SKU: MN.56-0111
UPC: 688670221323. English. Revelation 21:5-6.
Commissioned by Wilshire Baptist Church in Dallas, Texas, to mark the 30th anniversary of Senior Pastor George A. Mason, The Spring of the Water of Life is Howard Goodall’s jubilant anthem for SATB voices and organ. The music sets the poetry of Gerard Manley Hopkins and George Herbert (God’s Grandeur and The Flower respectively), as well as words from Revelation, culminating in a triumphant finale. A trumpet part is also available separately.
SKU: PR.110418160
ISBN 9781491114049. UPC: 680160640393. 9 x 12 inches.
Stacy Garrop began hiking in northern Colorado’s Rocky Mountain National Park in her early 20s. From the start, she was drawn to a jagged stretch of rock formations linking Longs Peak to Pagoda Mountain, at over 13,000 feet. These formations are called the “Keyboard of the Winds,†as their thin, spindly peaks suggest splintered keys of an old, broken piano. Inspired by one particular journey the composer took through the Keyboard of the Winds en route to Pagoda’s summit, this work is a tribute to the Keyboard of the Winds. Its fast, whirling gestures depict swirling clouds above, and the musical high points represent a hiker reaching the peak of Pagoda Mountain. These sections are set in contrast with quiet, introspective material embodying the hiker quietly surveying the grandeur and beauty of the valley below, as well as the soaring pinnacle of Longs Peak overhead.I began hiking in the Rocky Mountain National Park in northern Colorado when I was in my early twenties. RMNP is home to some of the most gorgeous mountains in North America, encompassing 265,000 acres of wilderness, flora, and fauna. Among the park’s numerous summits is Longs Peak, a mountain that is 14,259 feet high (the highest in the region). From my earliest days of hiking, I was drawn to Longs Peak, as well as to a jagged stretch of rock formations that link Longs Peak to Pagoda Mountain (which stands at 13,497 feet). These formations are called the Keyboard of the Winds, as their thin, spindly peaks loosely suggest the splintered keys of an old, broken piano.One summer, I made the ascent to Pagoda Mountain using a route that took me along the right side of the Keyboard of the Winds. My hiking partner and I started up the trail in the pre-dawn hours, and the weather was stormy. Dawn had broken by the time we reached the base of the Keyboard, but its peaks were still surrounded by clouds. As we climbed higher and higher, the Keyboard’s thin spires became visible, along with the top of Pagoda Mountain. We reached the summit of Pagoda, admired the view (what we could see through the clouds), and made our descent.My piece is a tribute to the Keyboard of the Winds. The fast, whirling gestures depict swirling clouds, and the musical high points represent a hiker reaching the peaks of the Keyboard. I have contrasted these sections with quiet, introspective material; these embody the hiker quietly surveying the grandeur and beauty of the valley below (on a cloudless day), as well as the soaring pinnacles of Longs Peak and Pagoda Mountain overhead.
SKU: HP.C6194
UPC: 763628161941. McDonald, Mary. Lamentations 3:22-23, James 1:17, Psalm 19:1-6, Psalm 104.
Classic hymn tune Fully expressing God's unchangeable faithfulness in any circumstance, this epic choral setting displays the power and grandeur of this cherished hymn. The orchestration by Michael Lawrence magnifies the dramatic sweep of this ebullient, raise the rooftops setting. Orchestration: Conductor's Score, 2 Flutes, Oboe, 2 Clarinets, Bassoon, 3 Trumpets, 2 Horns, 2 Trombones, Tuba, Percussion, Harp, Piano, 2 Violins, Viola, Cello and String Bass.
SKU: HP.C6169C
UPC: 763628961695. Thomas O. Chisholm.
Classic hymn Fully expressing God's unwavering faithfulness, this choral setting with organ and optional brass quintet displays the power and grandeur of this time-honored hymn. A reproducible congregational part is included, making it possible for everyone to lift their voices in song!.
SKU: HP.C6169B
UPC: 763628261696. Thomas O. Chisholm.
SKU: LO.99-2447L
UPC: 000308121933.
Boldly triumphant, this Easter anthem features new music and text by two of this century’s premier church writers. It opens with brilliant figures in the accompaniment and a majestic choral acclamation. The second verse is more reflective, recalling the crucifixion. The tempo quickens as the fanfare returns, heralding the entrance of Beethoven’s beloved Ode to Joy. Shifting again in tempo and in key, the final verse resounds with victorious grandeur and rising alleluias. (From the cantata Forsaken. SATB – 55/1112L; SAB – 55/1113L.).
SKU: HP.9185
UPC: 763628191856. Thomas O. Chisholm.
SKU: LO.30-2424L
UPC: 000308121926.
Boldly triumphant, this Easter anthem features new music and text by two of this century’s premier church writers. It opens with brilliant figures in the accompaniment and a majestic choral acclamation. The second verse is more reflective, recalling the crucifixion. The tempo quickens as the fanfare returns, heralding the entrance of Beethoven’s beloved Ode to Joy. Shifting again in tempo and in key, the final verse resounds with victorious grandeur and rising alleluias. (From the cantata Forsaken. SATB – 55/1112L; SAB – 55/1113L.) Instrumentation: 2 Trumpets, opt. Piccolo Trumpet, opt. F Horn, Trombone 1, Trombone 2 and/or Tuba, Percussion.
SKU: HP.9120
UPC: 763628191207. Thomas O. Chisholm.
SKU: PR.466000470
UPC: 680160099405. 11 x 17 inches.
This is the second incarnation of a work I first composed in 1994 for symphonic wind ensemble. The earlier version was intended to be the summation of three-part suite, each part being named for a different national park in the Western United States. This orchestral version, commissioned in 1999 by the Utah Symphony and dedicated to the memory of Aaron Copland, is more than a re-scoring of the earlier piece; it is a re-thinking of all its elements. Zion is a place with unrivaled natural grandeur, being a sort of huge box canyon in which the traveler is constantly overwhelmed by towering rock walls on every side of him -- but it is also a place with a human history, having been inhabited by several tribes of native Americans before the arrival of the Mormon settlers in the mid-19th century. By the time the Mormons reached Utah, they had been driven all the way from New York State through Ohio and, with tragic losses, through Missouri. They saw Utah in general as a place nobody wanted, but they were nonetheless determined to keep it to themselves. Although Zion Canyon was never a Mormon Stronghold, the people who reached it and claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecuted people that I was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: Zion's Walls (which Aaron Copland adapted to his own purposes in both his Old American Songs and the opera The Tender Land) and Zion's Security, which I found in the same volume in which Copland found Zion's Walls -- that inexhaustible storehouse of 19th-century hymnody called The Sacred Harp. My work opens with a three-verse setting of Zion's Security, a stern tune in F-sharp minor which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful to be firm, and describing the city of our God they hope to establish). This melody alternates with a fanfare tune, whose origins will be revealed in later music, until the second half of the piece begins: a driving rhythmic ostinato based on a 3/4-4/4 alternating meter scheme. This pauses at its height to restate Zion's Security one more time, in a rather obscure setting surrounded by freely shifting patterns in the flutes, clarinets, and percussion -- until the sun warms the ground sufficiently for the second hymn to appear. Zion's Walls is set in 7/8, unlike Copland's 9/8-6/8 meters (the original is quite strange, and doesn't really fit any constant meter), and is introduced by a warm horn solo. The two hymns vie for attention from here to the end of the piece, with the glowingly optimistic Zion's Walls finally achieving prominence. The work ends with a sense of triumph.
SKU: PR.16500092L
UPC: 680160039531. 11 x 17 inches.
Zion is the third and final installment of a series of works for Wind Ensemble inspired by national parks in the western United States, collectively called Three Places in the West. As in the other two works (The Yellowstone Fires and Arches), it is my intention to convey more an impression of the feelings I've had in Zion National Park in Utah than an attempt at pictorial description. Zion is a place with unrivalled natural grandeur, being a sort of huge box canyon in which the traveler is constantly overwhelmed by towering rock walls on every side of him -- but it is also a place with a human history, having been inhabited by several tribes of native Americans before the arrival of the Mormon settlers in the mid-19th century. By the time the Mormons reached Utah, they had been driven all the way from New York State through Ohio and, with tragic losses, through Missouri. They saw Utah in general as a place nobody wanted, but they were nonetheless determined to keep it to themselves. Although Zion Canyon was never a Mormon Stronghold, the people who reached it and claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecuted people that I was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: Zion's Walls (which Aaron Copland adapted to his own purposes in both is Old American Songs and the opera The Tender Land) and Zion's Security, which I found in the same volume in which Copland found Zion's Walls -- that inexhaustible storehouse of 19th-century hymnody called The Sacred Harp. My work opens with a three-verse setting of Zion's Security, a stern tune in F-sharp minor which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful to be firm, and describing the city of our God they hope to establish). This melody alternates with a fanfare tune, whose origins will be revealed in later music, until the second half of the piece begins: a driving rhythmic ostinato based on a 3/4-4/4 alternating meter scheme. This pauses at its height to restate Zion's Security one more time, in a rather obscure setting surrounded by freely shifting patterns in the flutes, clarinets, and percussion -- until the sun warms the ground sufficiently for the second hymn to appear. Zion's Walls is set in 7/8, unlike Copland's 9/8-6/8 meters (the original is quite strange, and doesn't really fit any constant meter), and is introduced by a warm horn solo. The two hymns vie for attention from here to the end of the piece, with the glowingly optimistic Zion's Walls finally achieving prominence. The work ends with a sense of triumph and unbreakable spirit. Zion was commissioned in 1994 by the wind ensembles of the University of Texas at Arlington, the University of Texas at Austin, and the University of Oklahoma. It is dedicated to the memory of Aaron Copland.
SKU: MN.56-0003
UPC: 688670220029. English.
Every purpose under the heaven, arranged for an accompanied mixed voices choir with soprano and tenor solos, is a musical tribute to one of the most important cultural landmarks of Western civilization - the 1611 King James Bible. Written in celebration of the Bible's 400-year anniversary, Goodall has brought together ten of the most expressive passages, from Genesis to Revelation, to create an oratorio that is at once steeped in historic grandeur and utterly relevant in today's society. Musically, it displays all the hallmarks of Goodall's well-loved style - soaring melodies, rhythmic vitality and perfectly crafted lines. However, this work offers singers and audiences something more: an opportunity to introduce new generations to the expressive power and ancient truths of this historic text.Commissioned as a gift to the United Learning Trust, Every purpose under the heaven is suitable for young singers, choral societies and church choirs of all abilities. It may be accompanied by piano, using the reduction provided, or chamber orchestra. Contents:1. In the beginning2. There is a season3. I will lift up mine eyes4. Thee and me5. Fulfilled in one word6. I was a stranger7. Blessed8. Nover faileth9. The light of the world10. A new heaven, a new earthJohn 1:1, 4-5, 14; Genesis 1:1-2, 14, 16, 20; Ecclesiastes 3:1-2, 4-8; Psalms 121:1-3, 5-8; Ruth 1:16-17; John 15:12-13; Galatians 5:15; Matthew 16:26; Matthew 25:35-40; Matthew 5:3-11; 1 Corinthians 13:1-8; John 8:12; Timorthy 1:7; Hebrews 11:1; 2 Corint.
SKU: HH.HH575-FSC
ISBN 9790708185901.
Niccolò Piccinni (1728–1800) was one of the most significant figures in Italian and French opera during the second half of the 18th century. His Diane et Endymion, a three-act tragédie lyrique based on the mythological tale of love between a goddess and a shepherd, was first performed in Paris in 1784. The overture reveals the composer’s mastery in capturing both the grandeur and intimacy of the drama. After a stately introduction, graceful melodies and lively contrasting sections with vibrant orchestration set the tone for an enchanting and emotional musical journey.
SKU: HH.HH575-IPT
ISBN 9790708185918.
