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Magnificat & Nunc dimittis : The Blues Service

Magnificat & Nunc dimittis : The Blues Service

New settings of the two evening canticles which incorporate jazz elements, including harmony in voice parts and organ and many ‘blue’ notes. Despite these jazz elements, the music is very approachable, with natural syncopation and mostly homophonic writing. It is also available for mixed choir (ISMN 979-0-060-13011-3). Either version would be enjoyable and rewarding additions to a church choir’s modern liturgical repertoire, or indeed concert repertoire of all choirs.

SEK 96.00
1

Magnificat and Nunc dimittis : The Blues Service

Magnificat and Nunc dimittis : The Blues Service

New settings of the two evening canticles which incorporate jazz elements, including harmony in voice parts and organ and many ‘blue’ notes. Despite these jazz elements, the music is very approachable, with natural syncopation and mostly homophonic writing. It is also available for upper or lower unison voices, with occasional optional divisi (ISMN 979-0-060-13012-0). Either version would be enjoyable and rewarding additions to a church choir’s modern liturgical repertoire, or indeed concert repertoire of all choirs.

SEK 102.00
1

Mu Váibmu Vádjol Doppe

Mu Váibmu Vádjol Doppe

The hymn Mitt hjerte alltid vanker (My heart always lingers) is one of the most popular Scandinavian hymns. In this arrangement, elements from the yoik tradition have been included, as well as a Northern Sami translation of thefirst verse, and the last verse in Norwegian language. The original lyrics were written in Danish by Hans Adolph Brorson in 1732.The yoik elements include the use of so-called yoik syllables (syllables with nomeaning; pronunciation guide is included) as well as a yoik inspired melody in the opening bars. The yoik melody is then reused in several places. The piano part could be performed as written or more freely, using the chordsymbolsgiven as a guide. It is also possible to perform this arrangement a cappella.

SEK 80.00
1

Sacred

Sacred

Sacred was originally part of a Mass setting in which the composer combined the traditional Latin Mass movements with elements from the Sámi yoik tradition, other Norwegian folk music and traditional Finnish music.This version for upper voices was recorded by Cantus on their album Northern Lights and is very approachable for choirs of all abilities. There are no words, only ‘yoik syllables’ with no meaning, for which apronunciation guide is included. Fjellheim’s distinctive and approachable musical language, which many will recognise from the use of his music at the opening of Disney’s Frozen, will appeal to both singersandaudience.

SEK 75.00
1

Sonnet 116 : Let me not to the marriage of true minds

Sonnet 116 : Let me not to the marriage of true minds

William Shakespeare’s famous sonnet (‘Let me not to the marriage of true minds Admit impediments’), often used at weddings and civil ceremonies, is here set to beautiful, fresh music by young composer Ed Rex. The mostlyhomophonic setting employs the composer’s distinctive close harmonies, which, together with short phrases and natural rhythm, serve to add greater meaning to the poignant and moving text. Spells of parallel and contrary motion inthe inner parts are intended in some way to reflect important elements of the commitment two people make to each other in marriage or partnership. Sonnet 116 is sure to add an unforgettable moment to a happy couple’s specialday,and would also be an excellent addition to concerts using a theme of love.

SEK 80.00
1

Njoktje

Njoktje

‘Njoktje’ is the South Sámi word for a swan and this music is based on an old yoik (a traditional Sámi form of song) which creates and ‘audio image’ of this beautiful bird, rather thansimply describing it. In this piece, which was recorded by Cantus on their album Northern Lights, elements from the original yoik have been used together with the composer’s own experience of the bird, as well as his ownmusical language.   An independent, four-part yoik ostinato in the alto 2 part underpins much of this work, and that, combined with the flowing melodies and close harmonies, creates a unique and veryattractivesoundscape.   Fjellheim’s distinctive and approachable musical language, which many will recognise from the use of his music at the opening of Disney’s Frozen, will appeal to both singersand audience.

SEK 80.00
1

Kyrie

Kyrie

Kyrie, in the original version, was part of Fjellheim’s album called Biejjien vuelie - Solkvad. “Biejjien vuelie” menas “Yoik of the sun” in South Sámi language. 'Solkvad' (or 'Sólarjólb' in the original Norse language), is apoem included in the old Norse poem collection Den eldre Edda. The music on the album was inspired by both the Norse poems and the Sámi yoik tradition.The Sámi culture is mentioned on several places in the old Sagas, andindicates that the society in the Nordic countries around year 1000 was indeed multi-cultural. The poems selected from the Norse literature had a certain sacred atmosphere; that is why they were combined with elements fromtheLatin Mass for the album.One fine example for this combination is Kyrie. The words “Kyrie eleison” are used both in Latin and South Sámi language, with the Sámi version having another rhythm and differently stressedsyllables.

SEK 86.00
1

Te Deum : Book of Common Prayer, 1662

Te Deum : Book of Common Prayer, 1662

This setting was composed for the choir of the Chapels Royal, HM Tower of London, on the occasion of the Queen’s Golden Jubilee in 2002. MacMillan approaches this well-known text (1662 Book of Common Prayer) in a refreshingly original way. As so often in his choral music, he requires basses with very low notes (bottom D). The work also needs an agile soprano soloist at the beginning and a group of soprano soloists later. MacMillan’s predilection for melismatic writing is effectively set against syllabic word setting in the lower parts at the beginning. The work then continues with a mixture of these elements and a marvellous contrapuntal passage leading to a climax at ‘thinehonourable, true and only Son’. The organ part is not difficult but requires a keen rhythmic sense and includes passages of MacMillan’s often-used ‘filigree’ figuration. This is a highly effective and approachable work that would be easily performable by a competent choir looking for a fresh approach to a familiar liturgical text.

SEK 90.00
1