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NEW ISSUES - Fall 2011

SACRED CHORAL
• eight unaccompanied anthems
• eleven anthems with accompaniment

VOCAL
• a set of Latin hymns

KEYBOARD
• two titles for organ solo
• a work for organ and trumpet


SACRED CHORAL — Mixed Chorus unaccompanied


GIANCARLO AQUILANTI [b. 1959]: Salve Regina listen
    • SATB • #7638 • $1.95 • c. 4:30
This setting of the traditional text is sung entirely in Latin; an English translation appears on the back cover. USE: services, concerts
     • moderately easy
     • church choirs, college, community, professional choruses


DAVID CONTE [b. 1955]: Ubi caritas listen
     • SATB • #7426 • $1.95 • c. 3:00
Ubi caritas was commissioned by the First Baptist Church of Greater Cleveland, Shaker Heights, Ohio, for their 175th anniversary. Like Aquilanti's Salve Regina, this setting is sung entirely in Latin. An English translation appears on page 2.
USE: services (Antiphon for Maundy Thursday), concerts
      • moderately difficult
      • skilled church choirs, college, community, professional choruses



PAUL GIBSON [b. 1952]:
     Spiritus Sanctus vivificans vita listen
     • SATB • #7681 • $1.95 • c. 2:35
     Here Is a Soul listen
     • SATB • #7111 • $1.55 • c. 2:35
Spiritus Sanctus vivificans vita, which is also sung entirely in Latin, begins with words by Hildegard of Bingen (1098–1179) followed by the traditional Doxology. A running English translation appears in the music; the translation of the Bingen text is by the composer and the one for the Doxology is traditional.

Here Is a Soul utilizes words from various Psalms as adapted by the composer.
USE: services, concerts
       • moderately easy
       • church choirs, college, community, professional choruses


ALICE PARKER [b. 1925]: Beauty and Blessing listen
     • SATB • #7521 • $1.95 • c. 4:17
The text by the composer deals with various forms of beauty which surround us and the blessings they bring. "In the turning of the seasons, / The returning of the birds, / Beauty is born, and blessings linger..."
USE: services, concerts
      • moderately easy
      • church choirs, college, community, professional choruses



DAVID ASHLEY WHITE [b. 1944]:
     If ye love me listen
     • SAB • #7632 • $1.55 • c. 1:15
     The Lamb listen
     • SATB • #7315 • $1.55 • c. 2:15
A setting of John 14:15–17 (KJV), If ye love me was commissioned by the University Singers, University of St. Thomas, Houston, Texas.
Composed for the Choir of The Memorial Church at Harvard University, The Lamb employs the well-known poem by William Blake (1757–1827).
USE: services, concerts
      • moderately easy
      • church choirs, college, community, professional choruses


DANIEL PINKHAM [b. 1923–2006]: Eastertide Rounds
     • Three-part Chorus of Mixed or Equal Voices
     • #5896 • $1.55 • c. 5:00
1. Alleluia, Amenlisten
Alleluia, Amen.
—Traditional
2. He roselisten
He rose.
From the grave he rose.
—Biblical

3. The Grave Could Not Hold Him
The grave could not hold him.
—Biblical

4. Let Us Go
Let us go, even unto Jerusalem.
—Biblical

5. Sing and Shout
Sing and shout round about!
Now the earth, full of mirth,
decks itself with flowers
at this joyful Eastertide.
—Daniel Pinkham
USE: services, concerts
      • moderately easy
      • church choirs, college, community, professional choruses

SACRED CHORAL — Mixed Chorus accompanied

DANIEL PINKHAM [b. 1923–2006]: Agnus Dei listen
     • SATB & Organ • #6757 • $1.55 • c. 2:00
One of the last compositions which Daniel Pinkham completed, Agnus Dei is a setting of the traditional Latin (or alternatively the traditional English) text from the Mass.
USE: services, church concerts
      • moderately difficult
      • accomplished church choirs, college, community, professional choruses



LEO NESTOR [b. 1948]: To Live Is Christ listen
     • Soprano Solo, SATB & Organ • #7627 • $1.95 • c. 3:20
"This passage from the opening of Paul's letter to the Philippians first came to my ears in the guise of a Latin motet, Magnificabitur Christus, when I was a high school boy in Santa Barbara. Paul's words, written while he was in prison, parallel those in Galatians 2:20, 'I live, yet not I, but Christ lives in me.'
Two works of the late Richard Proulx (1937–2010) influenced the spirit of this small piece. The first is his exquisitely poignant Prayer of the Venerable Bede (Christ is the Morning Star)... The second is Saints of God..."
—Leo Nestor
USE: services, church concerts
     • moderately difficult
     • skilled church choirs, college, community, professional choruses


BARRIE CABENA [b. 1933]: Introit for the New Day listen
     • SATB & optional Keyboard • #6861 • $1.55 • c. 2:00
Completed in 1968 and originally published by Jaymar Music Limited (defunct) under the title Introit for the New Year, the composer renamed the piece in 2010, removed the text by Minnie Louise Haskins and replaced it with newly-written words of his own.
"I stood by the shore and gazed at the dawning sun. / Bright were its beams, and fresh was the breeze that blew across the waters..."
USE: services, concerts
      • moderately easy
      • church choirs, college, community, professional choruses


DAVID ASHLEY WHITE [b. 1944]: This Is the Record of Johnlisten
     • SATB & Organ • #7211 • $1.95 • c. 3:20
As room did not permit their inclusion in the edition, the composer's complete program notes appear below at his request.

"This Is the Record of John was commissioned by Christ Church, Alexandria, an historic Episcopal parish in the Diocese of Virginia. Jason Abel, organist/choirmaster, suggested this text, and the resulting anthem received its premiere performance during Christ Church's annual Advent Lessons and Carols service in 2007.

Because I have long admired Orlando Gibbons's setting of this John 1:19-23 passage, I decided to use his text, rather than a more recent translation. The beauty of this early 17th-century language met my needs for prose that is also poetic. I assumed that the Authorized King James Version (KJV) was Gibbons's source for text, but, when comparing the two, I noted small differences. I am indebted to my friend and collaborator, the Reverend Carl P. Daw, Jr., for his assistance in helping to resolve the inconsistencies and confirming that the KJV is most likely what Gibbons used. Carl wrote, "Comparing the Authorized King James Version with that of the Great Bible, or Bishop's Bible, in a 1559 Book of Common Prayer, one finds the Gibbons's text is closer to the later KJV." He also added, "The few changes (e.g. 'What then?' in the KJV becoming 'What art thou then' in Gibbons) are easily understood as consistent with the customary liberties that composers routinely take, such as repetition of phrases. In the preceding example, for instance, Gibbons is picking up/anticipating the 'art thou' from the next question, 'Art thou Elias?'

It should also be noted that Gibbons composed his setting for William Laud, President of St. John's College, Oxford, 1611–1621. Because the Authorized King James Version dates from 1611, the time period is right for his use of this source.

This passage from the Gospel of John is a drama in miniature, a very active interchange between priests and Levites and John the Baptist, and it was my intention for the most of the music to reflect a certain sense of urgency. After all, the Jews wanted to know who John the Baptist was, and John felt compelled to respond. It was also my intention for his final response to be more lyrical and reflective, providing a contrast to what has come before.

To present this drama in a clearer way, an editorial decision was made to place the questions asked by the priests and Levites, as well as John the Baptist's replies, in quotations."
—David Ashley White
USE: services, church concerts
      • moderately easy
      • church choirs, college, community, professional choruses


AUSTIN LOVELACE [b. 1919–2010]:
     None Other Lamb listen
     • SATB & Keyboard • #7385 • $1.55 • c. 2:00
     All creation danced in answer listen
     • SATB & Keyboard • #7380 • $1.95 • c. 3:15
The text for None Other Lamb is by Christina Rossetti (1830–1894). The composer completed his setting in 2008.
The tunes used in All creation danced in answer are from a number of sources: Austin Lovelace, William Moore's Holy Manna (1825) and Henry T. Smart's Regent Square (1867) as adapted by Austin Lovelace. The words are by John Core (b. 1951).
USE: services, concerts
      • moderately easy
      • church choirs, college, community, professional choruses


ALICE PARKER [b. 1925]: Consecration listen
     • SATB, Handbells & Organ • #7522 • $1.95 • c. 4:22
Consecration features a text by Frances Ridley Havergal (1836–1879). The part for handbells appears on the back page of the edition.
USE: services, church concerts
      • moderately easy
      • church choirs, college, community, professional choruses


GWYNETH WALKER [b. 1947]:
     All the Beauty of the Lord listen
     • SATB & Organ • #7143 • $1.95 • c. 2:15
     
     Eternal Brightness

     1. Sweet Accord listen
        • SATB & Organ • #7621 • $2.25 • c. 3:00
     2. Lord Jesus, Think on Me listen
        • SATB • #7622 • $2.25 • c. 3:45
     3. The Beauty of the Earth listen
        • SATB & Organ • #7623 • $2.80 • c. 4:00
"The text for All the Beauty of the Lord is based on the lyrics for the anthem There's a Wideness in God's Mercy (words by Frederick W. Faber). The musical setting is new.
The focus of this anthem is on the vastness of God's love—the wideness of mercy, the wideness of the sea, the broad vision of the mind. While God's love is huge and wonderful, only through the simplicity of our loving—ever living by the Word—can the light of God enter our lives"
"Eternal Brightness is a set of three choral works which revisit 'old favorites' in the hymn repertoire. The lyrics are varied slightly. New music has been composed for two of the three songs. The intent has been to update the original materials with new energy, clarity, singability and lively organ accompaniments."
—Gwyneth Walker
USE: services, church concerts
      • moderately easy
      • church choirs, high school, college, community choruses

VOCAL

DANIEL PINKHAM [b. 1923–2006]:
   Latin Hymns
     1. Te lucis ante terminum
     2. Ubi caritas
     3. Cantet omnis creatura
     • Voice & Organ • #7165 • $5.25 • c. 2:00
     • moderately difficult

KEYBOARD

DANIEL PINKHAM [b. 1923–2006]:
   Aureole
     Organ Solo • #6014 • $10.50 • c. 5:00
     • moderately difficult

   Scenes
     I. Jericho
     II. Jonah
     III. Absalom
     IV. A Time to Dance

     Organ and Trumpet in C or B-flat • #6749 • $21.00 • c. 10:00
     • moderately difficult


GWYNETH WALKER [b. 1947]: Morning Songs
     • Organ Solo • #7620 • $18.40 • c. 8:10
     • moderately easy


RECORDING CREDITS — The Philovox Ensemble

Tracks 1–17 were recorded on October 4 and 5, 2011 at Church of the Redeemer, Chestnut Hill, MA, by the Philovox Ensemble directed by Robert Schuneman. The chorus members were sopranos Jessica Cooper, Sonja DuToit Tengblad and Brenna Wells, altos Carrie Cheron, Mary Gerbi, Emily Lau and Emily Marvosh, tenors Owen McIntosh, Alex Powell, and Zachary Wilder and basses Marc DeMille Bradford Gleim, Thann Scoggin, Paul Guttry and Ulysses Thomas. The soloists were Mary Gerbi (track 2), Sonja DuToit Tengblad (track 11) and Bradford Gleim (track 12). The organist was Heinrich Christensen (tracks 9–17).
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

Tracks 18–20, Eternal Brightness by Gwyneth Walker, were recorded by the Myron Heaton Chorale, Dr. Myron Heaton, conductor, Lois Toeppner, organist, on May 22, 2010, at the University of Las Vegas, NV. The recording engineer was David Heaton. These tracks are used with the kind permission of the Board of Directors of the Myron Heaton Chorale, Dr. Myron Heaton, Lois Toeppner and David Heaton.

All pieces on the recording are © Copyright 2011 by E. C. Schirmer Music Company, Inc., or Ione Press, Inc. This recording is not authorized for sale, lending, broadcast, public performance or digital downloading.

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