Fraction Anthem

According to John

Fraction Anthem

For the Music of Creation

Set 6-Michael Burkhardt brings his energetic style to these accompaniments for congregational hymns. While not difficult for either brass players or organist these arrangements are effective and inspiring. Contents: Blessing and Honor Come Worship God Built on the Rock God of Grace and God of Glory Guide Me O Thou Great Jehovah My Hope Is Built on Nothing Less O Sons and Daughters Let Us Sing

3 Easter Pieces for Brass Quartet Timpani and Organ-Experienced church musician Daniel Burton brings creativity and practicality to bear in this delightful set of three tunes. The organ parts are of medium difficulty the brass parts less so leading to an easy put-together and very satisfying result.

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

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

From Black Pierrot-From the large work Black Pierrot Jazzonia (1923) describes the scene in a Harlem café of the 1920s in which “six long-headed jazzers play ” and beautiful girls dance. After a short introductory section the music moves into a lively ragtime—complete with drum set—that forms the background for the remainder of the piece. Altogether it is something of a poetic and musical glance at the era of the Harlem Renaissance in which so much African-American music art and poetry emerged as vital forces in the arts. Duration: 4:30

Commissioned by conductor Paul Crabb for the University of Missouri University Singers and the Mizzou New Music Ensemble (Stefan Freund director) with funding from the Sinquefield Charitable Foundation through the Mizzou New Music Initiative. Based on seven poems by Langston Hughes it is scored for SATB Chorus (divisi) and Chamber Ensemble (Flute Clarinet Violin Violoncello Percussion and Piano). Duration: 32:30 Contents: 1. A Black Pierrot 2. Breath of a Rose 3. Jazzonia 4. Justice 5. Song for a Dark Girl 6. Silhouette 7. To a Dead Friend

Arirang is considered the unofficial national anthem of South Korea. This setting for lute and piano features three distinct sections: a gentle and reflective beginning a flowing and lyrical middle section and a grandiose conclusion. Duration: 5:00

The composer dedicated this to Dr. Wilma Jensen. The Fanfare portion is for solo trumpet stop dialoguing with full organ. Snappy but majestic the contemporary tonal language adds to the flair. The Cortège theme is stated twice first in minor then major. A snippet of the Fanfare returns the trumpet having the last word amid some pedal motifs (one in octaves). Duration: 3:00

My People Are Rising

Liebst du um Schönheit-Do You Love for Beauty? (Liebst du um Schönheit) is the second of Mahler's Rückert songs arranged by Stanley M. Hoffman for mixed chorus the first one being Into This World I Came As a Lost One (Ich bin der Welt abhanden gekommen) 5755. This latest arrangement features a new English singing translation by the arranger and sumptuous Romantic harmonies inspired by the piano accompaniment provided by the composer. Duration: 2:50

Lasset uns den Herren preisen-A soaring joyful unaccompanied motet in F major. (Keyboard reduction provided.) Notated on five staves with the soprano 1 and 2 on their own staves. However all parts below that also divide very occasionally. Reger wrote this as an Easter motet but it is a stunning piece with a wide dynamic range and many possible uses. Largely homophonic with a few imitative entrances. Duration: 2:00

From Songs for the Journey-This movement from Songs for the Journey is based on Psalm 31:5 and an excerpt from Confessions by St. Augustine. Duration: 3:00

Longfellow's poem The Day is Done speaks of evening as the time when poetry and music come alive and soothe the cares of day. The musical setting presents the opening lyrics in the children’s voices: The day is done and the darkness falls from the wings of night. These phrases or slight variations thereof return as refrains throughout the song. The verses alternate between the men’s and women’s voices with the children interjecting refrains or offering commentary in the background. Finally the children interrupt the SATB dialogue with exclamations of a song! a song! a song! These lead to the climax of the song given to the children’s chorus singing And the nightshall be filled with music. All voices then join together in celebration: Our song shall fill the night. The accompaniment (originally composed for piano later adapted for flute strings and percussion) delights in text-setting with sparkling arpeggios depicting the celestial harmonies and filigree patterns for the star-filled night sky. Duration: 5:00

From I've Known Rivers

From I've Known Rivers

Flourish for Fanfare was commissioned by Fanfare CWO Groningen to celebrate their 50th anniversary in 2018. It opens with a fanfare on flugel horns and trumpets under saxophone trills which gradually subside to introduce a trio for the trombones. This builds and leads back to the opening fanfare which is interrupted by a slower hymn-like passage on lower brass. A saxophone chorale follows and is repeated by the full band leading to a dramatic molto vivo . The trombones then introduce a new theme derived from their original trio which is developed until the horns take centre stage and introduce a change of mood. This builds to a climax before a contrasting themeemerges on saxes and euphoniums. The trombone theme then returns to introduce a triumphant version of the saxophone chorale which drives the work back to a coda based on the opening fanfare.