You may now listen to complete versions of available choral music while viewing the entire PDF file. Just click on the appropriate title; those with 
have sound files as well. (Be sure to click the title; is only a graphic.)
Click on the “Listen” button in the upper-left corner of the music.
Important!
To listen to the sound files you MUST have Adobe Reader 6 or later.
You may obtain it for FREE here: 
Earlier versions of Adobe Reader will allow you to view the PDF files but NOT listen to the music.
(Note: The sound files are large and may take a while to load depending on your connection.)
NEW ISSUES – Spring 2011
ADVENT CHORAL
DAVID ASHLEY WHITE [b. 1944]: Holy Harmony
• SATB • #7631 • $1.55 • c. 1:15
Holy Harmony utilizes an anonymous 15th-century text. “Thou shalt know him when he comes, not by any din of drums, nor by manners, nor by airs, nor by anything he wears. // Thou shalt know him when he comes, not by his crown, or by his gown, but his coming known shall be, by the holy harmony, which his coming makes in thee.”
USE: services, church concerts • moderately easy • church choirs
CHRISTMAS CHORAL
STEPHEN CHATMAN [b. 1950]: Lullay My Liking
• 3 Treble Soli, SATB & opt. Piano or Harp • #7.0559 • $1.95 • c. 3:00
• Harp Part • #7.0560 • $2.60
This setting of the well-known traditional English text features pastoral music evocative of the words. “Lullay my liking, my dear Son, my Sweeting; Lullay my dear Heart, mine own dear Darling.”
USE: services and concerts • moderately easy • church choirs, college, community, professional choruses
DEREK HEALEY [b. 1936]: Two Christina Rossetti Carols
1. Before the paling of the stars
• SATB & Piano (ad lib.) • #7441 • $1.95 • c. 2:30
2. Christmas hath a darkness
• SATB & Piano (ad lib.) • #7442 • $1.95 • c. 2:10
Love came down at Christmas
• SSA & Piano or Harp • #7443 • $1.55 • c. 2:15
• SATB & Piano or Harp • #7444 • $1.55 • c. 2:15
• Harp Part • #7445 • $2.60
“Before the paling of the stars is gentle and penitential, similar to plainsong, whereas Christmas hath a darkness is by contrast both strong and joyful.”—Derek Healey
Love came down at Christmas is a lyrical, pastoral setting.
USE: Christmas services and concerts • moderately easy • church choirs, college, community, professional choruses
HENRY MOLLICONE [b. 1946]: Alleluia
• Soprano Solo, SATB • #6993 • $1.55 • c. 2:25
Alleluia was composed for Magen Solomon and the San Francisco Choral Artists. In it the chorus sings “alleluia” while the soloist intones the (anonymous) text “Mother and maiden was never none but she. Well may such a lady God’s mother be.” The soloist then joins the chorus in singing “alleluia” at the end.
USE: services, concerts • moderately difficult • accomplished church choirs, college, community, professional choruses
ALICE PARKER [b. 1925]: The Animals’ Christmas
• SATB • #7563 • $1.95 • c. 2:30
A new text by Mary Hitchcock tells a story about how the animals who witnessed the birth of the infant Jesus in a manger were able to speak for a while with human voices.
USE: services (maybe?), concerts • moderately easy • church choirs, high school, college, community, professional choruses
DAVID CONTE [b. 1955]: A Bell
• SATB & Organ • #7730 • $1.95 • c. 3:40
A Bell was commissioned by The Memorial Church at Harvard University, Cambridge, MA for the 101st Annual Christmas Carol Services and the Harvard University Choir, Edward Elwyn Jones, director. It features the text by Clifton Scollard which begins “Had I the power To cast a bell that should from some grand tower, At the first Christmas hour, Outring, And fling A jubilant message wide…”
This is a pre-revision recording.
USE: services and concerts • moderately difficult • skilled church choirs, college, community, professional choruses
GREGORY J. HUTTER [b. 1971]: Winter Song
• SATB & optional Handbells • #7675 • $1.95 • c. 3:30
A spiritual poem by Wilfred Owen is the basis of this secular setting which paints a picture of the outdoors at Christmastide. “The browns, the olives, and the yellows died, And were swept up to heaven; where they glowed Each dawn and set of sun till Christmastide.” The handbells part appears on the back page of the edition.
* The handbells used in the recording were synthesized.
USE: concerts • moderately easy • church choirs (maybe?), high school, college, community, professional choruses
GWYNETH WALKER [b. 1947]: Alpha and Omega
1. The Father’s Love • SATB & Pno. • #7721 • $2.80 • c. 4:00
2. Star of Night • SAB Soli, SATB & Pno. • #7722 • $3.40 • c. 4:45
3. The Child is Born • SATB & Pno. • #7723 • $3.40 • c. 3:30
Chamber Version • SAB Soli, SATB, Brass Quintet, Perc. & Org.
Full Score • #7727 • $34.10 • c. 12:30
Parts • #7728 • $68.00
Orchestral Version • SAB Soli, SATB & Orchestra • c. 12:30
Full score and parts available on rental.
“The Alpha and Omega songs were created to celebrate the Christmas spirit. They are based on traditional Christmas carols, with the intent of breathing new, fresh life into the beloved hymns. And, with colorful orchestral or brass accompaniment, it is hoped that these new arrangements will be especially imaginative.”—Gwyneth Walker
Instrumentation for the version for brass quintet, percussion and organ: 2 trumpets in C, horn in F, trombone, tuba, percussion (wind chimes, chimes, high and low bongos, low and medium tom-toms, triangle, suspended cymbal, tambourine, temple blocks [5], glockenspiel, bass drum, maracas, hi-hat cymbal, timpani).
Instrumentation for the orchestral version: 2 flutes, oboe, Bb clarinet, bassoon, 2 horns in F, 2 trumpets in C, trombone, percussion (wind chimes, chimes, hi and low bongos, low and medium tom-toms, triangle, tambourine, bass drum, crash cymbals, suspended cymbals, temple blocks [5], glockenspiel, timpani), strings.
USE: services and concerts • moderately easy • church choirs, high school, college, community choruses
SACRED CHORAL
HENRY MOLLICONE [b. 1946]: Spanish Ave Maria
• SATB (divisi) • #7496 • $1.55 • c. 3:17
• SSAA • #7497 • $1.55 • c. 3:17
The SATB version of Spanish Ave Maria was composed for Magen Solomon and the San Francisco Choral Artists. The two versions feature a traditional Spanish translation and a running English translation by the composer.
USE: services, concerts • moderately easy • church choirs, college, community, professional choruses
CLARE SHORE [b. 1954]: God Bless the Animals (St. Francis’ Day Introit)
• Unison Chorus & Piano • #7693 • $1.55 • c. 40 seconds
The words for this whimsical anthem are by the composer. “Is your puppy jimmerjawed? Does your cat have four left paws? Does your turtle lack a tail? Does your parrot really smell? Oh, God bless the animals, pretty, witty animals. God bless the animals, large and small, furry, hairy, stinky, smelly, slimy, feathered, finned and scaly. God bless the animals (one and all).”
USE: St. Francis’ Day services, concerts • easy • church choirs, middle and high school choruses
SACRED (MAYBE SECULAR) CHORAL
STEVEN SAMETZ [b. 1954]: Three Mystical Choruses
1. Niño de Rosas (Child of Roses)
• Mezzo-Soprano Solo, SATB (divisi) • #7711 • $2.80 • c. 4:47
2. En Kelohenu (There Is None Like Our God)
• SATB Semi-Chorus/SATB • #7712 • $2.25 • c. 4:40
• SA Semi-Chorus/SSAA • #7713 • $1.95 • c. 4:40
• TB Semi-Chorus/TTBB • #7714 • $1.95 • c. 4:40
3. Mẽ To Tere Paas Me (I Am Within You)
• SAB Semi-Chorus/SATB • #7715 • $3.40 • c. 3:50
The 2011 Raymond W. Brock Commission
Commissioned by the American Choral Directors Association
“In the opening lullaby, Niño de Rosas, the gypsy girl is so taken into the world of the infant Christ that, as she tells his fortune, it is she who finds her spiritual saviour. En Kelohenu, a Hebrew congregational prayer, pays tribute to one of the great choral touchstones of our time, the Ave Maria of Franz Biebl and, in so doing, raises important questions of reconciliation and forgiveness as a possible key to communal spiritual harmony. The final chorus, Mẽ To Tere Paas Me, sets a poem of the Indian poet Kabir, in which he points out that the realm of the sacred has no duality, but exists in all that we are.” —Steven Sametz
Each edition features an IPA transliteration as well as a running and printed English translation. Performance notes appear where required. Full program notes appear in Nos. 7711 and 7712. For a more detailed discussion of Three Mystical Choruses, please see the February, 2011 issue of The Choral Journal.
USE: concerts • difficult • accomplished college, professional choruses
ROBERT KYR [b. 1952]: Freedom Song
• SATB Soli, SATB (divisi) & Stick (or Drum) • #7708 • $2.80 • c. 3:30
Freedom Song was composed for Craig Hella Johnson and Conspirare Company of Voices. The score features extensive improvisational interpolations for which performance notes are provided.
This is a pre-revision recording.
USE: concerts • moderately difficult • skilled college, professional choruses
FELICIA SANDLER, arr. [b. 1961]: All Through the Night
• SSA, Glock. (or Hb.) & Pno. • #7517 • $1.95 • c. 4:00
All Through the Night is an arrangement of the famous Welsh air set to words by Sir Harold Boulton. The music is suggestive of a lullaby. “Sleep my child, and peace attend thee, all through the night.” The glockenspiel (handbells) part appears on the back page of the edition.
USE: services (maybe?), concerts • moderately easy • church choirs, high school, college, community, professional choruses
SECULAR CHORAL
DAVID EVAN THOMAS [b. 1958]: The Digital Wonder Watch
• SATB & Piano • #7362 • $3.40 • c. 3:30
The Digital Wonder Watch was co-commissioned by MMEA and ACDA of Minnesota for the 1999–2000 All-State Mixed Choir. This setting features a playful text by May Swenson about an imaginary watch that can do much more than just tell time!
USE: concerts • moderately easy • high school, college, community, professional choruses
RECORDING CREDITS — The Philovox Ensemble
Tracks 1–7, 9 and 14 were recorded on April 5, 2011 in the Fraser Recording Studio at WGBH, Boston, MA, by the Philovox Ensemble directed by Robert Schuneman. The chorus members were sopranos Rebekah Alexander, Monica Hatch and Sonja DuToit Tengblad, altos Carrie Cheron, Mary Gerbi and Thea Lobo, tenors Michael Barrett, Owen McIntosh and Alex Powell and basses Marc DeMille, David McFerrin, John Proft and Than Scoggin. The treble soloists were Carrie Cheron, Mary Gerbi and Sonja DuToit Tengblad (track 2), the soprano soloist was Monica Hatch (track 7) and the pianist was Scott Nicholas (tracks 2, 4–6).
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 8, A Bell by David Conte, was recorded by The Harvard University Choir, Edward Elwyn Jones, Conductor, Christian Lane, Organ, on December 13, 2010, in The Memorial Church at Harvard University, Cambridge, MA. The recording engineer was Anthony DiBartolo. Permission to use this track was kindly given by Carson Cooman.
Tracks 10–12, Alpha and Omega by Gwyneth Walker, were recorded by the Concert Choir and Symphony Orchestra of Mesa State College, Grand Junction, CO, Dr. Monte Atkinson, Conductor, on December 12, 2010, in the Robinson Theater on the campus of Mesa State College. The soloists were Francesca Perry, soprano, Camie Dewie, alto, and Nathan Peterson, baritone (track 11), and the recording engineer was Gary Smith. These tracks are used with the kind permission of Dr. Monte Atkinson, and Carlos Elias, Director of Strings/Orchestra, Mesa State College.
Track 13, Spanish Ave Maria by Henry Mollicone, was recorded by the San Francisco Choral Artists, Magen Solomon, Conductor, on December 20, 2008, in St. Mark’s Episcopal Church, Palo Alto, CA. The recording engineer was Don Ososke. Permission to use this track was kindly given by Magen Solomon.
Track 15, Freedom Song by Robert Kyr, was recorded by the Conspirare, Craig Hella Johnson, Conductor, on October 1, 2010, in St. Martin’s Lutheran Church, Austin, TX. The recording engineer was Andy Murphy. This track is used with the kind permission of Craig Hella Johnson.
Track 16, All Through the Night by Felicia Sandler, was recorded by the Mount Holyoke Chorale, Miguel Felipe, Interim Director, on December 6, 2009, at Mount Holyoke College, South Hadley, MA. They were accompanied by Mark Gionfriddo, piano, Brian Calhoon, glockenspiel, and members of the handbell ensemble. The recording engineer was James LeGrand. Permission to use this track was kindly given by Kimberly Dunn Adams, Choral Director of the Mount Holyoke Chorale, and by Linda Laderach.
Track 17, The Digital Wonder Watch by David Evan Thomas, was recorded by the 1999–2000 Minnesota All-State Mixed Choir, Kathy Saltzman Romey, Conductor, in August of 1999, at Gustavus Adolphus College. The pianist was Linda Berger and the recording engineer was Doug Geston. This track is used with the kind permission of Mary Schaefle.
All pieces on the recording are © Copyright 2011 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.