New Titles

Kuo Ying-Nan and Kuo Hsiu-Chu were Amis, one of the indigenous peoples of Taiwan, husband-and-wife folk music duet who specialized in traditional Amis chants. They are internationally known for their performance of a traditional Amis Palang song, alternatively called "Weeding and Paddy Field Song No.1", "Elders' Drinking Song", and "Jubilant Drinking Song", which was once plagiarized by the French government and EMI for the hit single "Return to Innocence" used in Atlanta Summer Olympics in 1996.
This arrangement for mixed choir was commissioned by the Taipei Century Chorus. Composer combined dance and percussion in this song to create a joyful drinking atmosphere of the Harvest Festival celebrated by the Amis peoples.
* Amis is one of the officially recognized indigenous peoples of Taiwan

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The Taiwanese aboriginal tune has been superbly arranged to create a show-piece for the men's choir. Ever true to the five-tone modality indigenous to the Orient, the result is a unique style and authentic flavor. The Melody of Gao Shan Qing typifies the lively yet tender music of the Taiwanese aborigine people and reference Taiwan topography and tribal culture. The tune became the theme of the 1949 movie Happenings in Ali Shan. Over the last sixty years, it has become one of Taiwan's most recognizably indigenous songs.

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Numerous composers have been drawn to the haunting melody of the popular Chinese folk song "Jasmine Flower." This setting seeks to restore the tune to a more authentic stylistic palette with a few Western elements. Originally scored by composer Rogers for SATB choir this new arrangement for SA choir, flute and optional plucked instrument is a wonderful addition to the treble repertoire. Includes translation and transliteration.

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Mamayog Akun is based on a traditional courting song from Mindanao and is typical of Muslim folk music. These types of songs, like the traditional chants and dances, are characterized by vivid colors, rhythmic sounds, and movements, and reflect the influence of Arabian and Indo-Malaysian cultures. This version of the piece is written by Fabian Obispo (Philippines) and is part of the Cantemus (IFCM) Series.
By the end of the 12th century, traders and settlers had introduced the Islamic faith to the Philippine islands. Today, more than one million Filipinos are Muslims. The Islamic lifestyle that has been preserved throughout the centuries is quite different from that of the majority of the Filipino population.
The word Maranao means "People of the Lake," and refers to the indigenous people who inhabited the lands around Lake Lanao, a predominantly Muslim region on the island of Mindanao. The Maranaos are part of the wider Moro ethnic group, who constitute the sixth largest Filipino ethnic group.
The Philippines, with more than 90 million people, is the twelfth most populous country in the world. Its distinctive musical culture has been formed by the fusion of indigenous, Spanish, and American musical cultures. As a former colony of both Spain and the United States, its music and social institutions bear the influence of both colonial eras. The country gained its independence from the USA in 1946. The choral culture of the Philippines is vigorous and of a high standard with several choirs garnering considerable international recognition.
- Andre de Quadros and Jamie Hillman

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This is a popular piece among Filipino choirs as well as those of their nationalities. Derived from a sun chant of the Maguindanao tribe, the people call on the sun gold, Ilay, to end the rain that is covering the land. The piece constantly gains energy and power as the sun begins to shine. The Maguindanao people come from a Muslim-majority part of the Filipino island Mindanao.

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The Gift of Life is a six-movement choral celebration of the living earth and its creation. Setting a variety of sacred texts, including new words by the composer, the work includes the mystical "Hymn to the Creator of Light", for double choir, as its central canticle. The surrounding movements offer a kaleidoscope of moods, from the spirited "O all ye works of the Lord" to the majestic "O Lord, how manifold are thy works" and culminating in the inspirational "Believe in life". The accompaniment is available in two versions: full orchestra or chamber ensemble.

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Composer Michele Josia completed his degree in choral conducting at the Music Conservatory "L. Refice" in Frosinone (Italy) and the middle composition degree at the Music Conservatory "O. Respighi" in Latina (Italy). His choir won numerous international choral competitions. This "Santus" is from his famous "Missa Brevis". Rhythmical and powerful music together with body percussion and handclaps create a special effect to humble the listeners. It is a high-level work that requires high abilities of the choir singers.

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Composer Eduardo Andres Malachevsky was born in Argentina. He is both a composer and a choral conductor. "Do Not Pass by Like a Dream" comes from the suite "He comes" that is based on the poetry of Tagore. The song is filled with mystic atmosphere marked by the elements of shadow, rain, wind, and dream. The music has a magic power to let us travel between the reality and the fantasyland. The piece was awarded by The Esoteric & The POLYPHONOS choral composition competition in 2010 and the TRINAC (Tribuna Nacional de Compositores) in 2011.

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Composer Elizabeth Maconchy studied with Vaughan Williams in London (UK) and later in Prague (Czech Republic). The phrase "I am not yet born..." is repeated many times throughout the whole piece expressing the human beings' fear of music. Various rhythms and tempi, a wide range of dynamics as well as temporary accidentals create an unstable atmosphere. Junior high school's choir that sang this song in the Whole Japan National Competition was awarded a gold medal.

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"[Sur les lagunes] the third song in Berlioz's cycle Les Nuits d'ete, was composed before September 1841 and it exits in two version: One version in G minor, is for voice (soprano or tenor) and piano and another, in F minor, is for voice (mezzo soprano or baritone) and orchestra. The present transcription is based on the version with piano. Theophile Gautier (1811-1872) gave his poem the title 'Lamento: La Chanson du pecheur.' This character of lament is woven through the entire piece in the form of a short sighing motives. In spite of some surprising turns, such as in bars 14-15, where a modulation from G minor to B occurs, the harmony moves in small intervals, which can be clearly observed in the voice part was composed so that the principal melody would be reflected in many subsidiary melodies, without the resulting micropolyphony having to stray from the estabilished harmony. Nonetheless, there are a few passages where I have employed what Debussy called 'grisaille,' that is, a form of discreet concealment."

- Clytus Gottwald

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"I made an attempt in composing these choral songs. The attempt is rather a adventurous one in vocal music work in general. And you will find ornamental figuration as experimental passageworks in every part of the songs.
Such instrumental passages as frequently appear in the songs have come from my pursuit of the possibility of expressing in a cappella style and are indispensable to the realization of my intrinsic images.
All songs in the suite have many theatrical elements, which means that you can hear a type of performing arts created simply by voices. I intended to evoke visual images from the audience by vocal expressions. You will easily understand it from the chord progression and the colourfulness elicited by the modulations of 'Flower Coloured Chameleon,' the third piece of this suite.
The main image which features female choirs is pureness, but it is expected that more female choirs able to allure the audience by their variety of expressions will appear. I would like these songs to be performed by such fascinating female choirs as can sing with humorous and bravely masculine expressions as well as beautifully and elegantly"

-Ko Matsushita (Translated by Hirohisa Kanno)

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The composer, a member of Higurashi Choir, composed these three songs for the wedding of the choir's fellow member. The songs are short, not difficult and very expressive at the same time. They have been chosen for the open singing in the 24th Wakayama Choral Workshops. People can sing without any accompaniment, with piano or any other instrument. Now both two parts version and mixed choir version are available.

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Composer Stroope arranged the famous work "Jupiter" by composer Holst presenting a well-known choral piece "Homeland". Now the male choir version is also available. While listening to the piece, you are surrounded by a warm atmosphere that fills your heart with a nostalgic melody of the song.

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"Shall I compare thee?" is a collection of ten exquisite settings for mixed voices, specially commissioned to celebrate the four hundredth anniversary of William Shakespeare's death. The volume pays tribute to Britain's greatest writer, presenting a selection of his finest texts set to music by some of today's most accomplished choral composers.
- Variety of composers, including Bob Chilcott, Alan Bullard, Howard Skempton, Cecilia McDowall, and Will Todd
- Accompanied and unaccompanied settings
- Well-known Shakespeare texts, including "It was a lover and his lass", "If music be the food of love", and "Shall I compare thee to a summer's day?"
- Beautiful arrangement of Walton's "Touch her soft lips and part"
- Moderate difficulty - ideal for adult and youth choirs

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Hark, hark, the lark is a collection of eight exquisite settings for upper voices, specially commissioned to celebrate the four hundredth anniversary of William Shakespeare's death. The volume pays tribute to Britain's greatest writer, presenting a selection of his finest texts set to music by some of today's most accomplished choral composers.
- Variety of composers, including Bob Chilcott, Alan Bullard, Stephen Hatfield, and Andrea Ramsey
- Two or three vocal parts (SA/SSA)
- Accompanied and unaccompanied settings
- Well-known Shakespeare texts, including "When icicles hang by the wall", "Blow, blow, thou winter wind", and "And will he not come again?"
- Moderate difficulty - ideal for adult and youth choirs

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"Goin' home" is the famously arrangement based on the Czech composer Antonin Dvorak's famous "Largo" theme from his Symphony No. 9, Op. 95. This choral work is simple, but rich with vocal harmonies. The piano accompaniment creates an emotional performance.

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Richly expressive, an old poem is treated with deep, rich harmonies and becomes a moving closer for concerts or festivals. Written with an ear to the a cappella glee club tradition, the incorporation of Dvorak's Going Home connects to the heart of the audience and wraps them in a warm embrace of beautiful sound. Essential repertoire for men's chorus!

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Recorded by Andrea Bocelli and Sarah Brightman, this new arrangement includes both Italian and English lyrics. The soaring vocal lines are beautifully supported by the accompaniment. Perfect for graduation

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This beautiful text tells a lovely story of a simple snowfall. Imagine the glow of the moon permeating the darkness of a chilly winter evening. From beginning to end, this is winter's invitation to our imaginations. This setting of the beautiful melody by Smetena from The Moldau is a treasure for treble voices.

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In conjunction with the IFCM (International Federation for Choral Music) Carus is publishing the series Carmina mundi, which consists of traditional works from various regions of the world. Each region is represented by one volume for mixed-voice choir and one for equal voices. The editors are experts in the music in their respective fields and are thoroughly familiar with its characteristic features. These choral collections present the world's musical treasures, and encourage singing together to transcend beyond national frontiers.

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Madrigals by the Renaissance composer Monteverdi provided the inspiration for my own Madrigali. Symbolic images of flames, burning and fire recur often in Italian love poems from this era and my cycle on texts employing this fire motive blends stylistic musical features of the period (word painting, modality, bold harmonic shifts, intricate counterpoint, augenmusik, etc.) within a contemporary compositional idiom. The music emanates from a single, primal sonority (the "Fire-Chord") which opens the piece and is found extensively throughout all six movements in myriad forms and manipulations, providing motivic unity to complement the poetic. This cycle of madrigals has been designated an American Choral Masterpiece by the National Endowment for the Arts.
--Morten Lauridsen

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The English composer and lutenist was a prolific writer of songs and madrigals. This work expresses sadness at the loss of a love, and gives your singers a chance to develop important ensemble skills.

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