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NEW ISSUES – Winter 2011
SACRED CHORAL
FRED GRAMANN [b. 1950]:
Blest are the eyes that have not seen you
• S solo, SSAATB • #7329 • $1.95 • c. 2:35
God bestows on each one a name
• S solo, SAATB • #7330 • $1.55 • c. 1:50
This Gift Is Free
• S solo or soli, SATB • #7501 • $1.55 • c. 2:50
The texts for these three anthems are from the following respective sources: John 20:24–29, I Peter 1:6–8, Fred Gramann, alt.; Genesis 32:22–31, John 1:35–42; Isaiah 55, Fred Gramann, tr., alt. The first title deals with belief, the second with names as gifts from God and the third with the sacraments as a free gift from God.
USE: services • moderately easy • church choirs
GRIGORY LVOVSKY [1830–1894] / ANTHONY ANTOLINI, ed., tr.:
• SAATBB • #7345 • $2.80 • c. 2:10
• TTTBBB • #7346 • $2.80 • c. 2:10
The only lyrics are the words in the title(s). These two editions replace the following two respective numbers in the publisher’s catalog: #2231 and #2180. As is customary with Anthony Antolini’s Russian editions, nos. 7345 and 7346 are useful, each containing a biography of the composer, performance instructions and a pronunciation guide.
USE: services • easy • church choirs
DAVID ASHLEY WHITE [b. 1944]: Missa Brevis
• SATB (divisi) • #7104 • $2.80 • c. 5:30
“It is interesting to consider, and perhaps impossible to know fully, what influences me as a composer. I am not a jazz musician; far from it. However, I know that elements of that style are in my ears, especially in terms of rhythm and harmony. These can certainly be found in the Gloria. I am also influenced by earlier styles of music. Points of imitation and polychoral effects found in 16th-century choral works, for example, are present in various ways throughout my Missa Brevis.”—David Ashley White
USE: services, church concerts • moderately easy • church choirs
SECULAR (MAYBE SACRED) CHORAL
GWYNETH WALKER [b. 1947]: More Love
• SATB (divisi) & Piano • #7036 • $3.40 • c. 6:00
“More Love is a call from the Shakers, a religious sect prominent in the Eastern United States in the 18th and 19th centuries. This song originated in the Canterbury, New Hampshire community around 1870. Shaker music is often lively, suitable for singing and dancing. This new interpretation enjoys the spirit of the original, presenting the song in unison, harmonized and in imitation (canon). Two other Shaker songs, Brilliant Gem and Love by the Handful, are combined with More Love to make a medley.”—Gwyneth Walker
USE: concerts (maybe services) • moderately easy • high school, college, community, professional choruses (and maybe church choirs)
SECULAR CHORAL
STEVEN SAMETZ [b. 1954]: Never more will the wind
• Full Score for Version 1 • SAT/SATBB, French Horn and Percussion (2 players: 1 plays Cup Gongs [B/D/F#/G] and Handbells and 2 plays Vibraphone and Marimba) • #7121 • $23.00 • c. 8:00
• Parts for Version 1 • #7122 • $15.00
• Full Score for Version 2 • SAT/SATBB, French Horn, Percussion, Harp and Strings (same percussion as above) • #7123 • $28.75
• Parts for Version 2 • #7124 • $42.50
• Piano/Choral Rehearsal Score for Both Versions (The piano part in this score may not be used for performance.) • #7328 • $6.25
Both Versions: If tuned cup gongs are not available, other handbells may be used instead. Handbells should be placed all around the hall and clappers should always be on the softest setting.
“It has been said that the world would never be the same after September 11, 2001, and something certainly changed for me standing there [at Ground Zero] in the bright sunlight where so much was suddenly empty. Never more will the wind is a response. I used H.D.’s lyric poem of loss and added to it the Gregorian chant from the Requiem Mass (first heard in the solo horn). I tried to recreate the whispering and the chill of the wind in the opening, a ghostly remembrance of those who are gone. The central section is a chorale of comfort, and the piece returns to a choral statement of the Requiem text, ending as it began—still voices on the wind.”—Steven Sametz
USE: concerts (especially 9/11) • difficult • skilled college, professional choruses
ELLEN GILSON VOTH [b. 1972]: One Short Sleep Past
• SATB & Piano or optional Chamber Orchestra
• Piano/Choral Score • #7167 • $1.95 • c. 5:43
• Full Score • #7168 • $10.50
• Parts • #7169 • $54.60
This setting employs the well-known text Death be not proud by John Donne.
Performing Forces: oboe, B-flat clarinet, 2 horns in F, 2 B-flat trumpets, 2 trombones (3rd optional), tuba, timpani, percussion (tubular bells, snare drum), harp, piano, SATB chorus, strings.
USE: concerts • moderately difficult • accomplished college, community, professional, church choruses
CLAUDE DEBUSSY [1862–1918] / STANLEY M. HOFFMAN, arr. [b. 1959]:
Beau Soir (Beautiful Evening)
• SATB & Piano • #7689 • $1.55 • c. 3:05
Originally for voice and piano, this new four-part arrangement includes the original French words by Paul Bourget (1852–1935) and an English singing translation by Ruth T. Hoffman and the arranger.
USE: concerts • moderately easy • high school, college, community, professional choruses
HENRY MOLLICONE [b. 1946]: Flowers
• SATB & Piano • #7466 • $1.95 • c. 1:57
This setting employs the poem by Emily Dickinson (1830–1886) which begins “Flowers — Well — if anybody Can the ecstacy define.”
USE: concerts • moderately easy • high school, college, community, professional choruses
JOHN DAVID EARNEST [b. 1940]:
My Papa’s Waltz
• SATB & Piano • #7552 • $2.80 • c. 2:50
Take My Hand
• SATB • #7616 • $1.95 • c. 4:00
Commissioned by Choral Arts (Seattle), Robert Bode, Artistic Director, My Papa’s Waltz is an extroverted setting of a sardonic text by Theodore Roethke (1908–1963) about a drunken father and his family.
Set to words by Robert Bode, Take My Hand paints a gentle scene of two people joining hands in a forest at dusk.
USE: concerts
• My Papa’s Waltz • moderately difficult • skilled college, community, professional choruses
• Take My Hand • moderately easy • high school, college, community, professional choruses
CARLYLE SHARPE [b. 1965]:
The Ship Starting
• SATB & Piano • #7129 • $1.95 • c. 3:00
That Music Always Round Me
• SATB (divisi) • #7358 • $1.55 • c. 3:00
These two compositions are settings of words by Walt Whitman (1819–1892). The lyrics in That Music Always Round Me have been adapted by the composer.
The Ship Starting – “Lo, the unbounded sea, On its breast a ship starting, spreading all sails, carrying even her moonsails…”
That Music Always Round Me – “That music always round me, unceasing, unbeginning, yet long untaught I did not hear…”
USE: concerts • moderately difficult • accomplished high school, college, community, professional choruses
STEPHEN CHATMAN [b. 1950]:
How still it is
• SATB (divisi) • #7.0569 • $2.25 • c. 5:00
Roses on a brier
• SSATB • #7.0570 • $1.55 • c. 2:45
The words for How still it is are by Archibald Lampman (1861–1899). “How still it is here in the woods. The trees Stand motionless, as if they do not dare To stir, lest it should break the spell.”
Roses on a brier employs a poem by Christina Rossetti (1830–1894). “Roses on a brier, Pearls from out the bitter sea, Such is earth’s desire However pure it be.”
USE: concerts • moderately easy• high school, college, community, professional choruses
DAVID MOONEY IRISH CHORAL SERIES
This new issue brings another installment of the DAVID MOONEY IRISH CHORAL SERIES. As head of the keyboard department at the Conservatory of Music and Drama at the Dublin Institute of Technology, Mr. Mooney is well known throughout Ireland and the UK where his arrangements have appeared on recordings, television and radio.
For those titles in the series which can be sung only in Irish Gaelic, we have provided an English transliteration underlaid to the music, and, in the printed matter, a complete IPA pronunciation guide and an English translation.
The Last Rose of Summer
• SATB (divisi) • #7197 • $1.95 • c. 2:20
Fear an Bháta (The Boatman)
• SATB (divisi) • #7198 • $1.95 • c. 2:20
The Last Rose of Summer uses the traditional Irish tune and the classic poem by Thomas Moore (1779–1852). ” ‘Tis the last rose of summer Left blooming alone; All her lovely companions Are faded and gone.”
Fear an Bháta utilizes the traditional Irish/Scottish melody and words. “I went up onto the highest hill To see if I could see the boatman Will you come tonight or will you come tomorrow If you do not come I will be sorrowful.”
USE: concerts, especially ones with multicultural themes
The Last Rose of Summer • moderately easy, but low E-flats appear in the bass voice • college, community, professional choruses
Fear an Bháta • moderately easy• high school, college, community, professional choruses
For a “>complete listing of titles in the DAVID MOONEY IRISH CHORAL SERIES…
ROBERT KYR [b. 1952]: Vocalise
• TTBB (divisi) • #7691 • $1.95 • c. 5.33
• Full Score and Parts • TTBB (divisi) & 4 Violoncelli • #7692 • $21.00
Based on “Balulalow” (Catalog No. 7174 [TBBB]) from Carols Ancient and New by Robert Kyr, Vocalise was commissioned for the Revalia Men’s Chorus (Hirvo Surva, Director) by the Estonian Choral Association. This piece may be performed either unaccompanied or with the optional accompaniment of four violoncelli. The chorus always sings from #7691.
USE: concerts • moderately easy • high school college, community, professional choruses
RECORDING CREDITS — The Philovox Ensemble
Tracks 1–3 were recorded on September 22, 2010 at the Church of the Redeemer, Chestnut Hill, MA, by the Philovox Ensemble directed by Robert Schuneman. The soloists were soprano Monica Hatch (tracks 1–2) and soprano Cassandra Estavour (track 3). 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.
Tracks 6, 8–10, 13, 15 and 17–18 were recorded on January 13, 2011 in the Fraser Recording Studio at WGBH, Boston, MA, by the Philovox Ensemble directed by Robert Schuneman. The chorus members were sopranos Cassandra Extavour, Sonja Tengblad and Erika Vogel, altos Rebekah Alexander, Mary Gerbi and Martin Near, tenors Michael Barrett, Alex Powell and Jason Wang and basses Marc DeMille, Bradford Gleim, Thann Scoggin and Kyle Siddons. The pianist was Scott Nicholas (tracks 6, 8–10, 12).
The producer and engineer was Antonio Oliart Ros and the editing and mastering was by Robert Schuneman, Arsis Audio, Boston, MA, for both sessions.
RECORDING CREDITS — Guest Artists
Track 4, Ghospodi, pomiluy by Grigory Lvovsky, was recorded by the Bowdoin College Chorus, Anthony Antolini, Conductor, in December of 2008 in Studzinski Recital Hall, Bowdoin College, Brunswick, ME. The recording engineer was Christopher Watkinson. This track is used with the kind permission of Anthony Antolini.
Track 5, Missa Brevis by David Ashley White, was recorded by the St. Paul’s Choir of St. Paul’s United Methodist Church, Houston, TX, Mark Edenfield, Choirmaster, on May 14, 2008. The recording engineer was Ryan Edwards. Permission to use this track was kindly given by Mark Edenfield.
Track 7, Never more will the wind by Steven Sametz, was recorded by the Princeton Singers and chamber orchestra, Steven Sametz, Conductor. This track is used with the kind permission of Steven Sametz.
Track 11, My Papa’s Waltz by John David Earnest, was recorded by Choral Arts, Robert Bode, Conductor, on March 7, 2009 at St. Leo Church, Tacoma, WA. The pianist was Lee Thompson. Permission to use this track was kindly given by Robert Bode.
Track 12, Take My Hand by John David Earnest, was recorded by the Whitman Chamber Singers, Robert Bode, Conductor, during the spring of 2009 in Chism Recital Hall, Whitman College, Walla Walla, WA. The recording engineer was Pete Crawford. This track is used with the kind permission of Robert Bode.
Track 14, That Music Always Round Me by Carlyle Sharpe, was recorded by the Drury Singers, Allin Sorenson, Conductor, on May 6, 2009 in Stone Chapel, Drury University, Springfield, MO. The recording engineer was Carlyle Sharpe. Permission to use this track was kindly given by Carlyle Sharpe.
Track 16, Roses on a brier by Stephen Chatman, was recorded by the choir of the First Unitarian Church of Portland, OR, Mark Slegers, Minister of Music, on May 11, 2009. This track is used with the kind permission of Mark Slegers.
Track 19, Vocalise by Robert Kyr, was recorded by the Revalia Men’s Chorus, Hirvo Surva, Director, in April of 2008 in Blackfriar’s Hall, Tallinn, Estonia. The violoncellists were members of C-Jam. Permission to use this track was kindly given by Hirvo Surva.
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.