Search Results for: e. c. schirmer
“I tell the story of love, the story of hate, the story that saves, and damns.
I am the incense upon which prayers float to heaven.
I am the smoke which palls over the field of battle where men lie dying with me on their lips.
I am close to the marriage altar, and when the graves open, I stand nearby.
I call the wanderer home, I rescue the soul from the depths.
I open the lips of lovers and through me the dead whisper to the living.
I speak through the birds of the air, the insects of the field,
the crash of the waters on rock-ribbed shores, the sighing of wind in the trees, and I am even heard
by the soul that knows me in the clatter of wheels on city streets.
Through me spirits immortal speak the message that makes the world weep, and laugh, and wonder, and worship.
I know my brother, yet all men are my brothers;
I am of them and they are of me, for I am the instrument of God.
I am music.”
—Anonymous, ca. 1919
Dr. Ronald Arnatt passed away on August 23, 2018. Born in 1930, he had an exceptional professional career spanning both sides of the Atlantic. After receiving his music education at Trinity College, London, and Durham University in England, he emigrated to the United States.
In the United States, Dr. Arnatt held professorial or Director of Music positions at Trinity Church in Boston, Westminster Choir College in Princeton, American University, Christ Church Cathedral in St. Louis, the University of Missouri, and with the St. Louis Chamber Orchestra and Chorus.
He is known internationally for his choral, organ, and brass compositions, many of which are published by ECS Publishing Group. Dr. Arnatt was past President of the American Guild of Organists. His final post was Director of Music and Organist at St. John’s Church in Beverly Farms, Massachusetts.
May both his memory and his musical legacy be blessings.
Stanley M. Hoffman, Ph.D.
Senior Editor, E. C. Schirmer and Galaxy Music
ECS Publishing Group | MorningStar Music | Canticle Distributing
Office: 615 Concord St, Framingham, MA 01702
Headquarters: 1727 Larkin Williams Rd, Fenton, MO 63026
Direct: (508) 620-7400 | Headquarters: (636) 305-0100
The March 2015 issue of Choral Journal features a cover article written by coauthors David Rayl and Zebulon Highben titled “Masters in Miniature: Repertoire by Great Composers for Smaller Choirs.” In this article, the authors suggest that “almost every great composer has written at least one piece that is achievable by choirs with fewer singers and limited resources but is still well crafted, worthy of performance, and typical of its genre and style period.”
This article highlights some of these little-known works by well-known composers, which are categorized into the following subheadings: Renaissance, Baroque, and Classical and Romantic. There is also a section on adapting repertoire for solo voice and comments on performance and programming. A full list of repertoire discussed appears below, and you can read the full article or download and print the PDF here. (Note: You must be an ACDA member logged into acda.org to view the Choral Journal online.)
Can you think of any pieces missing from this list that are little-known works by well-known composers?
Feel free to share your thoughts here on ChoralNet in the comment section or even send in a “Letter to the Editor” for publication in an upcoming issue of Choral Journal. I would love to hear from you! Better still, perhaps you should write an article or column in the Choral Journal. You can contact me at .
Choral Journal writing guidelines can be viewed by clicking here.
|Composer||Title||Scoring||Recommended Edition (see article endnotes for complete citation)|
|Billings, William||Wake Every Breath||canon||CPDL|
|Billings, William||When Jesus Wept||canon||CPDL|
|Blow, John||Sing, Sing, Ye Muses||SATB, 2 violins, continuo||Walton Music|
|Buxtehude, Dietrich||Lord, Keep Us Steadfast in Thy Word (Erhalt uns, Herr)||SATB, 2 violins, continuo||Concordia Publishing|
|Buxtehude, Dietrich||In dulci jubilo||SAB, 2 violins, continuo||IMSLP|
|Crüger, Johann||Awake, My Heart with Gladness (Auf, Auf, mein Herz)||SATB, 2 C insts, continuo||Augsburg Fortress|
|De Sermisy, Claudin||Tant que vivray||SATB||National Music Publishers|
|Dowland, John||Come again, sweet love|
doth now invite
|Dufay, Guillaume||Conditor alme siderum||ATB||CPDL|
|Dufay, Guillaume||Kyrie Orbis Factor||ATB||GIA Publications|
|Farrant, Richard||Call to Remembrance||SATB||Oxford Univ. Press|
|Hassler, Hans Leo||Dixit Maria||SATB||CPDL|
|Hassler, Hans Leo||Missa super Dixit Maria||SATB||IMSLP|
|Haydn, Joseph||Missa brevis Sancti Joannis de Deo||SATB, 2 violins, cello/bass, organ||Various (see endnote 25)|
|Haydn, Joseph||Six Psalm Settings||3-part, keyboard (opt)||Various (see endnote 27)|
|Isaac, Heinrich||Innsbruck, ich muss dich lassen||SATB||CPDL|
|Leisring, Volckmar||O Filii et Filiae||SATB double choir||Alliance Music|
|Mendelssohn, Felix||Die Nachtigall||SATB||Hinshaw Music|
|Mendelssohn, Felix||Verleih’ uns Frieden||SATB, organ||E. C. Schirmer|
|Morley, Thomas||Sound Forth the Trumpet in Zion||SAB||GIA Publications|
|Mozart, Wolfgang A.||Kyrie, K. 33||SATB, continuo||Bärenreiter Verlag|
|Mozart, Wolfgang A.||God Is Our Refuge||SATB||Augsburg Fortress|
|Obrecht, Jacob||Parce, Domine||SAB||GIA Publications|
|Praetorius, Michael||En natus est Emanuel||SATB||Augsburg Fortress|
|Praetorius, Michael||Psallite||SATB||Augsburg Fortress|
|Puccini, Giacomo||Requiem||STB, viola, organ||CPDL|
|Scheidt, Samuel||Remember, Lord (Gedenke, Herr)||SAB, continuo||GIA Publications|
|Schein, Johann Hermann||Christ lag in Todesbanden||SAB, continuo||Tetra/Continuo|
|Schein, Johann Hermann||Eight Chorale Settings from Opella Nova (Part I)||2-part treble, continuo||Concordia Publishing|
|Schubert, Franz||Mass in C Major||SATB, orchestra||Carus Verlag|
|Schubert, Franz||Mass in G Major||SATB, orchestra||Carus Verlag|
|Schubert, Franz||Antiphonen zum Palmsonntag||SATB||Augsburg Fortress|
|Schütz, Heinrich||Becker Psalter||SATB, continuo (opt)||Augsburg Fortress (see endnote 19)|
|Tallis, Thomas||If Ye Love Me||SATB||Oxford Univ. Press|
|Vulpius, Melchior||Arisen Is Our Blessed Lord (Erstanden ist der heilig Christ)||SATB double choir||Augsburg Fortress|
Dear composers and friends of ECS:
I am writing to share the sad news of the passing of our friend, Robert Schuneman. Bob passed away today, December 4th, after his long battle with cancer. It is still hard to believe that he was playing soccer on a weekly basis until just this summer.
Bob has meant so much to us and it is hard to express the grief that we all feel at his passing. It is difficult to speak about Bob without also thinking about the impact that both he and Cynthia had on many of us. Together they embraced the tradition of E. C. Schirmer and then put their own stamp on it as they moved the company on into current times.
Our thoughts and prayers also go out to Christa and Tim and their families. Christa has given so much of herself and her business acumen to keep things working at ECS. I know she has a good relationship with many of you.
A memorial service is being planned for some time in January. We will give you an update about the time and place of the memorial service when we have further information.
Peace to you all,
Mark W. Lawson, President
“The Passenger” (No. 2 from “Five Love Songs,” baritone solo
and piano) by Randall Thompson was published by E. C. Schirmer
Music Company in 1961 as Catalog No. 119. In 2012, David A. Seitz
created a new arrangement of this title for baritone solo, TTBB
chorus and piano. This worthy addition to the repertoire for male
choral ensembles is now available in-print from ECS Publishing
through its distributor, Canticle Distributing as Catalog No. 7963.
Stanley M. Hoffman, Ph.D.
ECS Publishing Corporation
www.ecspublishing.com (publisher’s Website)
www.morningstarmusic.com (distributor’s Website)
A new initiative by Dr. Harold Rosenbaum, one of America’s leading authorities on contemporary choral music.
About Choral Composition Consulting:
Since the initial look of your score, including size of notes, and general layout needs to make a favorable and lasting impression upon potential conductors, Dr. Rosenbaum will offer comments and suggestions, with the goal of making it appear more user friendly and thus more appealing to conductors, who will not have to waste their valuable time wondering about your intentions, and having to alter and/or fix confusing and questionable notation. Issues and areas of concern he will address include underlay, breath marks, ranges, divisions, proper indications of dynamics and other expression marks, and other technical issues.
What will NOT be addressed by Dr. Rosenbaum in his feedback:
• The composer’s talent or level of competency
• Compositional style, structure and form
• Assessment of the quality of the work itself
• Suggestions about how you proceed, i.e., to whom to send your revised score, professional and career development, and the like.
The cost will be $50 per each work up to 5 minutes in length, $75 up to 8 minutes in length, and $100 up to 10 minutes of length. Works beyond that will require a negotiation.
About Harold Rosenbaum:
Recipient: Columbia University’s Ditson Conductor’s Award. Other recipients include Robert Shaw, Alan Gilbert, James Levine, Leonard Bernstein, Mstislav Rostropovich, and Eugene Ormandy.
Founder/Conductor: The New York Virtuoso Singers
Founder/Conductor: The Canticum Novum Singers
Editor: Harold Rosenbaum Choral Series with G. Schirmer
Editor: New Voices Choral Series with Peermusic
Lecturer for composers at ASCAP headquarters in NYC
Conductor of over 560 world premieres
Founder: Virtuoso Choral Recordings
Founder: Harold Rosenbaum Choral Conducting Institute
Founder/Artistic Director: ChoralFest USA
Receiver of hundreds of glowing reviews from major publications
Professor at Juilliard, Queens College, Adelphi and Professor Emeritus at the University at Buffalo
Recipient of unpublished submitted scores from over 12,000 American composers
For more information go to www.haroldrosenbaum.com
Week 28: Friday, September 28, 2018
“Where Can I Turn For Peace?” by Joleen G. Meredith, arr. Dwight Bigler
Text by Emma Lou Thayne
SSAA div, a cappella
Virginia Tech is just down the road from where I teach at Hollins. Dwight Bigler is an associate professor of music at Tech, and their Director of Choral Activities. In addition to his conducting responsibilities, he compositions are published with Walton Music, Hinshaw Music, Oxford University Press, Alliance Music, and EC Schirmer. For a more detailed bio, see www.dwightbigler.com.
Given our proximity, Dwight and I run into each other frequently at adjudications, conferences, and meetings. In 2015, an ensemble I was accompanying was working on his SATB div version of “The First Noel.” I loved his take on the familiar carol and asked him what he had in terms of rep for women’s chorus. This arrangement of Meredith & Thayne’s hymn came up, and I immediately jumped at it. It is primarily strophic, with three verses. [As you are reading further, be sure to listen to the elegant performance by BYU Women’s Chorus of this arrangement.]
The original hymn was penned in 1971 by Joleen G. Meredith (music) and Emma Lou Thayne (text). The two women, members of the Church of Jesus Christ of Latter-Day Saints, were tasked with creating a hymn for the LDS Young Women’s Conference that year. Working over the telephone, Thayne would create a line of text, and then Meredith would rough out a musical setting. Together, they wrote the hymn, phrase by phrase.
Thayne is quoted as saying the text of the work came to her in a turbulent time, when she and her family were struggling with health issues and overwhelming obstacles. Meredith mentioned that they both saw this hymn as a solace and succor for mental illness, having faced challenges personally and within their own families. The beauty and the strength with which these two women met life’s tests is evident in their poignant song. For more background and history on the creation of the original hymn, click here for the LDS Radio History of Hymns broadcast.
My choir performed it at our campus holiday event that year, in the thematic “Peace” section of the program. They loved it so much that it also made a subsequent concert appearance in the spring of that same year. The text is poignant, and relevant to many of the emotional journeys my students found themselves facing in their young lives. Dwight’s setting is wonderful, with sweeping lines, beautiful dissonances, and enormous emotive potential.
At that time, my advanced ensemble had 14 students. I liked to think of it as a “small but mighty” ensemble. A handful of the first-year singers that semester were also in my sight-singing class as potential music majors/minors, so I was determined to choose music through which I could reinforce their literacy-in-progress from the very beginning. Pedagogically, this setting of “Where Can I Turn For Peace?” was a perfect choice. It begins in F# major, and all pitches exist within the diatonic framework. That meant every single note could be learned on solfege, which was excellent for my teaching goals that concert cycle.
After two verses, his arrangement modulates to G major, which gave me the added chance to emphasize the functionality and transferability of movable-do, and to teach them how to handle modulations in solfege/analysis. Rhythms are primarily quarter and half notes, which meant students could focus their literacy efforts on the pitches without feeling overwhelmed. There was enough divisi in certain areas to create lush dissonance and resolution, but not so much that my singers were spread too thin. Additionally, many phrases include step-wise motion, which was another key to success with in-progress solfege skills.
Outside of the pedagogical literacy connections and the relatable text, Dwight’s setting was also perfect for my group in another way too: it gave the group numerous opportunities to grow together musically. Solfege and takadimi are excellent tools for teaching pitches and rhythms, and we utilized both in learning the piece. As an ensemble though, it was the dynamics and phrasing that really allowed the piece to take shape.
There are numerous breaths marked in the music, all at purposeful places. Working to feel those breaths together, along with any related tempo changes, was a quality exercise in group communication. I remember a particular rehearsal moment, in which we switched off the room lights and only had ambient early-evening light from the shaded windows. I asked the students to sing through the song in that near-darkness, focusing on what they could hear, not what they could see. Pushing forward with energy, pulling back with reverence, savoring a harmony, or honoring the silence of a breath – so many of these small moments came alive at that point.
Whether you are looking for an addition to a peace-themed school concert, a song to showcase your church choir’s women/treble singers, or a chance to grow together as an ensemble, Dwight Bigler’s arrangement provides many beautiful opportunities for these amazing moments to occur.
|Title:||Where Can I Turn For Peace?|
|Source:||LDS Hymn – music by Joleen G. Meredith; |
text by Emma Lou Thayne
|Arranger:||Dwight Bigler |
|Date of Publication:||2008|
|Subject(s), Genre:||Peace, comfort, hope, solace. Sacred hymn.|
|Voicing Details:||SSAA, with some divisi; max 6 pitches at a time|
|Publisher:||Hinshaw Music, Inc.|
Until next week!
Dr. Shelbie Wahl-Fouts is associate professor of music, Director of Choral Activities, and music department chair at Hollins University, a women’s college in Roanoke, Virginia.