We Receive What We Are

SKU: GI.G-8960G

UPC: 785147896074. English. Text by Delores Dufner.

Contains O Christ, You Are the Seed That Died, We Are Blest Who Are Called and We Receive What We Are.

SKU: LO.70-2217L

ISBN 9780787767662.

In this volume, Peter Niedmann presents imaginative arrangements of hymns that are useful during Lent, Holy Week, and Eastertide. The Lenten hymns receive generally introverted, quiet settings, while the Easter hymns burst with joy. Niedmann's rich, distinctive harmonic language makes for striking and powerful pieces for these most important seasons.

SKU: HL.147347

UPC: 097855113825. 3.75x4.75x2.75 inches.

In-ear monitors are becoming more and more ubiquitous every day and wireless hardware systems are coming down in price, opening the market to a wide range of users, some fairly sophisticated about audio and other not so knowledgeable. In the hands of a trained pro monitor mixer who understands the needs and limitations of IEM systems (and users) the need for an in-line brick wall protection limiter may not be so important. However, at any gig - at any level - stuff does happen, although hopefully less frequently as you get up the production food chain, but when a show is live, sometimes all bets are off. Examples of transient high-level audio glitches can include unexpected sound spikes that occur from microphone drops, audio feedback, incorrect volume settings, pulling the plug on a condenser mic when it's powered up and any other sound hazards that may occur during a performance. Unfortunately, when you're wearing a set of in-ears, you may be guaranteed an up-close and personal front row seat to that spike or sudden sound blast, which is anything but pleasant. And that's exactly what the Sound Guard from Ultimate Ears Pro is designed to protect from. With the UE Pro Sound Guard, artists receive protection from unexpected sound spikes that occur from microphone drops, audio feedback, incorrect volume settings and other sound hazards that may occur while performing or recording. So far, so good; but there's more going on here. Matching impedance of balanced armatures with multi-way crossovers can be complex and certain personal monitoring/mixing systems don't handle such IEM designs - from any manufacturer - very well. Beyond its protection duties, Sound Guard also functions as an audio buffer that provides variable impedance matching from the source device to your balanced armature IEM earpieces (such as the UE Pro line) for enhanced dynamic range and improved sound quality. And although Sound Guard is intended specifically for those UE Pro IEM's, it can function with any balanced armature design. Housed in a compact 2-by-2-inch plastic box that's about a half-inch thick, the Sound Guard definitely gets points for being compact. There are two 1/8-inch stereo TRS jacks (input and output) on either side of the unit, which connect in-line via an included 6-inch TRS patch cable to your IEM receiver (or hardwire personal mixer), with the output jack going to your earpieces. The Sound Guard box has a recessed on/off switch and two LED's to indicate power-on and batterycondition.

SKU: GI.G-9818

ISBN 9781622773534.

“For a long time, there has been a perception that Catholics can’t or won’t sing in church. But this is not accurate: Catholics can and do sing… We all are called by Christ to love one another. If singing is a way to do that, why hold back?” --Diana Kodner Gökçe “Singing with one another,” the author reminds us, “is both prayer and an act of love. It heightens our worship, and helps us remember words of praise, thanks, petition, and most importantly, the Word of God. A great voice is not required. Singing is beneficial, and a precious gift from God.”Music is sung prayer, when we sing, we give voice to a mystery that cannot be expressed in mere words…and yet, many are hesitant to raise their voices in song when we gather together to worship.   Filled with wisdom for new Catholics as well as those who have been attending liturgy all their lives, this book gives the person in the pews prayerful insight and solid foundation in the basics of the music we sing every week at Mass. Why Do We Sing? examines why but also when and how we sing in church: What is the significance of the different things we sing? What difference does it make if I sing, especially since I am not a very good singer? How do I get over my self-consciousness with singing? A book for everyone in the parish, this book seeks to help every liturgical gathering find its musical voice and more fully embrace its ability to participate fully, actively, and consciously in the liturgy.  Diana Kodner Gökçe is the author of Handbook for Cantors, 3rd edition (GIA Publications, Inc.). She has taught liturgical music at Loyola University and worked as a music minister in numerous Chicagoland parishes including Holy Name Cathedral. She is currently Liturgical Music Coordinator at The Frances Xavier Warde School.  To receive the quantity discount (25 or more copies—$4.00 each) call our customer service department at 1-800-GIA-1358.  .

SKU: SU.80101261

This work is an unaccompanied setting of a beautiful prayer attributed to St. Ignatius Loyola, useful for many occasions. Published by: Zimbel Press Take and receive all my liberty, O Lord, my memory, my understanding, and my entire will, all that I have and call my own.You have given all to me, to you, Lord, I return it. Everything is yours, do with it what you will.Give me only your love and your grace. That is enough for me. Amen..

SKU: HL.51489059

UPC: 840126932898. 6.75x9.5x0.22 inches.

Haydn's three Symphonies nos. 90-92 might rightly be dubbed his “Paris Symphonies Part II,” as they were commissioned in 1788/89, likewise by the Société Olympique, for which Haydn had already composed his six “Paris Symphonies” nos. 82-87 just a few years earlier. Ironically enough, Haydn would later sell these three a second time to Prince von Oettingen-Wallerstein who requested he “receive 3 new symphonies from him.” Regardless of such mercantile entanglements, Haydn shows himself to be at the full height of his mastery as a symphonist in these works. Completed in 1788 according to the autograph manuscript, the Symphony in E flat major no. 91 astonishes, even for Haydn’s standards, with its many idiosyncrasies, such as the Baroque, contrapuntal theme of the first movement or the strings of trills in the slow variation movement. This study edition adopts the musical text of the Haydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy scorean ideal companion for all current and soon-to-be Haydn fans.

About Henle Urtext

What I can expect from Henle Urtext editions:

• error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
• preface in 3 languages with information on the genesis and history of the work 
• Critical Commentary in 1 – 3 languages with a description and evaluation of the sources and explaining all source discrepancies and editorial decisions 
• most beautiful music engraving 
• page-turns, fold-out pages, and cues where you need them 
• excellent print quality and binding 
• largest Urtext catalogue world-wide 
• longest Urtext experience (founded 1948 exclusively for Urtext editions)

SKU: LO.10-5265S

ISBN 9780787765149.

Christina Rossetti’s beloved Christmas poem is paired with original music by Stephen Burtonwood. The verses receive varied treatment, including an unaccompanied stanza, before finally reaching the answer to the final question, What can I give him?—Give my heart..