SKU: MQ.7540-E

English.

These songs are dedicated to William Osborne. The title Three Sacred Songs: was given to these pieces rather than the more usual terms anthem or motet because of the strongly secular presence in the texts. The songs were written over a period of some eighteen months. The Shepherd Lad was finished on February 29, 2008. The Round Day and Magdalene’s Song were completed in Brooklyn on June 11, 2009, the music having been originally sketched-out on Christmas Day and Boxing Day 2008, at Putnam Valley, New York. In the first song, The Round Day, the singer hears the voice of the Blessed Virgin Mary as she sings to the glory of God throughout the day. The text was written on June 7, 2008. In The Shepherd Lad, the Spanish mystic Saint John of the Cross describes a shepherd lad’s (Jesus’s) love for a shepherdess (the Church) and how another (the Devil) tempted his love away. Heartbroken, the shepherd climbed a tree, “And threw wide his arms in sweetest charity, Since by His Shepherdess He was forsaken.� The original Spanish text was translated and adapted into Villanelle form by the composer in early December 2004. The text of Magdalene’s Song describes the feelings of a mystic, or a devotee of Jesus, inspired by the fresh beauty, grace and power of the Lord of creation. The main body of the text is given to a soprano solo. The text was written on April 27, 2008. These sacred songs were conceived as being performed either as a set or individually. The composer had secular ensembles in mind, such as college or concert choruses, but these songs may, of course, also be performed in a liturgical setting. The accompanying flute provides introductions, interludes and codas throughout the set and, on a few occasions, plays with the voices. The piano part is ad lib. (optional).

SKU: MQ.7542-E

English.

These songs are dedicated to William Osborne. The title Three Sacred Songs: was given to these pieces rather than the more usual terms anthem or motet because of the strongly secular presence in the texts. The songs were written over a period of some eighteen months. The Shepherd Lad was finished on February 29, 2008. The Round Day and Magdalene’s Song were completed in Brooklyn on June 11, 2009, the music having been originally sketched-out on Christmas Day and Boxing Day 2008, at Putnam Valley, New York. In the first song, The Round Day, the singer hears the voice of the Blessed Virgin Mary as she sings to the glory of God throughout the day. The text was written on June 7, 2008. In The Shepherd Lad, the Spanish mystic Saint John of the Cross describes a shepherd lad’s (Jesus’s) love for a shepherdess (the Church) and how another (the Devil) tempted his love away. Heartbroken, the shepherd climbed a tree, “And threw wide his arms in sweetest charity, Since by His Shepherdess He was forsaken.� The original Spanish text was translated and adapted into Villanelle form by the composer in early December 2004. The text of Magdalene’s Song describes the feelings of a mystic, or a devotee of Jesus, inspired by the fresh beauty, grace and power of the Lord of creation. The main body of the text is given to a soprano solo. The text was written on April 27, 2008. These sacred songs were conceived as being performed either as a set or individually. The composer had secular ensembles in mind, such as college or concert choruses, but these songs may, of course, also be performed in a liturgical setting. The accompanying flute provides introductions, interludes and codas throughout the set and, on a few occasions, plays with the voices. The piano part is ad lib. (optional).

SKU: HL.254389

UPC: 888680720971. 6.75x10.5 inches.

Reverand Chris Anderson has penned some moving words to commemorate the Lenten season. Teaming again with composer Richard A. Nichols, this anthem opens with the choir accompanying a soloist with a cappella “loos.” The the choir assumes the piece for a few measures before the piano enters. A very effective opening. The modulation from C minor to C Major is another wonderful moment in this piece.

SKU: F0.W9194

UPC: 674398213801.

First Light depicts the haunting sound of a Native-American flute. The slow, expressive nature of the piece offers students a chance to learn balance between the hands, and to shape melodic phrases. Students will be motivated by the sound of flute-like grace notes in the right hand and by the rich accompanying texture.

SKU: MQ.8894-E

English.

“Madrigals for the Seasons� was composed especially for Cappella SF, Ragnar Bohlin, conductor. The theme of Longfellow’s great poem “Snow-flakes� is human loss and grief. The poetic structure is reflected in the musical phrase structure, with the resolution withheld until the end of each stanza. The mournful harmonies sung on a wordless syllable often accompany the main melodic line in various sections of the choir, who intone the full text. The mood of the madrigal is intensely sorrowful, as the speaker searches the sky for signs of God’s presence in the face of his grief.

SKU: MQ.8729-E

English. Psalms 90.

Composed at the request of Lincoln Center to serve as a unifying element of the twelve concerts of the White Lights Festival’s Psalms Experience, featuring the Tallis Scholars, The Norwegian Soloist Choir, The Netherlands Chamber Choir, and The Choir of Trinity Wall Street. I intentionally wrote a hymn that felt reminiscent of the grand hymns of Edwardian England, choosing a melodic contour and harmonic language that pulls at the heartstrings. Having discovered this wonderful alternate versified version of Psalm 90 (the usual being O God, our help in ages past) by Robert Burns, it made an obvious choice to accompany the entire Psalter, as it depicts the minuscule nature of humanity’s cycles of life in comparison to that of God. This arrangement would work well for almost any function that comments on our fleeting life-span, whether a funeral, wedding, baccalaureate, or commencement service. -Julian Wachner
Duration: 3:12.

SKU: MQ.8861-E

English. Luke 1:39-56.

The German Advent carol Maria walks amid the thorns (Maria durch ein Dornwald gin) has its origins as a song which would accompany a pilgrimage. Here, the text is set to an original melody. With child, Mary walks through a forest, perhaps on the way to visit Elizabeth (Luke 1:39-56). Where Mary passes the dead thorns miraculously bloom with roses. Each verse ends with the supplication Kyrie eleison (Lord, have mercy upon us). Quite fittingly, a soprano soloist (or small ensemble of voices) is required.

SKU: HL.8739876

UPC: 073999727784. 7x10.5 inches. Betty Hager & Fred Bock.

In this 'no room at the inn' fantasy, Mary and Joseph go from inn to inn looking for a place to stay. However, they get turned away time after time, for many of the same reasons people today turn away from Jesus:they're too busy, they want to enjoy life now, they procrastinate, and some just don't care. Travel with Mary and Joseph as they visit the 'Good Life Inn,' the 'Status Quo Inn,' the 'Procrastination Inn,' the 'No Trust Inn,' and others. A variety of new and traditional songs accompany the journey, some funny and some serious - especially when those innkeepers (and maybe even some singers and audience members, too) realize they have turned away from the King of Kings! Available: Director's Edition, Singer's Edition, Accompaniment Track Cassette, Listening Cassette and Preview Pak (Singer's Edition and Listening Cassette).

SKU: HL.8739875

UPC: 073999727678. 5x5 inches. Betty Hager & Fred Bock.

In this 'no room at the inn' fantasy, Mary and Joseph go from inn to inn looking for a place to stay. However, they get turned away time after time, for many of the same reasons people today turn away from Jesus:they're too busy, they want to enjoy life now, they procrastinate, and some just don't care. Travel with Mary and Joseph as they visit the 'Good Life Inn,' the 'Status Quo Inn,' the 'Procrastination Inn,' the 'No Trust Inn,' and others. A variety of new and traditional songs accompany the journey, some funny and some serious - especially when those innkeepers (and maybe even some singers and audience members, too) realize they have turned away from the King of Kings! Available: Director's Edition, Singer's Edition, Accompaniment Track Cassette, Listening Cassette and Preview Pak (Singer's Edition and Listening Cassette).

SKU: HL.8738018

UPC: 073999380187. 9x12 inches. Betty Hager & Fred Bock.

In this 'no room at the inn' fantasy, Mary and Joseph go from inn to inn looking for a place to stay. However, they get turned away time after time, for many of the same reasons people today turn away from Jesus:they're too busy, they want to enjoy life now, they procrastinate, and some just don't care. Travel with Mary and Joseph as they visit the 'Good Life Inn,' the 'Status Quo Inn,' the 'Procrastination Inn,' the 'No Trust Inn,' and others. A variety of new and traditional songs accompany the journey, some funny and some serious - especially when those innkeepers (and maybe even some singers and audience members, too) realize they have turned away from the King of Kings! Available: Director's Edition, Singer's Edition, Accompaniment Track Cassette, Listening Cassette and Preview Pak (Singer's Edition and Listening Cassette).

SKU: MQ.6815-E

English.

In Tambourines, a variety of hand-tapping patterns and vocal sounds are employed to suggest the playing of this instrument. The intent is to capture the spirit and joy of playing a tambourine (or an imaginary tambourine). These pseudo-tambourines then accompany several gospel tunes that appear into the middle of this piece. A joyous closing section celebrates tambourines to the glory of God!.

SKU: MQ.8103-E

Latin.

Commissioned by the American Music Research Center, Boulder, Colorado, Thomas Riis, director, in loving memory of Don Campbell. The work received its premiere performance at l’Église de la Sainte-Trinité, Paris, on October 24, 2013 by Alexis Galpérine, violin, Magali Léger, soprano, Saori Kikuchi, harp, and Carolyn Shuster Fournier, organist.
The work consists of  three Latin texts from the Requiem Mass. The first, Exaudi, is in “Larghettoâ€� tempo and serves as a prelude. The second, Dies Iræ, marked “Allegro agitato,â€� is an intense and dark scherzo in D minor with chromatic runs in the organ and violin which accompany the soprano. A central, more lyrical section follows based on the “Lacrymosaâ€� text in a slower tempo, leading to the song’s only serene moment: “Pie Jesu Domine.â€� The “Dies Iraeâ€� music returns, and the song ends violently and decisively. The third song, In Paradisum, introduces the harp. The soprano melody is modeled very closely on the Gregorian chant based on this text. A gentle climax occurs on the text “habeas eternam,â€� and the song slowly winds down to its end, having laid to rest life’s struggles in the eternity of heaven. Duration: 12:30.

SKU: HL.103027

ISBN 9781934596579. UPC: 884088678814. 9x12 inches. Compiled and edited by Lyndell Leatherman.

Everybody loves a wedding. And everybody loves a big, majestic trumpet tune to announce and accompany the bride down the aisle. This collection includes trumpet tunes from some of the most prominent organ arrangers from the last twenty five years: Fred Swann, Carolyn Hamlin, Gordon Young, Fred Bock, Rick Parks and Roy Brunner. Includes: Allegro di Tromba (Benedetto Marcello) • Festive Trumpet Tune • Imperial March in C • Trumpet Processional • Trumpet Tune • Trumpet Tune in F • Trumpet Air • Wedding March.

SKU: MQ.8248-E

English, Slavonic.

Nye ímamï inïya pómoshchi comes from a set of ten communion hymns, Opus 25. It is technically a kontakion, (a hymn sung in commemoration of a feast day, whether referring to Christ, the Virgin Mary, or to a saint). Nye ímamï inïya pómoshchi is intended to be sung for the feast day commemorating an icon of the Virgin entitled “The joy of all who sorrow,� (В�ех �корб�щих Радо�ть|Vsekh skorbyashchikh Radost') observed on October 24 in the Orthodox Church calendar. The author of the text is unknown. In contemporary church practice, this work is sometimes sung during the communion of the clergy. Although other pieces in Opus 25 are based on traditional church chants, Nye ímamï inïya pómoshchi contains original music that is not based on any preexisting chant.

The present edition is based on the first edition published in Moscow by Pyotr Ivanovich Jurgenson. The keyboard reduction has been modified from the Jurgenson edition. Russian Orthodox performance practice forbids the use of musical instruments to accompany church singing. Organ accompaniment, if used, should be unobtrusive. The Jurgenson edition includes Chesnokov's use of a quarter note without metronome marking. This indicates that the pulse is in a moderato tempo in quarter notes. A tempo of approximately 69 to the quarter note is suggested. The Jurgenson edition has inconsistent dynamic markings in various parts and text appears only below the soprano and tenor parts. For clarity and convenience, these indications have been included in each staff in the present edition.

This scholarly performance edition includes notes concerning the history of Chesnokov and this piece, performance notes, the editorial method of the English singing version, and a pronunciation guide for the Slavonic transliteration.