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Die Forelle (D. 550, Op. 32) is among Schubert's early contributions to the genre of the Lied, a 19th-century German art song for solo voice and piano. Schubert composed over 600 Lieder, and although many of them became popular, Die Forelle was  and still is  one of the most widely recognized and performed. Composed in 1817, Die Forelle takes its text from a 1783 poem of the same name by Christian Friedrich Daniel Schubart. In it, a casual observer stands on the banks of a tranquil stream, admiring the movements of a "frisky" fish as it darts below the surface. The tone of the music changes when, to the observer's horror, a fisherman puts an end to both his and the trout's merriment by snagging the fish on his hook and reeling him in. In a final stanza which Schubert omits from his setting, we learn that Schubart's poem is actually a metaphorical story intended to warn young women against the trickery of their young male suitors. As in Gretchen am Spinnrade and many other Lieder, Schubert "characterizes" the piano accompaniment, in this case through both the upward-winding sixteenth-note triplets representing the wriggling movements of a fish, and the abrupt shift towards agitated rhythms in measure 33 when the fish is hooked. The song gained such swift popularity that only two years after its composition in 1817, Schubert was commissioned to write an instrumental chamber work incorporating music from Die Forelle. The result was his Trout Quintet of 1819 (Piano Quintet in A Major, D. 667), the fourth movement of which is a set of variations on the Die Forelle tune.

This arrangement is available for mixed choir (SATB) and 3-part tenor-bass choir (TTB) published by Tully Road Music, and 3-part treble (SSA) voices published by Hal Leonard Corporation, 10500871.

Die Forelle

SATB Octavo

Instrument

This is an orchestration by D. Jason Bishop of the 1844 Gloria Patri
  (Glory Be to the Father) by Charles Meineke, as printed in The United
  Methodist Hymnal (page 70) and in 174 other hymnals. Instrumentation is
  2.2.2.2 - 2.3.3.0 - timp/perc - org - strings - choir. PDF includes full
  score and all parts.

Gloria Patri

Chamber Orchestra Score & Parts

"Carol of the Drum," also known as the "The Little Drummer Boy," is a Christmas classic written in 1941 by American composer Katherine Kennicott Davis. It was first recorded by the Trapp Family Singers in 1951 and later in 1958 by the Harry Simeone Chorale. The lyrics focus on a poor young boy who is summoned by the Magi to the birthplace of Jesus. Having no gift suitable for the infant king, he asks Jesus's mother Mary if he can play his drum for him instead. Arranger D. Jason Bishop gives the carol a fresh and accessible treatment in this charming arrangement for SATB chorus, snare drum, triangle, and piano. Separate parts for snare drum and triangle also included.

Carol of the Drum

The 1941 classic "Deep in the Heart of Texas" is an American popular song about the state of Texas with lyrics by June Hershey and music by Don Swander. It has been recorded in multiple versions, five of which were on the Billboard charts in 1942. Several university bands in Texas perform the song before football games including the University of Texas Longhorn Band and the Texas Christian University Horned Frog Marching Band, and country music singer and native Texan George Strait has the song played before he takes the stage at concerts. This simple version for SATB voices and piano was arranged by D. Jason Bishop for the Texas Boys Choir.

Deep in the Heart of Texas

Gretchen am Spinnrade (D. 118, Op. 2) is one of Schubert's first, most successful, and most widely recognized accomplishments in the genre of the Lied, a 19th-century German art song for solo voice and piano. Schubert composed over 600 Lieder, but the breadth and compositional maturity of this 1814 example are an early indication of his gift for the form. The text is a strophic poem taken from Johann Wolfgang von Goethe's play Faust, depicting a scene in which Gretchen, sitting at the spinning wheel (spinnrade), daydreams about Faust, a man with whom she is infatuated though she has only just met him and barely knows him. Schubert employs the first stanza as a refrain, repeating the text ("My peace is gone/My heart is heavy/I will never again find them") to heighten the dramatic intensity as Gretchen becomes increasingly overwhelmed by her feelings. The piano accompaniment, with its relentless sixteenth notes in the right hand, depicts both Gretchen's accumulating madness and the perpetual motion of the spinning wheel. Sixty-five measures pass before the pattern breaks, when Gretchen is so overcome by her emotions that she stops spinning while imagining Faust's kiss. It then takes three tries to get the spinnrade turning again, which we hear in measures 69-71 before the spinning figure resumes in measure 72 to accompany Gretchen's doleful refrain. 

This arrangement is also available for 3-part tenor-bass choir (TTB) published by Tully Road Music, and 3-part treble (SSA) voices published by Hal Leonard Corporation, 00140699.

Gretchen am Spinnrade

The 1941 classic "Deep in the Heart of Texas" is an American popular song about the state of Texas with lyrics by June Hershey and music by Don Swander. It has been recorded in multiple versions, five of which were on the Billboard charts in 1942. Several university bands in Texas perform the song before football games including the University of Texas Longhorn Band and the Texas Christian University Horned Frog Marching Band, and country music singer and native Texan George Strait has the song played before he takes the stage at concerts. This simple version for SSAA voices and piano was arranged by D. Jason Bishop for the Texas Boys Choir.

SSAA Octavo

"Standchen" (which means "serenade") is No. 4 of Franz Schubert's song cycle Schwanengesang ("Swan Song") (D. 957), written for solo voice and piano accompaniment and published posthumously in 1829. The text is a poem by Ludwig Rellstab in which the singer exhorts his lover to make him happy. This arrangement transfers the piano accompaniment to SATB voices using vocables to create a unique and entirely unaccompanied version of the piece. The PDF includes a second version of the score with piano reduction, if desired for rehearsal purposes.

Standchen

Robert Schumann's song cycle Myrthen was a wedding present to his wife Clara Wieck. Myrthen, or "myrtles," were the flowers traditionally associated with a marriage celebration. Schumann completed the Myrthen cycle in 1840, totaling 26 Lieder (songs for solo voice and piano), with texts by prominent 19th-century German poets such as Heinrich Heine, Johann Wolfgang von Goethe, and others. "Widmung," which means "Dedication," is the first song in the cycle, based on a love poem by Friedrich Ruckert (1788-1866). The frequent repetition of the word "you" in the text, along with the soaring melody and undulating arpeggios that comprise the music, all serve to convey the composer's state of blissful fulfillment as he contemplates marrying his beloved. 

This arrangement preserves Schumann's original piano part as well as places the melody prominently in the top tenor voice. The lower voices provide supporting harmonies informed by the accompaniment, moving largely in parallel motion, but with their own counter-melodic value. It was premiered by the Young People's Chorus of Erie Young Men's Ensemble at the 2012 World Choir Games. The arrangement is also available in a version for SSA voices.

Widmung

TTB Octavo

Franz Schubert's Erlkonig, composed in 1815 when he was just 18, is one of the most dramatic and enduring works in the art song repertoire. Based on Johann Wolfgang von Goethe's eerie and supernatural ballad of the same name, the piece tells the story of a desperate father racing through the night with his ailing child, who is haunted by the alluring yet sinister voice of the Erlkinga mythical harbinger of death. Schubert's masterful use of the piano evokes the relentless gallop of the horse, while the solo vocalist must embody four distinct characters: the narrator, the father, the child, and the Erlking himself. With its intense narrative, emotional depth, and considerable musical demands, Erlkonig remains a powerful example of early Romanticism and a defining work in Schubert's prolific output. Although labeled as Opus 1, Erlkonig was actually Schubert's second Lied, preceded by his comparably iconic Gretchen am Spinnrade which he composed in 1814 (just three months before his 18th birthday) but was later designated as Opus 2. 

This arrangement marks the first time Erlkonig has been made available for SATB chorus with the original piano accompaniment intact, honoring Schubert's dramatic intensity and virtuosic writing while allowing the full choir to sing all of the words of all four characters in the poem. The result is a thrilling reimagining that preserves the urgency and haunting atmosphere of the original Lied but expands it to the rich and varied palette of the choral ensemble. Conductors are encouraged to explore the diversity of tone colors possible in a mixed-voice texture to distinguish among these characters, which are indicated throughout the setting as "Narrator, Father, Son, and Erlking." Ideal for advanced choirs seeking both challenge and depth of expression, this arrangement opens a new chapter in the performance life of a Romantic masterpiece.

Erlkonig

The Gospel Canticle, also known as the Canticle of Simeon or by its incipit Nunc dimittis, is found in the Proper of the Office of Compline and taken from the Gospel of Luke 2:29-32. The Canticle of Simeon is one of the three "Evangelical Canticles" along with the Canticle of Mary (Magnificat) and the Canticle of Zachary (Benedictus). In the Canticle of Simeon, Luke tells the story of a "righteous and devout" man named Simeon who was "looking forward to the consolation of Israel." The Holy Spirit had promised Simeon that he would not die before seeing the Messiah, and thus guided him in his old age to the temple where Joseph and Mary had brought the infant Jesus. Luke writes that Simeon took the child in his arms and proclaimed the words of this canticle, the text of the Nunc dimittis found above.

One of the celebrations within the daily cycle of the Divine Office in the Roman Catholic Church, Compline is the office immediately following Vespers, and intended for observance at the completion of the day, or prior to sleep. Within Compline, as within each of the offices of the liturgical hours, there exists a body of corresponding monophonic plainchant in the form of psalms, hymns, and antiphons, and smaller chants such as versicles, responsories, canticles, and others. A wealth of polyphonic settings also exists of many of these chants and texts, spanning all periods of music history. Most of the sacred Latin choral repertoire originates in some segment of Roman Catholic liturgy, and since the hours of the Divine Office each have an assigned corpus of texts and plainchant, a sizable quantity of that repertoire has its roots in the traditional celebrations of the Divine Office. Moreover, the Marian Antiphons, which are among the more popularly performed sacred Latin choral texts, are specifically connected to the office of Compline. 

Omnes compleant: A Conductor's Resource Guide to the Office of Compline (Norman, OK: University of Oklahoma, 2006) is a doctoral dissertation by the editor of this motet designed to offer resources for the conductor or choral musician interested in constructing services or concert programs based on the music of Compline. Serving primarily as a resource for the integration of Compline plainchant with performances of related polyphonic works, the document provides an historical overview of the evolution of the office of Compline; original editions of Compline plainchant; original translations of all Latin texts; a catalog of important polyphonic settings of the Compline psalms, hymn, antiphons, and selected other chants and texts; and an example concert program for a Compline-centered performance, complete with original performance editions of twelve polyphonic works, including the present edition, "Nunc dimittis" by early Renaissance composer Costanzo Festa (c. 1485-1545).

Nunc dimittis

"Du bist die Ruh'" (D. 776; Op. 59, No. 3) is one of many Lieder for solo voice and piano written by Franz Schubert (1797-1828), with text by Friedrich Ruckert (1788-1866). Although Ruckert did not originally give the poem a title, Schubert titled his song after its first line, "Du bist die Ruh'," and Ruckert later titled his poem "Kehr ein bei mir," or "Stay with me." With a simple yet beautiful melody, sung with a seemingly uninterrupted legato, Schubert conveys the sense of "calm" and "peace" the poet feels in the companionship of his beloved. So many of the Lieder by 19th-century composers like Schubert and Schumann, chief proponents of the genre, lend themselves well to rearrangement for multiple voices. Here, D. Jason Bishop makes one of the most frequently performed German Lieder available to treble ensembles in a TTB arrangement that preserves both the melodic integrity of the song as well as its original piano accompaniment. It is also available in TTB.

Du bist die Ruh'

SSA Octavo

The 1941 classic "Deep in the Heart of Texas" is an American popular song about the state of Texas with lyrics by June Hershey and music by Don Swander. It has been recorded in multiple versions, five of which were on the Billboard charts in 1942. Several university bands in Texas perform the song before football games including the University of Texas Longhorn Band and the Texas Christian University Horned Frog Marching Band, and country music singer and native Texan George Strait has the song played before he takes the stage at concerts. This simple version for TTBB voices and piano was arranged by D. Jason Bishop for the Texas Boys Choir.

TTBB Octavo

Gretchen am Spinnrade (D. 118, Op. 2) is one of Schubert's first, most successful, and most widely recognized accomplishments in the genre of the Lied, a 19th-century German art song for solo voice and piano. Schubert composed over 600 Lieder, but the breadth and compositional maturity of this 1814 example are an early indication of his gift for the form. The text is a strophic poem taken from Johann Wolfgang von Goethe's play Faust, depicting a scene in which Gretchen, sitting at the spinning wheel (spinnrade), daydreams about Faust, a man with whom she is infatuated though she has only just met him and barely knows him. Schubert employs the first stanza as a refrain, repeating the text ("My peace is gone/My heart is heavy/I will never again find them") to heighten the dramatic intensity as Gretchen becomes increasingly overwhelmed by her feelings. The piano accompaniment, with its relentless sixteenth notes in the right hand, depicts both Gretchen's accumulating madness and the perpetual motion of the spinning wheel. Sixty-five measures pass before the pattern breaks, when Gretchen is so overcome by her emotions that she stops spinning while imagining Faust's kiss. It then takes three tries to get the spinnrade turning again, which we hear in measures 69-71 before the spinning figure resumes in measure 72 to accompany Gretchen's doleful refrain. 

This arrangement is also available for mixed choir (SATB) published by Tully Road Music, and 3-part treble (SSA) voices published by Hal Leonard Corporation, 00140699.

The bel canto composer Vincenzo Bellini (1801-1835) dedicated his arietta "Vaga luna, che inargenti" to Giluetta Pezzi, an Italian writer. The work is based on an anonymous text and was first published in 1838 by Casa Ricordi with two other songs by Bellini, "Il fervido desiderio" and "Dolente immagine di Fille mia." Ricordi later included "Vaga luna" in a larger collection of Bellini's songs published in 1935 to mark the one hundredth anniversary of the composer's death. "Vaga luna" is a love poem in which the writer yearns to be reunited with his beloved. He repeatedly asks the moon, the "only witness to [his] ardent desire," to "tell her" of the depth and sincerity of his feelings, and of his hopes that the future will bring them together.

This arrangement preserves Bellini's original piano part and places the melody prominently in the top tenor voice. The lower voices provide supporting harmonies informed by the accompaniment, moving largely in parallel motion, but with their own counter-melodic value. The arrangement is also available in a version for SSA voices.

Vaga luna, che inargenti

Robert Schumann's song cycle Myrthen was a wedding present to his wife Clara Wieck. Myrthen, or "myrtles," were the flowers traditionally associated with a marriage celebration. Schumann completed the Myrthen cycle in 1840, totaling 26 Lieder (songs for solo voice and piano), with texts by prominent 19th-century German poets such as Heinrich Heine, Johann Wolfgang von Goethe, and others. "Widmung," which means "Dedication," is the first song in the cycle, based on a love poem by Friedrich Ruckert (1788-1866). The frequent repetition of the word "you" in the text, along with the soaring melody and undulating arpeggios that comprise the music, all serve to convey the composer's state of blissful fulfillment as he contemplates marrying his beloved. 

This arrangement preserves Schumann's original piano part as well as places the melody prominently in the top soprano voice. The lower voices provide supporting harmonies informed by the accompaniment, moving largely in parallel motion, but with their own counter-melodic value. It was premiered in 2013 by the University of Michigan Women's Glee Club under the direction of conductor Jaclyn Johnson. The arrangement is also available in a version for TTB voices.

This is an orchestration by D. Jason Bishop of LASST UNS ERFREUEN, a hymn
  tune from the 1623 Geistliche Kirchengesange harmonized by Ralph Vaughan
  Williams in 1906. It is commonly used for the Doxology Praise God, from Whom
  All Blessings Flow as printed in The United Methodist Hymnal (page 94) and
  in 435 other hymnals. Instrumentation is 2.2.2.2  2.3.3.0 - timp/perc - org
  - strings - choir. This orchestration incorporates brass parts by John F.
  Wilson and is designed to follow an introduction by a solo organist in
  worship (introduction not provided). PDF includes full score and all parts.

Praise God, from Whom All Blessings Flow (Doxology)

"Die Lotosblume" (which means "The Lotus-Flower") is No. 7 of Robert Schumann's song cycle Myrthen, which was a wedding present to his wife Clara Wieck. Schumann completed the cycle in 1840, totaling 26 Lieder (songs for solo voice and piano), with texts by prominent 19th-century German poets such as Ludwig Rellstab, Johann Wolfgang von Goethe, and others. "Die Lotosblume" is a poem by Heinrich Heine (1797-1856) the text of which, given the circumstances of Robert's &amp; Clara's romance, is thought to have a double meaning: the lotus-flower represents Clara, the moon Robert, and the sun Clara's father, who disapproved of their relationship. 

This arrangement preserves Schumann's original piano part in support of a 4-part (SATB) harmonization of the melody. Although the lower voices are informed by the harmonies of the accompaniment and move largely in parallel motion, each voice retains its own counter-melodic value. The arrangement was premiered in 2014 by the Morris County (NJ) Honor Choir under the direction of the arranger, D. Jason Bishop.

Die Lotosblume

The bel canto composer Vincenzo Bellini (1801-1835) dedicated his arietta "Vaga luna, che inargenti" to Giluetta Pezzi, an Italian writer. The work is based on an anonymous text and was first published in 1838 by Casa Ricordi with two other songs by Bellini, "Il fervido desiderio" and "Dolente immagine di Fille mia." Ricordi later included "Vaga luna" in a larger collection of Bellini's songs published in 1935 to mark the one hundredth anniversary of the composer's death. "Vaga luna" is a love poem in which the writer yearns to be reunited with his beloved. He repeatedly asks the moon, the "only witness to [his] ardent desire," to "tell her" of the depth and sincerity of his feelings, and of his hopes that the future will bring them together.

This arrangement preserves Bellini's original piano part and places the melody prominently in the top tenor voice. The lower voices provide supporting harmonies informed by the accompaniment, moving largely in parallel motion, but with their own counter-melodic value. The arrangement is also available in a version for TTB voices.

"Du bist die Ruh'" (D. 776; Op. 59, No. 3) is one of many Lieder for solo voice and piano written by Franz Schubert (1797-1828), with text by Friedrich Ruckert (1788-1866). Although Ruckert did not originally give the poem a title, Schubert titled his song after its first line, "Du bist die Ruh'," and Ruckert later titled his poem "Kehr ein bei mir," or "Stay with me." With a simple yet beautiful melody, sung with a seemingly uninterrupted legato, Schubert conveys the sense of "calm" and "peace" the poet feels in the companionship of his beloved. So many of the Lieder by 19th-century composers like Schubert and Schumann, chief proponents of the genre, lend themselves well to rearrangement for multiple voices. Here, D. Jason Bishop makes one of the most frequently performed German Lieder available to treble ensembles in a TTB arrangement that preserves both the melodic integrity of the song as well as its original piano accompaniment. It is also available in SSA.

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