Awardvindende Google Marketing Powerhouse

Regina Coeli à 8

Love! Yes! : Songs on the poetry of E. E. Cummings

Love Yes – Sånger baserade på E.E. Cummings poesi Love Yes är en samling vokalverk komponerade för hög röst, med texter hämtade från den innovativa och uttrycksfulla poesin av E.E. Cummings. Cummings dikter är kända för sin unika användning av språk, interpunktion och typografi, vilket ger en rik källa för musikalisk tolkning. Specifikationer: Instrumentering: Hög röst och pianoackompanjemang Svårighetsgrad: Medel till avancerad nivå Innehåll: Flera sånger med varierande karaktär och tempo Förlag: [Förlagets namn, om tillgängligt] ISBN: [ISBN-nummer, om tillgängligt] Fokusområden: Teknik: Utveckling av vokal kontroll, artikulation och uttryck Musikalitet: Utforskning av dynamik, frasering och känslomässigt djup Stil: Integration av moderna musikaliska element med klassisk vokalteknik Användning: Idealisk för recitaler, tävlingar eller som en del av undervisningsrepertoaren för sångare som vill utforska samtida vokalmusik baserad på litterära mästerverk.

Letters from Saint Paul : Hebrews 12:1, 2- Romans 8:35, 7, 8, 9

String Quartet No. 8: Insect Dances

Cantata 8: Liebster Gott : When Will God

Chamber Music, Volume 3: Four Joyce Songs : Serenade in One Movement

This masterpiece by the late composer which has been in preparation since his death is finally being made available to the choral music public. Duration: 8:00 This masterpiece by the late composer which has been in preparation since his death is finally being made available to the choral music public. Duration: 8:00

In Spring

A short song cycle using a solo (unaccompanied) voice to vocalize the fanciful and magical poems of E. E. Cummings with glissandi, whistling, ghostly whispered notes and long melismas drawing out the sounds inside words, stretching them like taffy…all these types of extended techniques are added to beautifully sung lyrical phrases to capture the playfulness and variety of the season of Spring.

All-Night Vigil: 8. Sing praises to the Lord

The Other Voices of the Trumpet : Revelation 8:12

Walk Humbly with Your God

The piece is simple and unassuming and grows in complexity throughout, much like the text from Micah 6:1-8. Challenging but beautiful organ accompaniment.

Three Songs from Ecclesiastes : Ecclesiastes 1, 2, 2, 22-3, 8, 15

Three Songs from Ecclesiastes : Ecclesiastes 1, 2, 2, 22-3, 8, 15

Three Songs from Ecclesiastes : Ecclesiastes 1, 2, 2, 22-3, 8, 15

Hear Us, O Shepherd of Israel : Psalms 80:1, 8, 10, 18

Twelve Canticles : No. 7. Arise, Shine- No. 8. The Path of the Just

i carry your heart

E. E. Cummings' poem i carry your heart could be read as a marriage vow, a joyous ode to a newborn, or even a eulogy to a lost love…it is adaptable to all kinds and levels of love. This setting is grounded in a steady quarter note ostinato which suggests the gentle tolling of bells, expressing respect and affection, both dignified and joyous in character. The accompaniment becomes subtly more animated at the poem’s two climaxes. The work ends with serene confidence, as the poet affirms the undeviating constancy and resolve of love. Duration: 5:30

Sonata for Flute (or Violin) and Piano (or Organ)

This three-movement work is composed in a readily accessible tonal style. Colorful harmonies and concise structural elements highlight each movement. Throughout the Sonata, melodic lyricism is a constant characteristic which will present an engaging musical experience for performers and audiences. Duration: 8:10

Back and Forth on the Ferry

The text by Edna St. Vincent Millay, speaks of a youthful all-night adventure riding the ferry back and forth with no destination in mind. There is much back-and-forth in the musical setting, to a swaying 6/8 meter. Can be sung as part of a larger collection: Passion and Remembrance. Duration: 4:00

Back and Forth on the Ferry

The text by Edna St. Vincent Millay, speaks of a youthful all-night adventure riding the ferry back and forth with no destination in mind. There is much back-and-forth in the musical setting, to a swaying 6/8 meter. Can be sung as part of a larger collection: Passion and Remembrance. Duration: 4:00

After Love

The opening line of Sara Teasdale’s poem, After Love, “There is no magic any more,” establishes the theme of vanishing love. Stephen Chatman’s setting of the poignant text, in the key of E flat major, emphasizes the natural rhythm of the words, mixed meters, and irregular phrase lengths. The climax of the melody embraces sustained, intense vocal lines in contrary motion supported by an undulating piano accompaniment. One of a set of six of Teasdale's love songs. Duration: 1:45

Love Me

Stephen Chatman’s setting of Sara Teasdale’s whimsical poem pertaining to a brown-thrush, April, love and kisses, emulates the meaning, strict rhythm, rhyme and strophic structure of the text. The soft rolled chords of the harp-like piano accompaniment highlight the lilting 6/8-meter, folk-like melody, and consistent homophonic choral texture. The repetitive lines, “Love me, love me, love me!”, and “kiss me, kiss me, kiss me!”, inspire the musical refrains. One of a set of six of Teasdale's love songs. Duration: 1:45

Praise Now the Risen Christ

The surprising joy of the Resurrection is conveyed through jubilant fanfares in the accompaniment and a shifting of the rhythm between 3/4 and implied 6/8 meters. As the mood softens, a more melodic section expresses the lyrics, "I know that my Redeemer liveth." After the unaccompanied chorus sings "All glorious Risen Christ" and a brief moment of silence, the piece bursts forth again with fanfares and thicker choral textures that build in excitement to the end. A perfect Easter anthem! Duration: 2:45

Love Me

Stephen Chatman’s setting of Sara Teasdale’s whimsical poem pertaining to a brown-thrush, April, love and kisses, emulates the meaning, strict rhythm, rhyme and strophic structure of the text. The soft rolled chords of the harp-like piano accompaniment highlight the lilting 6/8-meter, folk-like melody, and consistent homophonic choral texture. The repetitive lines, “Love me, love me, love me!”, and “kiss me, kiss me, kiss me!”, inspire the musical refrains. One of a set of six of Teasdale's love songs. Duration: 1:45

Suite Remembrance

A set of four contrasting “memorial dances” for unaccompanied mixed chorus, Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving, and each takes after a dance form: I. Todtentanz (Saltarello), II. All Flesh is Grass (Gavotte), III. If I can Stop One Heart from Breaking (Sarabande), and IV. Mourning into Dancing (Gigue)- the fourth movement is for double chorus. Duration: 8:30 Contents: I. Todtentanz (Saltarello) II. All Flesh Is Grass (Gavotte) III. If I Can Stop One Heart from Breaking (Sarabande) IV. Mourning into Dancing (Gigue)A set of four contrasting “memorial dances” for unaccompanied mixed chorus, Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving, and each takes after a dance form: I. Todtentanz (Saltarello), II. All Flesh is Grass (Gavotte), III. If I can Stop One Heart from Breaking (Sarabande), and IV. Mourning into Dancing (Gigue)- the fourth movement is for double chorus. Duration: 8:30 Contents: I. Todtentanz (Saltarello) II. All Flesh Is Grass (Gavotte) III. If I Can Stop One Heart from Breaking (Sarabande) IV. Mourning into Dancing (Gigue)