–1908] / VADIM PROKHOROV, ed. [b. 1946]:
Ne Veter Veya S Vîsotî (Was It a Night Wind From On High)
• SATB (divisi) & Pno. • #6721 • $1.85 • c. 2:00

So V’yonum Ya Hozhu (With a Wreath I Walk)
• SATB & Pno. • #6722 • $1.85 • c. 2:00
All three editions include a transliteration guide for the Russian lyrics and an English singing translation.
“Hey, Bunny is a children’s folk dance song. It can be performed as a game, in which the words are imitated by the actions of the two teams, lined up facing each other. Another way to act out this song is to form a circle and choose a leader who plays a‘bunny.’ The leader’s goal is to get out of the circle by breaking it.
The song, Was It a Night Wind From On High, is from the song cycle In Spring, Op. 43. It is composed in a three-part form. The outer sections are of a narrative character and the middle section is more dramatic. The piano accompaniment is descriptive and features soft, ‘breezing’ arpeggios that imitate the motion of a gentle wind.” —Vadim Prokhorov
“The spring was a time of engagements and weddings, so many khorovods during this period were dedicated to youth and love, courting, games of abduction and ransom, betrothal and wedding. In old Russian the word ‘courting’ is close in sound to the word ‘wreath,’ so a wreath was an important part of courting khorovods, symbolizing both a betrothal circle and a wedding crown. The song, With a Wreath I Walk, is a game, in which the couple in the circle—a young woman and man—play out the ritual of the choosing of a beloved and a ransom for the bride.” —Excerpted from Russian Folk Songs: Musical Genres and History by Vadim Prokhorov (Scarecrow Press 2002)
USE: concerts
• #6719 – moderately easy • any children’s chorus
• #6721 & #6722 – moderately difficult
• skilled college, community, professional choruses

SECULAR CHORAL — Mixed Chorus and Piano

GWYNETH WALKER [b. 1947]: Let Music Fill the Air
• SATB & Pno. • #6363 • $2.15 • c. 4:00
“Let Music Fill the Air weaves together several texts with the common theme of celebration of the power of song. The opening section uses the lines from the Handel Opera, Rosalinde: ‘Are you troubled? Music will calm you.’ This is the healing power of music. The mood then turns to triumph: ‘Raise your voice. Let music fill the air.’ During this phrase, the music shifts from C Minor to C Major tonality. Reflective qualities fill the middle section, with the quote from Plato’s writings: ‘Let my voice speak! Let my heart rise on wings of song,’ for music enables self-expression, and an elevation of the spirit. The concluding section (‘rise on wings of song’) modulates to the key of A Major, effecting an overall tonal shift from three flats (C Minor) to three sharps (A Major). This may be heard as a brightening of tonality, an exuberance as music fills the air!” —Gwyneth Walker
USE: concerts • moderately easy • high school, college, community, professional choruses

KEYBOARD MUSIC — Organ Solo or with Bass Tuba in F

DANIEL PINKHAM [1923–2006]:
This Is the Day
• Organ Solo • #5762 • $7.50 • c. 5:30
• moderately difficult

Dragons and Deeps
• Score & Part • Bass Tuba in F & Organ • #5766 • $10.00 • c. 5:00
• moderately difficult

INSTRUMENTAL MUSIC — Flute & Piano

GIANCARLO AQUILANTI [b. 1959]: Sonata for Flute and Piano
• Score & Part • #6745 • $32.50 • c. 16:00
• moderately difficult

RECORDING CREDITS – Arsis Audio CD 171

Demo Disc 1, Tracks 1–21, a copy of the forthcoming ARSIS CD 171 Celebration of Life, were recorded on April 7–9, 2008, in Stanford Memorial Church, Stanford University, California, by the Stanford University Chorale and Orchestra directed by Dr. Stephen M. Sano.

The producer was Robert Schuneman and the recording engineer was Edward J. Kelly; editing and mastering was by Robert Schuneman, Arsis Audio, Boston, MA.

RECORDING CREDITS – The Philovox Ensemble

Demo Disc 2, Tracks 1–12, 14 and 16–19 were recorded on September 17 and 21, 2008, at the recording studio of WGBH Radio, Boston, MA, by the Philovox Ensemble directed by Jane Ring Frank. The violinist was Jodi Hagen (track 10) and the pianist was Scott Nicholas (tracks 17–22). The vocal soloists were Sopranos Adriana Repetto (track 1) and Jessica Cooper (track 14), Mezzo-sopranos Catherine Hedberg (track 4) and Mary Gerbi (track 12), Alto Carrie Cheron (tracks 2 and 5) and Basses Sumner Thompson (track 3) and Marc DeMille (track 6). The members of the Philovox Ensemble were Sopranos
Rebekah Alexander, Jessica Cooper and Adriana Repetto, Altos Carrie Cheron, Mary Gerbi and Catherine Hedberg, Tenors Bradford Gleim, Jason McStoots and Steven Soph and Basses Marc DeMille, Thann Scoggin, Sumner Thompson and Darrick Yee.

The producer and recording engineer was Antonio Oliart Ros; editing and mastering was by Robert Schuneman, Arsis Audio, Boston, MA.