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NEW ISSUES – FALL 2010
SECULAR CHORAL — Mixed Chorus
WILLIAM AVERITT [b. 1948]: The Dream Keeper
1.The Dream Keeper (pg. 1)
2. Dream Variations (pg. 7)
3. As I Grew Older (pg.19)
4. Song (pg. .29)
• SATB (divisi) & Piano Four-hands • #7628 • $8.30 • c. 15:20
The Dream Keeper was commissioned by Choral Arts (Seattle), Robert Bode, Artistic Director. This set of Langston Hughes settings is a sister piece to Mr. Averitt’s other well-known Langston Hughes set, Afro-American Fragments (#7144).
USE: concerts • difficult • accomplished college, community, professional choruses
DAVID EVAN THOMAS [b. 1958]:
A Shining Peace
• T or S solo, SATB (divisi) & Piano • #7353 • $2.80 • c. 4:00
Here We Can Dream
• T solo, SATB (divisi) & opt. Perc. • #7368 • $2.80 • c. 5:00
• Percussion Part • #7369 • $2.60
A setting of the sonnet The Dead by Rupert Brooke, A Shining Peace was awarded “Top Honors” with Special Recognition in the Mixed Concert Chorus category by Waging Peace Through Singing, a 2002 initiative of the University of Oregon’s Carlton Savage Endowment for International Relations and Peace.
Here We Can Dream was commissioned by the Minnesota Chorale, Kathy Saltzman Romey, Artistic Director. The words by poet Anne Goetz are about hope for peace.
A Shining Peace
USE: concerts • moderately difficult • college, community, professional choruses
Here We Can Dream
USE: concerts • moderately easy • high school, college, community, professional choruses
DAVID CONTE [b. 1955]: The Homecoming (In memoriam Martin Luther King, Jr.)
• SATB (divisi) • #7348 • $2.25 • c. 6:15
A setting of words by John Stirling Walker, The Homecoming was commissioned by Chanticleer, Joseph Jennings, Artistic Director. Restless and angry that the justice Dr. King dreamed of has not yet come to pass, a soul speaks to Dr. King, who the composer envisions as continuing to reside in a kind of spiritual jail because people are not listening to his message. The soul addresses Dr. King to inspire him and to affirm that he will “be home” when people stop ignoring what he said.
USE: concerts (especially civil rights-themed or MLK Day) • moderately difficult • skilled college, community, professional choruses
STEPHEN CHATMAN [b. 1950]:
Darest thou now O soul
• SATB & Piano • #7.0563 • $1.95 • c. 4:00
• SAB & Piano • #7.0564 • $1.95
The half moon
• S Solo, SATB & Piano • #7.0567 • $1.95 • c. 2:45
• S Solo, two or three-part treble & Piano • #7.0568 • $1.95
Come, said my soul
• SATB & Oboe* • #7.0561 • $1.55 • c. 3:00
• Wind Part* • #7.0562 • $2.60
This is a pre-revision recording.
* B-flat clarinet or soprano saxophone may be substituted.
Darest thou now O soul is a setting of a text by Walt Whitman (“Darest thou now O soul, / Walk out with me toward the unknown region”).
The half moon employs a Christina Rossetti poem (“The half moon shows a face of plaintive sweetness Ready and poised to wax or wane”).
Come, said my soul is a setting of a Walt Whitman text (“Come, said my soul, / Such verses for my body let us write, (For we are One)”).
USE: concerts • moderately easy • high school, college, community choruses
SECULAR CHORAL — Men’s Chorus
STEVEN SAMETZ [b. 1954]: We two
I. “Earth, my likeness” (Movements 1-3, pg. 1)
II. from “To You,” and from “I am he that aches with amorous love”
“As Adam early in the morning”
III. “Here the frailest leaves of me”
IV. “Not heat flames up and consumes” (pg. 20)
V. “We two, how long we were fool’d”(pg. 23)
• TTBB soli, TTBB • #6900 • $5.60 • c. 9:00
This set of Walt Whitman settings was commissioned by The Male Choir Commissioning Consortium.
* This is a pre-revision recording.
USE: concerts • moderately difficult • college, community, professional choruses
SECULAR CHORAL — Treble Chorus
See the entry for The half moon by Stephen Chatman above.
SACRED CHORAL — Mixed Chorus
STEPHEN CHATMAN [b. 1950]: And I saw a new heaven
• S Solo/Soli, SSA TB & Organ • #7.0558 • $2.25 • c. 4:00
The text utilizes well-known words from Revelation 21:1–4 (KJV).
USE: services, concerts • moderately easy • church, college, community choruses
LEO NESTOR [b. 1948]: Joy! Because the Circling Year
• SATB & Organ • #7607 • $3.40 • c. 9:30
Commissioned by The American Guild of Organists for the 2010 National Convention, Washington, DC, Joy! Because the Circling Year is a setting of the texts Beata nobis gaudia anni reduxit orbita and Veni, Sancte Spiritus as translated by John Ellerton, Fenton John Anthony Hort and Leo Nestor.
This is a pre-revision recording.
USE: services, concerts • moderately difficult • accomplished church, college, community, professional choruses
DAVID CONTE [b. 1955]:
I Love the Lord
• SATB & Organ • #7370 • $1.95 • c. 3:20
Blessing
• SATB & Keyboard • #7347 • $1.55 • c. 1:30
I Love the Lord is a setting of Psalm 116:1–4, 7–9 (KJV).
In Blessing, David Conte employs a poem by John Stirling Walker about despair turning into spiritual rebirth.
I Love the Lord
USE: services, concerts • moderately easy • church choirs
Blessing
USE: services, concerts • moderately easy • church, college, community choruses
AUSTIN LOVELACE, arr. [1919–2010]: In Christ No East or West
• SATB & Organ • #7317 • $1.55 • c. 2:00
In Christ No East or West combines an arrangement of the Punjabi tune Saranam and the 1913 poem In Christ there is no east or west by John Oxenham.
USE: services • moderately easy • church choirs
ANNA DE FOE [b. 1953]: A God and Yet a Man?
• S Solo, SATB (divisi) & Piano • #7119 • $2.25 • c. 6:20
This setting combines the traditional Latin text Agnus Dei with an anonymous 15th-century English poem about the difficulty trying to comprehend the events which surrounded the life of Jesus Christ and the need to “believe and cease to wonder.”
USE: services • moderately difficult • skilled church choirs
DAVID ASHLEY WHITE [b. 1944]: Deep Stillness
• SATB • #7177 • $1.55 • c. 2:30
Commissioned by the Association of Anglican Musicians for its 2008 Annual Conference, Deep Stillness employs words by the Australian poet Julie Perrin. The text paints some lovely natural images and also deals with ability of the Holy Spirit to comfort and nourish one’s soul.
USE: services • moderately easy • church choirs
JOSEPH GREGORIO [b. 1979]: Set me as a seal
• SATB • #7139 • $1.95 • c. 4:00
Set me as a seal utilizes well-known words from Song of Solomon 8:6–7 (KJV) as adapted by the composer.
USE: services, concerts • moderately easy • church, college, community, professional choruses
ROBERT KYR [b. 1952]: O Great Spirit
• SATB (divisi) • #7567 • $1.95 • c. 5.10
In creating O Great Spirit, the composer worked with many choruses: Revalia Men’s Chorus (Tallinn, Estonia), “New Bridge of Song” (Eugene and Portland, Oregon), University of Oregon Chamber Choir, University Chorale of the University of Washington, Pacific Youth Choir, Oregon Repertory Singers and Unistus.
The text by Robert Kyr asks the Great Spirit to forgive us for our misdeeds and to “Help us to remember the holiness of creation; / Guide us to protect the majesty of nature; / Teach us to heal one another. / Lead us to greater life.”
USE: services, concerts • moderately difficult • accomplished church, college, community, professional choruses
VOCAL MUSIC
GIANCARLO AQUILANTI [b. 1959]: Fati non foste
• Voice & Piano • #7226 • $15.75 • c. 16.00
USE: concerts • moderately difficult • concerts
ZACHARY WADSWORTH [b. 1983]: Pictures of the Floating World
• Soprano & Piano • #7539 • $18.30 • c. 18.00
USE: concerts • moderately difficult • concerts
RECORDING CREDITS — The Philovox Ensemble
Tracks 12–14 and 16–17 were recorded on September 22, 2010 at the Church of the Redeemer, Chestnut Hill, MA, by the Philovox Ensemble directed by Robert Schuneman. The organist was Heinrich Christensen (tracks 13–15). The chorus members were sopranos Cassandra Estavour, Monica Hatch and Mary Sullivan, altos Rebekah Alexander, Mary Gerbi and Martin Near, tenors Marc DeMille, Alex Powell and Jason Wang and basses Jake Cooper, John Proft, Kyle Siddons and Darrick Yee. The producer and engineer was Antonio Oliart Ros and the editing and mastering was by Robert Schuneman, Arsis Audio, Boston, MA.
RECORDING CREDITS — Guest Artists
Track 1, The Dream Keeper by William Averitt, was recorded by Choral Arts, Robert Bode, Conductor, at the Northwest Division Conference of the American Choral Director’s Association, March 11, 2010, in Town Hall, Seattle, WA. The pianists were Lee Thompson and Melissa Loehnig; the recording engineer was Dan Canalos and mastering was by Ted Hough. This track is used with the kind permission of Robert Bode, and Dan Canalos of Soundwaves Recording.
Track 2, A Shining Peace by David Evan Thomas was recorded by the University of Oregon University Singers, Sharon J. Paul, Conductor, on March 7, 2003, at Beall Concert Hall, University of Oregon. The tenor soloist was Peter Hollens, the pianist was Hung-Yun Chu and the recording engineer was Michelle White. Permission to use this track was kindly given by Sharon J. Paul.
Track 3, Here We Can Dream by David Evan Thomas, was recorded by the St. Paul Central High School Choir, St. Paul, MN, Martha Graber, Conductor. This track is used with the kind permission of Martha Graber.
Track 4, The Homecoming by David Conte, was recorded by Chanticleer, Matthew D. Oltman, Music Director. Permission to use this track was kindly given by Christine Bullin.
Tracks 5–7, Darest thou now O soul, The half moon, Come, said my soul by Stephen Chatman, were recorded by the choirs of the First Unitarian Church of Portland, Oregon, Mark Slegers, Minister of Music, on May 11, 2009. The pianist was Signe Lusk (track 7) and the oboist was Paul Pitkin.
Track 8, We two by Steven Sametz, was recorded by the Lehigh University Glee Club, Steven Sametz, Conductor, in Baker Hall at the Zoellner Arts Center, Lehigh University, Bethlehem, PA. The recording engineer was William Holmes. Permission to use this track was kindly given by Steven Sametz. This is a pre-revision recording.
Track 9, And I saw a new heaven by Stephen Chatman, was recorded by the Worthington (Ohio) United Methodist Church Chancel Choir, Maurice Casey, Conductor, on All Saints Day, 2008. The organist was Linda Nolan. This track is used with the kind permission of Maurice Casey and Linda Nolan.
Track 10, Joy! Because the Circling Year by Leo Nestor, was recorded at the National Convention of the American Guild of Organists by Woodley Ensemble, Frank Albinder, Music Director, on July 6, 2010, at St. Matthew’s Cathedral, Washington, DC. The organist was Robert McCormick and the recording engineer was Mark Willey. Permission to use this track was kindly given by Frank Albinder, Robert McCormick and David Shoemaker. This is a pre-revision recording.
Track 15, A God and Yet a Man? by Anna De Foe, was recorded at the Fresno State Concert Hall by the California State University, Fresno Concert Choir, Anna Hamre, Conductor, on April 21, 2003. The soloist soprano soloist was Emily Saum, the pianist was Natalia Kislenko and the recording engineer was Vincent Keenan. This track is used with the kind permission of Anna Hamre. This is a pre-revision recording.
Track 17, O Great Spirit by Robert Kyr, was recorded by the Revalia Men’s Chorus (Hirvo Surva, Director) and the University of Oregon Chamber Choir (Sharon Paul, Director), Hirvo Surva, Guest Conductor, on November 16, 2009, at Beall Concert Hall, University of Oregon. The recording engineer was Lance Miller. Permission to use this track was kindly given by Sharon Paul and Hirvo Surva.
All pieces on the recording are © Copyright 2010 by E. C. Schirmer Music Company, Inc., Highgate Press, Inc., or Ione Press, Inc. This recording is not authorized for sale, lending, broadcast, public performance or digital downloading.