Winter 2009

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Winter 2009 NEW ISSUES

SACRED CHORAL — Mixed Chorus and Orchestra

GÁBOR LEHOTKA [b. 1938]: Hegyi beszéd (Sermon on the Mount)
• Narrator, Tenor & Baritone Soli, SATB & Orchestra
• Piano/Vocal Score • Composer’s Engraved Facsimile Edition
• #6544 • $12.60 • c. 32:00
• Pronunciation CD for the Hungarian lyrics • #7306 • $7.00

I. First Psalm – Chorus
II. Prologue – Narrator
III. Sermon on the Mount – The Beatitudes – Tenor Solo, Baritone Solo, Chorus
IV. One-hundredth Psalm – Tenor Solo, Chorus
V. Sermon on the Mount – Philosophical Teachings and the Joyful Song of the True Churches of History – Tenor Solo, Baritone Solo, Chorus
VI. Epilogue – Tenor Solo, Narrator
VII. One-hundred-twelfth Psalm – Chorus
“Signs of the final judgement and world crises significantly impacted artists and composers during the second half of the 20th century and beyond. Though many oratorios cast a mood of disaster, I have refused to fall prey to that fatalistic mindset, choosing instead to seek solutions for both social and economic problems. In the late 1980s, I attended a series of biblical lectures held by the Faculty for Law of the University of Sciences L. Eötvös, and through this study of philosophy, I found what I consider to be the solution. The clear and direct discourse of the Bible convinced me that the general depravation of the world will end only with the second coming of Christ and the recreation of the earth; having a share in that future requires living by the teachings of the Bible.
In my oratorio Sermon on the Mount, I chose biblical passages that communicate this theme. With portions narrated by Jesus Christ, whose role also provides programmatic elements, my libretto presents biblical passages in an arch form. The text is primarily biblical, with only the chorale taken from the Protestant church service. The style of the composition is not intrinsically classical, nor was I guided by any reformative intentions. Rather, the pluralism of styles creates the expression itself.” —Gábor Lehotka
The piano/vocal score includes lyrics in both Hungarian and English. The pronunciation CD for the Hungarian lyrics listed above is spoken by Ildiko Losonci.
The full score and parts are available on rental.

Performing Forces:
2 flutes, 2 oboes, 2 Clarinets in Bb, 2 Bassoons, 4 Horns in F, 2 Trumpets in C, 3 Trombones (Tenor and Bass), Timpani, Percussion (Triangle, Cymbals, Bass Drum, Snare Drum, Tam-Tam, Celesta), Harp, Tenor Solo, Baritone Solo, Narrator, SATB Chorus, Strings
USE: services, concerts • moderately difficult • accomplished church, college, community, professional choruses

SACRED CHORAL — Mixed Chorus unaccompanied

WILLIAM AVERITT [b. 1948]: Te lucis ante terminum
• SATB (divisi) • #7113 • $1.85 • c. 3:40
“Te lucis ante terminum is a short Latin motet on the exquisite evening hymn by an anonymous 6th-century poet. It was composed for the Shenandoah Conservatory Chamber Choir in 2001 and was featured on their tour of Italy that summer under the Grammy Award-winning conductor Robert Shafer. It is written in the lyrical manner of a Renaissance polyphonic piece and its tonal language is gently dissonant within a primarily modal context.” —William Averitt
USE: services, concerts • moderately difficult • skilled church, college, community, professional choruses

ROBERT KYR [b. 1952]: Lux aeterna
• SSATBB • #7179 • $2.15 • c. 2:30
“Lux aeterna was created in memory of Kendrick Perala (1952–2006). It received its premiere performance by Cappella Romana of Portland, Oregon, a superb vocal ensemble in which he sang and to which he was very devoted. This brief piece moves from sorrow towards hope and a gentle celebration of life.” —Robert Kyr
USE: services, concerts • moderately difficult (for divisi writing) • accomplished church, college, community, professional choruses

STEVEN SAMETZ [b. 1954]: La eternidad (Eternity)
• S Solo, SATB (divisi) • #6648 • $1.85 • c. 2:30
The 17th-century words of the mystic Sor Juana Ines de la Cruz resound across the centuries; quiet moments and medititive stillness lead to an eternal moment. Sametz’s setting creates a timeless quality through floating harmonies with a soprano solo rising over the hushed choral setting.
USE: services, concerts • moderately difficult (for divisi writing and sustained passages) • skilled church, college, community, professional choruses

STEPHEN CHATMAN [b. 1950]: Musica, Dei donum optimi
• SATB (divisi) • #7.0545 • $1.85 • c. 4:00
Commissioned by the Choral Arts Ensemble of Rochester (Minnesota), Michael Culloton, Director, Musica, Dei donum optimi (Music, gift of the best god), a setting of an anonymous 16th-century Latin poem, expresses the universal attraction, stirring power and virtuous wonders of music. This lyrical yet intense setting features contrasting homophonic and contrapuntal textures, harmonic tension and constantly fluctuating tempi and dynamics.
USE: services, concerts • moderately easy • church, college, community, professional choruses

PIOTR ILYITCH TCHAIKOVSKY [1840–1894] / ANTHONY ANTOLINI, ed.:
Tebye poyem (“To Thee we sing” from The Liturgy of St. John Chrysostom)
• SATB • #7032 • $1.85 • c. 3:00
ECS Publishing is proud to present another scholarly performance edition of Russian music edited by Anthony Antolini. It includes voluminous historical notes, an explanation of the editorial method, a pronunciation guide for the Slavonic transliteration and an English singing translation.
N.B.: #7032 replaces #156 in the ECS Publishing catalog. #7032 should not be confused with #1.3170 which bears the same English title and that was also edited by Anthony Antolini. That edition is #12 from Rachmaninoff’s Liturgy of St. John Chrysostom. #7032 is #10 from Tchaikovsky’s setting of the same liturgical text.
USE: services, concerts • moderately easy • church, high school, college, community, professional choruses

SACRED CHORAL — Mixed Chorus and optional Percussion

HENRY MOLLICONE [b. 1946]: Super cuncta
• S & B Soli, SATB (divisi) & opt. Chimes or Handbells • #6995 • $1.85 • c. 3:10
“Having grown up with Latin prayer, I was very attracted to this early text by Hildebert de Lavarin which expresses a kind of Eastern universality. I find it a deeply meditative and profound prayer, with its poetic description of the fullness and completeness of God in all things. It was my intention to portray this meditative feeling in the music, which begins with a quietly flowing texture, building to a strong and joyful conclusion.” —Henry Mollicone
The part for optional chimes or handbells appears on the back cover of the edition.
USE: services, concerts • moderately easy • church, college, community, professional choruses

SACRED CHORAL — Mixed Chorus and Keyboard

DAVID CONTE [b. 1955]: Three Mystical Hymns
I. By Night When Others Soundly Slept
• SATB & optional Keyboard • #6978 • $1.85 • c. 2:30

II. Infinity
• SATB • #6979 • $1.85 • c. 3:30

III. In Heaven Soaring Up
• SATB & Keyboard • #6980 • $2.15 • c. 3:00
“Three Mystical Hymns are based on poems by Anne Bradstreet (1612–1672), and Edward Taylor (1642-1729), two early New England poets whose work has a markedly mystical, even metaphysical character. The first hymn, By Night When Others Soundly Slept, is set in a moderate triple meter in Eb minor, and suggests both the reverence and the mystery of prayers offered in the dark of night. The second one, Infinity, brightens to Eb Major. The text of this hymn is taken from a long poem entitled The Preface, and speaks of wonder in the face of God’s powers of creation. This one is composed in a more elaborate motet style, and is best performed unaccompanied. The third hymn, In Heaven Soaring Up, set in the stately key of C major, describes the joy of riding to Heaven in ‘God’s coach.’ Three Mystical Hymns are designed to be performed as a set, but also may be performed separately.” —David Conte
USE: services, concerts • moderately easy • church, high school, college, community, professional choruses

SACRED CHORAL — Mixed Chorus and optional Percussion

COREEN DUFFY [b. 1976]: Adon olam
• SATB & optional Percussion • #7018 • $2.15 • c. 2:20
“This setting of Adon olam derives both rhythmically and hermeneutically from the text: the primary thematic material that persists throughout in the alto line simultaneously mimics and rejects the relentlessly consistent meter of the poem. Placement of weak syllables on strong beats perhaps serves the textual idea that God is ‘without division or ally / without initial date or end’—each syllable is at once strong and weak either in its textual, metrical stress or in its rhythmic placement in the music. The purposeful manipulation of metric stress is designed to suggest ambiguity in the beginning or ending of words, creating a continuum that resembles the persistence and perpetuity of Creation. Adon olam was composed for the Third Los Angeles Interfaith Symposium in 2006.” —Coreen Duffy

The printed matter in the edition includes the text in Hebrew script, a transliteration, an English translation, a key to Hebrew pronunciation and an IPA pronunciation guide. The optional percussion part appears on the back cover of the edition.
USE: services, concerts • moderately easy • temple, church, high school, college, community, professional choruses

SACRED CHORAL — Mixed Chorus and optional Keyboard

COREEN DUFFY [b. 1976]: Oseh shalom (Maker of peace)
• SSATB or S Solo & SATB, opt. Kbd. • #7019 • $1.85 • c. 2:30
May the One who makes peace in high places make peace for us and for all Israel, and let us say amen. -Coreen Duffy, tr.
The printed matter in the edition includes all the same features cited for #7018.
USE: services, concerts • moderately easy • temple, church, high school, college, community, professional choruses

SECULAR CHORAL — Mixed Chorus unaccompanied

BYRON ADAMS [b. 1955]: Ashes of Soldiers
• SATB Soli, SATB • #7016 • $2.65 • c. 6’45” (pre-revision recording)

“This work is cast in the form of a renaissance motet, with alternations of polyphony and fauxbourdon.
Ashes of Soldiers was composed in wartime. Every morning I opened the newspaper and noted with mounting sorrow the steady knell of deaths of soldiers and civilians alike. To express my grief, I turned to the verse of the great American poet Walt Whitman. With absolute reverence, I redacted some lines from one of his long poems dealing with the Civil War, Ashes of Soldiers, which was written some years after the war and placed by Whitman in the Songs of Parting section of his monumental volume Leaves of Grass. I did not dedicate this work to the memory of a fallen soldier, however, but to an army captain, a close friend of my youth, who died of cancer many years ago. I am quite sure that this friend, who cared deeply about the soldiers under his command, would have been appalled by the profligate way in which the lives of young men and women were sacrificed during this war, and so this elegy speaks on his behalf as well as my own.” —Byron Adams
USE: concerts, services for fallen soldiers • moderately difficult • accomplished church, college, community, professional choruses

CYRIL DEACONOFF [b. 1973]: Syevyernaye skazaniye (A Northern Tale)
• S Solo, SATB (divisi) • #7023 • $2.65 • c. 6’30”
“A Northern Tale explores the expressive possibilities of words from an old folk legend through various forms of text painting and colorful harmonic combinations. The text, which I adapted, is an interpretation of epic ballades from northern Russia by Nikolay Kliuev, a poet who suffered for his Christian faith at the hands of the Communist regime. The themes of the beauty of nature and Russian folk festivities are combined with the motive of resistance and spiritual perseverance.” —Cyril Deaconoff
The edition includes the Cyrillic text, a singing transliteration for the Russian, an English singing translation and an IPA transliteration guide.
USE: concerts • moderately difficult • skilled church, college, community, professional choruses

HENRY MOLLICONE [b. 1946]: National Weather Forecast
• SATB • #6994 • $2.15 • c. 4:42
• SSAA • #7359 • $1.85 • c. 4:42
“When conductor Magen Solomon engaged me as composer-in-residence to write three new pieces for her group, the San Francisco Choral Artists, I asked her if she had any suggestions for texts. Surprisingly, she suggested a musical setting of a weather report! I liked this unusual idea and read a couple of actual weather reports in the newspapers to find inspiration. Then I wrote a fictitious weather report incorporating some tongue-in-cheek ideas. The result is a short, humorous piece that may raise the eyebrows of serious meteorologists! The music and text deals with a wide range of weather throughout the country, from the windy storms of New England to the mild, sunny weather of California.”—Henry Mollicone
USE: concerts • moderately easy • high school, college, community, professional choruses

SECULAR CHORAL — Mixed Chorus and Piano

GWYNETH WALKER [b. 1947]: Songs to the Lord of Peace
1. Evening Prayer
• SATB (div.) & Pno. • #6971 • $2.65 • c. 4:00
2. I Have Called You
• SATB (div.) & Pno. • #6972 • $2.15 • c. 2:30
3. Be My Defender
• SATB (div.) & Pno. • #6973 • $2.65 • c. 3:30
4. There Is a Way to Glory
• SATB (div.) & Pno. • #6974 • $2.65 • c. 4:15
“The texts for these four songs are taken from a series of Freedom Songs which Thomas Merton wrote in 1966. These poems were created in response to a special request in connection with the Christian non-violent movement for Civil Rights. Thus, faith, equality and peace are the unifying themes in the songs.
The ordering of the texts and the creation of the musical settings have been formed with the intent of presenting a growth in the intensity of the message. From the quiet Evening Prayer to the powerful There Is a Way to Glory, the songs span a variety of imagery and musical language. The prayer, the voice of faith and the affirmation of equality grow ever more insistent.
Images central to the various songs are: Evening Prayer – the prayer rising; I Have Called You – forceful, the voice of the Lord speaking; Be my Defender – growth in intensity from quiet supplication to the dramatic; There Is a Way to Glory – a triumphant march to glory!” —Gwyneth Walker
USE: concerts • moderately easy • high school, college, community, professional choruses

SECULAR CHORAL — Mixed Chorus and Two Wind Bands or Piano

CHRISTOPHER MARSHALL [b. 1956]: U Trau
• SSAATB & Two Wind Bands*
• Full Score • #6948 • $40.00 • c. 10:00
• Complete set • Full Score & Parts • #6949 • $175.00
• Piano/Choral Score • #6950 • $6.50
U Trau was commissioned by AMIS – The Association for Music in International Schools. This work is a Romantic setting of a simple text contemplating an ideal future world. The text is secular and international in character. It is in Niuspi, a language created by the composer, with a vocabulary derived mainly from Indo-European languages and with a grammar which in some aspects resembles Chinese. The edition includes a pronunciation guide. A reading of the text is available at the composer’s website.
* Do not be misled by the term “two wind bands.” This piece employs a typical number of players in the average wind band. They are simply divided into “Band 1” and “Band 2.” Spatial separation of the bands is desirable but not essential.

BAND 1
1 Piccolo, 2 Flutes, 1 Oboe, 4 Clarinets in Bb, 1 Bass Clarinet, 2 Alto Saxophones, 1 Tenor Saxophone, 1 Baritone Saxophone, 1 Bassoon, 2 Horns in F, 3 Trumpets in C, 3 Trombones, 1 Euphonium, 1 Tuba, 1 String Bass, 1 Timpani (2 25″ drums), 2 Percussion (Glockenspiel, Vibraphone, Snare Drum, Bass Drum, Triangle, Ride Cymbal, Suspended Cymbal, Crash Cymbals, Tam-tam, Metal Wind Chimes, Maracas, Tambourine)
BAND 2
1 Piccolo, 2 Flutes, 1 Oboe, 4 Clarinets in Bb, 1 Bass Clarinet, 2 Alto, Saxophones 1 Tenor Saxophone, 1 Baritone Saxophone, 1 Bassoon, 2 Horns in F, 3 Trumpets in C, 3 Trombones, 1 Euphonium, 1 Tuba, 1 String Bass, 1 Timpani (23″ and 28″ drums), 2 Percussion (Glockenspiel, Vibraphone, Snare Drum, Bass Drum, Triangle, Ride Cymbal, Suspended Cymbal, Crash Cymbals, Metal Wind Chimes, Maracas)
USE: concerts • moderately easy • college, community, professional choruses

VOCAL MUSIC

HENRY MOLLICONE [b. 1946]:
Five Love Songs • S & Pno. • #6093 • $16.00 • c. 9:44 • moderately difficult
Images and Reflections • S & Pno. • #6095 • $22.00 • c. 10:37 • moderately difficult
Songs of Love and Departure • T & Pno. • #6094 • $16.00 • c. 11:26 • moderately difficult

KEYBOARD MUSIC

DANIEL PINKHAM [1923–2006]:
Aria and Interlude • Organ Solo • #5895 • $5.00 • c. 4:00 • moderately difficult
Panoply • Organ Solo • #6006 • $7.50 • c. 5:00 • moderately difficult

FRANK FERKO [b. 1950]:
L’espace de lumière • Organ Four-hands • #7280 • $22.50 • c. 11:16 • moderately difficult

INSTRUMENTAL MUSIC

GREGORY HUTTER [b. 1971]:
Skyscrapers
• Orchestra • Study Score • #6918 • $50.00 • c. 8:30 • difficult

Still Life
• Oboe & String Orchestra • Study Score • #6920 • $15.00
• c. 11:00 • moderately difficult

Urban Collision
• Orchestra • Study Score • #6945 • $65.00 • c. 7:00 • difficult

Full (conductor’s) scores and parts for all three works are available on rental.

TEXTBOOK

Diction (Third Edition) • #650 • $36.50
“Since its publication in 1975, Diction has held up very well. Its multilingual approach, with reference to the sounds of American English, and its attention to the pitfalls facing the speaker of American English, have served several generations of American singers, teachers, coaches and conductors.

However, it seemed the time had come for a revised edition in a new format. The wide margins have been retained as a handy place to make notes, and most of the book will look familiar. After all, language changes very slowly, and stage usage changes more slowly still.

Pronunciation of sung Italian has grown stricter in the last few decades (see page 97 of the book). Surprisingly, French stage usage seems to be relaxing. I am told by teachers at the Paris Conservatoire (and my ears tell me when they listen to some of the younger singers) that this may be the case. Language fads in French pronunciation have come and gone over the centuries, however, and this manual will adhere to traditional stage usage. A short discussion of l’accent d’insistance, omitted from the first edition, has been included in this revised French section. In several instances, I have found better ways of presenting material, and that is reflected mainly in the Italian section.”—John Moriarty, Boston, 2006

Examples of sounds of the languages have always been planned and that is finally included alongside this new edition.

More on Diction and to download the sound files…

RECORDING CREDITS – The Philovox Ensemble

Tracks 3–4 6–10, 12 and 15–16 were recorded on January 18, 2009 at the recording studio of WGBH Radio, Boston, MA, and on January 19, 2009 at The Church of the Redeemer, Chestnut Hill, MA, by the Philovox Ensemble directed by Robert Schuneman. The keyboard players were organist Heinrich Christensen (track 10) and pianist Scott Nicholas (track 16). The vocal soloists were soprano Rebekah Alexander (track 4), soprano Kristi Vrooman and bass Sumner Thompson (track 7) and mezzo-soprano Catherine Hedberg and tenor Jason McStoots (track 16). The members of the Philovox Ensemble were sopranos Rebekah Alexander, Kristi Vrooman and Shari Alise Wilson, altos Carrie Cheron, Mary Gerbi, and Catherine Hedberg, tenors Michael Barrett, Jason McStoots and Steven Soph and basses Marc DeMille, Thann Scoggin, Sumner Thompson and Darrick Yee.

The producer, engineer and editor was Antonio Oliart Ros and the mastering was by Robert Schuneman, Arsis Audio, Boston, MA.

RECORDING CREDITS – Guest Artists

Track 1, an excerpt from Hegyi beszéd (Sermon on the Mount) by Gábor Lehotka, was recorded October 5, 2003 at Zeneakadémia Nagytermében, Budapest, Hungary. It was performed by the Budapesti Monteverdi Kórus and the MÁV Szimfonikus Zenekara directed by Tamás Csurgó. This track is used with the kind permission of Dr. János Reisinger, Chairman of the Oltalom Alapítvány/Shelter Foundation.

Track 2, Te lucis ante terminum by William Averitt, was recorded in April, 2002 at Armstrong Auditorium, Shenandoah University, Winchester, VA. It was performed by the Shenandoah Conservatory Chamber Choir, Robert Shafer, Conductor. Permission to use this track was kindly given by Robert Shafer.

Track 5, Musica, Dei donum optimi by Stephen Chatman, was recorded May 11, 2008 at Lourdes Chapel at Assisi Heights, Rochester, MN. It was performed by the Choral Arts Ensemble of Rochester, Michael Culloton, Artistic Director. The recording engineer was Aaron Manthei. This track is used with the kind permission of Michael Culloton.

Track 11, Adon olam by Coreen Duffy, was recorded December 5, 2007 at Bovard Auditorium, University of Southern California. It was performed by the USC Thornton Chamber Choir, Paul Salamunovich, Conductor. Permission to use this track was kindly given by Nick Strimple.

Track 13, Ashes of Soldiers by Byron Adams, was recorded on April 27, 2007 at First Church in Cambridge, Congregational, Cambridge, MA. It was performed by Boston Secession, Jane Ring Frank, Artistic Director. The soloists were Stephen Soph, tenor, Martin Near, alto, Mary Sullivan, soprano and Bradford Gleim, baritone. The recording engineer was David Liquori. This track is used with the kind permission of Jane Ring Frank.

Track 14, Syevyernaye skazaniye (A Northern Tale) by Cyrill Deaconoff, was recorded in November of 2008 at Springbrook Masonic Temple in Vallejo, CA. It was recorded by the Vallejo Choral Society, Cyrill Deaconoff, Director. The soprano solist was Crista Harrington and the recording engineer was Dean Gilman. Permission to use this track was kindly given by Cyrill Deaconoff.

Track 17, U Trau by Christopher Marshall, was recorded June 15, 2008 at the Esplanade Concert Hall in Singapore. It was performed by a combined choir comprising singers from Serangoon Junior College Choir, Nanyang Academy of Fine Arts Alumni Choir, NJ Chorale and Common Voices accompanied by The Philharmonic Winds, Singapore, Timothy Reynish, Conductor. The choir was prepared by Dr. Zechariah Goh Toh Chai. The recording engineer was Terence Cho Cheuk Yuet. This track is used with the kind permission of Adrian Cheong, Timothy Reynish and Dr. Zechariah Goh Toh Chai.

All pieces on the recording are © Copyright 2009 by E. C. Schirmer Music Company, Inc., or © Copyright 2009 by Highgate Press, Inc. or © Copyright 2009 by Ione Press, Inc. This recording is not authorized for sale, lending, broadcast, or public performance.