This a cappella four-part mixed setting of the Latin text on William Bradford’s headstone is the first in the new line of Canticum Novum concert music by Glad Adoration, and it is perfectly suited to concerts with a focus on American Heritage or keeping the faith. With soaring melodic lines and dramatic rests, each phrase rings out with the entreaty not to relinquish what our fathers achieved with great difficulty. Appropriate for sacred concerts. Also available in English.
Albert Ellmenreich’s famous – or infamous – piano piece, “Spinnenliedchen” has been arranged by David Galvin for SATB mixed choir, a cappella. The classic tune and accompaniment are paired with a new text also by Galvin, including nonsense syllables imitating the sounds of the spinning wheel and fun lyrics which occasionally allude to various other cultural references to the spinning wheel. Perfect for high school choirs and competitions, this octavo is sure to be a favorite for youth choirs. Moderate difficulty. Also available for SSAA (in B-flat major).
This a cappella six-part mixed setting of the first portion of the Sanctus text from the Latin liturgy is excerpted from the large choral work “Three Ancient Songs of Praise,” and is the perfect addition to any moderate-to-advanced choir’s concert repertoire. Beginning quietly, the initial strains of “Sanctus” open up to rich harmonies on the word “Dominus,” giving a foretaste of the rest of the piece. Beautifully singable melodies weave into lush harmonies and crescendo into the final climax, where the soprano soloist sings the Hebrew word “Kadosh” – Holy – three times. The optional organ accompaniment may be used if the director desires additional support for the singers. English singing translation included in italics.
Composed in 2014, this multi-movement work for large choir, brass, timpani, piano, and organ combines three ancient texts with dramatic music.
The first movement is a setting of the Gloria from the Latin liturgy, opening with a fanfare, and exploring the various aspects of God’s glory throughout the movement. Its middle section utilizes the Greek origin text in a musical setting inspired by Greek orthodox chant.
The second movement is a setting of Caedmon’s hymn in Old English. Beginning quietly, the music of this movement portrays first the setting of the legendary old English poet composing his ode in the moment. The music transitions from men’s voices into ladies’ voices, and the music begins to tell the story of the creation of the world. After a brief aleatoric section, the music climaxes in a series of glorious Amens.
The third movement, “Sanctus – Benedictus,” is in two parts: the first, a six-part, a cappella unfolding of the beginning of the classic Latin text. The voices swell, and then the brass enters at the second part, welcoming the Messiah into Jerusalem as the singers join: “Benedictus qui venit in nomine Domini. Hosanna in excelsis!”
Advanced difficulty. Pronunciation guide, translations, and aleatoric instructions included in choral score and full score.