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        Genre: Sacred Choral Pieces

        Title Description Composer Voicing

        Lament

        #MM2035

        Lament is a piece for mixed choir and cello. The text comes from the 17th-century oratorio ‘Jephte’ by Giacomo Carissimi. The words are those of anguish, for Jephte promised to sacrifice the first thing he laid eyes upon if he returned victorious from war. He fulfilled this vow, even though this happened to be his only daughter.

         

        The recording is of the Brisbane Chamber Choir, for whom the piece was written. The cellist is Gwyn Roberts.

        Lullaby

        #MM0614

        This gentle piece expresses the the feelings of Mary as she reflects on the child she has borne. She feels affection for the sweet young babe she holds in her arms. Yet there is also wonderment and awe, as she understands his true nature and grapples with what the future holds for him. These are feelings similar to what any mother would have for her child. A mothers love is a universal theme. It can be understood by people of all faiths and creeds. Therefore, this piece, while sacred, can be sung in secular contexts as well as in services.

        Two Kyries from the Winds of Heaven (SA)

        #MM2005
        These short songs are unusual, fresh and vivid. They resonate with ideas drawn from several religious philosophies. The composer sanctions performances within the context of Christian worship as well as any philosophic tradition which values the soul. Includes harmonic overtone singing.
        The individual parts are very simple and a large and sonorous ensemble is preferred.
        Note : This score includes an additional alternative ‘Kyrie 11’
        Treble voices a cappella.

        Hullayha (SATB)

        #MM2021
        Unaccompanied recording from ‘ON THE ROAD with St Peters Chorale’ directed by Graeme Morton

        Accompanied Recording from CD ‘Childers Shining’ ~ music by Sarah Hopkins performed by massed community choir with the Bundaberg Youth Orchestra conducted by Robert Rotar.

        Hullayha (pronounced ‘Hull-ay-ha’) for SATB divisi choir a cappella or accompanied (by optional percussion, String Orchestra or Full Orchestra). The soulful opening gradually transforms into abundant joy. All the melodies are very ‘singable’ & supported by sustained drones which ‘birth’ out of the melody line.

        Available in SA voicing here.

        Hullayha (SA)

        #MM2022

        Hullayha (pronounced ‘Hull-ay-ha’) for SA divisi choir a cappella or accompanied (by optional percussion, String Orchestra or Full Orchestra). The soulful opening gradually transforms into abundant joy. All the melodies are very ‘singable’ & supported by sustained drones which ‘birth’ out of the melody line.

        Available in SATB voicing here.

        St Stephen’s Mass

        #MM0607

        A unison mass in English. Suitable for congregational use, or for unison choir.

        Ave Maria

        #MM0610
        Boughen’s two part sacred piece for treble voice and organ is a reflective arrangement of the classic text. Suitable for an advanced choir of young voices.

        Hombres, Victoria, Victoria (from Three Motets after Victoria)

        #MM2034(c)

        The third of Joseph Twist’s “Victoria Triptch”. Suitable for concert use, and liturgically especially at Christmas.

        The recording (below) is by the Choir of St James Church, King Street, Sydney. A pronunciation guide is also here.

        Victory, mankind! Because against all of hell, The crying of a tender child ensures our glory.

        Available in the set of Three Motets after Victoria, found here – not available singly.

        Lamentation of Jeremiah (from Three Motets after Victoria)

        #MM2034b

        The second of Joseph Twist’s “Victoria Triptych” this piece quotes from Victoria’s Lamentation, adding new modern elements clothed in a rich, plaintive harmonic language. Suitable for concert and liturgical use, and making musical references to Victoria’s Lamentations throughout.

        Available in the set of Three Motets after Victoria, linked here – not available singly.

        Versa est in Luctum

        #MM2034a

        Number one of Twist’s “Victoria Triptych”. My harp is tuned for lamentation, and my flute to the voice of those who weep. Spare me, O Lord, for my days are as nothing (trans. Miguel Iglesias)

        Available in the set of Three Motets after Victoria, linked here – not available singly.

        Three Motets After Victoria (Victoria Triptych)

        #MM2034

        This “Victoria Triptych” was written in 2011, the 400th anniversary of the death of the great Spanish polyphonist, Thomas Luis de Victoria. For unaccompanied SATB choir, and with divided parts, these wonderful Latin motets remind us that the great motet tradition is still vibrant and flourishing. The individual titles, recorded by the choir of St James King Street, Sydney, one of three commissioning choirs, are:

        Versa est in Luctum

        Lamentation of Jeremiah

        Hombres, Victoria, Victoria!

        Christ the Lord is Risen Again

        #MM0609

        An energetic and exuberant paean on an Easter text by sixteenth century German writer, Michael Weisse. The music bowls along in changing meters from 4/4 to 7/8, 6/8 and 2/4. The choral parts are often in rhythmic unison or doubled by the keyboard, so the music is memorable and easy to sing by choirs of all abilities. There is a great balance between the asymmetry of the rhythm and the repetition of sections. The accompaniment lies “under the fingers” and is easily accessible to most church accompanists. This piece is suitable for any part of the Easter season, but particularly for Easter Sunday. Its dance like character also makes performance possible in choral programs outside religious services.This simple and vital anthem solves the problem of finding Easter music that is vibrant and energetic rather than grand and triumphant. If your choir likes John Rutter’s Easter music you may also like this piece, which makes references in the keyboard part to the well-loved hymn tune commonly sung to the same text.

        This recent work by Australian composer/choral conductor Graeme Morton is an energetic and highly rhythmic setting of this familiar Catherine Winkworth translation of a sixteenth-century German hymn text.  The frequently changing meters from 4/4 to 7/8 to 6/8 add syncopation and rhythmic energy, a fitting complement to this joyful text.
        The melody is memorable, and the composer has creatively, yet subtly alluded to the familiar Easter hymn tune Lyra Davidica in the instrumental introduction and interludes. Aside from some moderate rhythmic challenges, the choral writing is quite accessible, and range and tessitura are easily within the reach of the average church or high school choir. The accompaniment, while best suited to the organ can also be performed on the piano.  
        This piece is suitable for the season of Easter and would make a great anthem for Easter Sunday for those churches that choose not to prepare works with brass ensemble. Highly recommended. (Review in the American Choral Director’s Association Journal)

        Erratum – In bar 57 the bass part should be 2 b-naturals followed by 2 b-flats, as in bars 27, 78, 106.

        Voice Of The River

        #MM2041

        Orlovich has a keen ear for the way different texts resonate with each other. This piece uses the traditional Latin text Dulcis Jesu Memoria and Victor Carrell’s Voice of the River which draws on a series of images which address “love” as it is found in some of its myriad manifestations. Commissioned by Graeme Morton’s St Peters Chorale and suitable for a good high school or college choir. It could also be used in church situations as an anthem.

        Lo, There Is Light!

        #MM2042

        Combines the text of Brightest and Best of the Sons of the Morning with two verses of Australian bush poet “Banjo” Paterson’s Sunrise on the Coast. Excellent Christmas piece. This work was commissioned in 1996 by The Harvard University Choir.

        Lux Aeterna

        #MM2060

        Though written in an advanced idiom, this work was commissioned and first performed by Graeme Morton’s St Peters Chorale, a high school choir. The composer writes “musically, this work has been much influenced by Renaissance choral music…my aim above all things was to draw upon a tradition of writing that is solemn, richly spiritual but ultimately life-affirming”.

        The sound file was recorded by the Sydney Chamber Choir, conducted by the composer, and from a CD released through ABC Classics. Lux Aeterna is recorded on the Sydney Chamber Choir CD Songs for the Shadowland.

        Two Kyries From The Winds Of Heaven (SATB)

        #MM2006

        These two songs are unusual, fresh and vivid. They resonate with ideas drawn from several religious philosophies. The composer sanctions performances within the context of Christian worship as well as any philosophic tradition which values the soul. Includes harmonic overtone singing.

        The individual parts are very simple and a large and sonorous ensemble is preferred. Mixed voices a cappella.

        Recording from”Honour the Earth” CD published by Sarah Hopkins
        Performed by Canticum conducted by Emily Cox

        Simple Gifts (SSAA)

        #MM0911

        A four-part arrangement for treble voices of the traditional American folk song that concludes with the most magical and ethereal sounds!

         

        Also available for SATB

        O Come, O Come, Emmanuel

        #MM0601

        Suitable for college or church choir. A strophic setting that builds to an exciting climax. Appropriate for Advent or Christmas use.

        This setting captures the sense of longing that can be found in the text.

        My Shepherd Will Supply My Need

        #MM0603

        David Koering has arranged this traditional hymn in a somewhat “colonial” style, reflecting the origins of the beautiful melody.

        Crossing The Bar

        #MM0604

        An evocative setting of Tennyson’s text. Suitable for high school, community and church choirs.

        And Loud We Sing And Long!

        #MM0605

        This carol for Christmas manages to combine several opposing concepts. It mentions the traditional winter cold of Christmas and the summer heat which is part of the Australian Christmas experience. It also combines “scat” syllables in a style which is definitely Classical. This piece can be sung by any church or college ensemble which sings the standard repertoire of Christmas. Highly recommended!

        We Welcome Summer

        #MM0410

        A wonderful piece which welcomes “the glorious blessing of light” asking us to “pour out our darkness into the glorious forgiving light”. Would suit a good college or church choir. It could also be used as an Epiphany anthem with a difference, since Epiphany appears in the middle of summer in the Southern Hemisphere.

        Three Carols

        #MM0502

        Three simple carols for women’s or children’s choir using the medieval texts Terly Terlow, When Crist Was Born of Mary Free and I Sing of a Maiden.