SKU: LO.30-3653L
UPC: 000308152227.
Score and parts plus CD with printable parts for The Body of Christ (55/1197L) Pepper Choplin beautifully and creatively crafted this telling of the final days of Jesus’ life, focusing on the meaning of His words and actions leading to the cross. With stunning melodies and a powerful orchestration by Michael Lawrence, we reflect on the feet that walked the earth, the hands that touched and healed, the voice that spoke the Word of God, and the head that bore a crown of thorns as Jesus was sacrificed. From the worshipful opener, We Behold His Glory, to the meditative and stunningly powerful path to the cross, O Sacred Journey, the importance of Christ’s body remains the center point of this work. The final number, We Are the Body of Christ, is a benediction that can be presented immediately following the preceding number or after closing remarks from a speaker. For Christ is our head and though we are many, His Spirit will make us one…Go now as the body of Christ..
SKU: LO.30-3650L
UPC: 000308152197.
Full score for The Body of Christ (55/1197L) Pepper Choplin beautifully and creatively crafted this telling of the final days of Jesus’ life, focusing on the meaning of His words and actions leading to the cross. With stunning melodies and a powerful orchestration by Michael Lawrence, we reflect on the feet that walked the earth, the hands that touched and healed, the voice that spoke the Word of God, and the head that bore a crown of thorns as Jesus was sacrificed. From the worshipful opener, We Behold His Glory, to the meditative and stunningly powerful path to the cross, O Sacred Journey, the importance of Christ’s body remains the center point of this work. The final number, We Are the Body of Christ, is a benediction that can be presented immediately following the preceding number or after closing remarks from a speaker. For Christ is our head and though we are many, His Spirit will make us one…Go now as the body of Christ..
SKU: LO.99-3964L
UPC: 000308152319.
SA/TB part-dominant rehearsal CDs for The Body of Christ (55/1197L) Pepper Choplin beautifully and creatively crafted this telling of the final days of Jesus’ life, focusing on the meaning of His words and actions leading to the cross. With stunning melodies and a powerful orchestration by Michael Lawrence, we reflect on the feet that walked the earth, the hands that touched and healed, the voice that spoke the Word of God, and the head that bore a crown of thorns as Jesus was sacrificed. From the worshipful opener, We Behold His Glory, to the meditative and stunningly powerful path to the cross, O Sacred Journey, the importance of Christ’s body remains the center point of this work. The final number, We Are the Body of Christ, is a benediction that can be presented immediately following the preceding number or after closing remarks from a speaker. For Christ is our head and though we are many, His Spirit will make us one…Go now as the body of Christ..
SKU: LO.99-3963L
UPC: 000308152258.
Split-track accompaniment CD for The Body of Christ (55/1197L) Pepper Choplin beautifully and creatively crafted this telling of the final days of Jesus’ life, focusing on the meaning of His words and actions leading to the cross. With stunning melodies and a powerful orchestration by Michael Lawrence, we reflect on the feet that walked the earth, the hands that touched and healed, the voice that spoke the Word of God, and the head that bore a crown of thorns as Jesus was sacrificed. From the worshipful opener, We Behold His Glory, to the meditative and stunningly powerful path to the cross, O Sacred Journey, the importance of Christ’s body remains the center point of this work. The final number, We Are the Body of Christ, is a benediction that can be presented immediately following the preceding number or after closing remarks from a speaker. For Christ is our head and though we are many, His Spirit will make us one…Go now as the body of Christ..
SKU: LO.30-3652L
UPC: 000308152210.
CD with printable parts for The Body of Christ (55/1197L) Pepper Choplin beautifully and creatively crafted this telling of the final days of Jesus’ life, focusing on the meaning of His words and actions leading to the cross. With stunning melodies and a powerful orchestration by Michael Lawrence, we reflect on the feet that walked the earth, the hands that touched and healed, the voice that spoke the Word of God, and the head that bore a crown of thorns as Jesus was sacrificed. From the worshipful opener, We Behold His Glory, to the meditative and stunningly powerful path to the cross, O Sacred Journey, the importance of Christ’s body remains the center point of this work. The final number, We Are the Body of Christ, is a benediction that can be presented immediately following the preceding number or after closing remarks from a speaker. For Christ is our head and though we are many, His Spirit will make us one…Go now as the body of Christ..
SKU: LO.55-1198L
ISBN 9780787764357.
Pepper Choplin beautifully and creatively crafted this telling of the final days of Jesusâ?? life, focusing on the meaning of His words and actions leading to the cross. With stunning melodies and a powerful orchestration by Michael Lawrence, we reflect on the feet that walked the earth, the hands that touched and healed, the voice that spoke the Word of God, and the head that bore a crown of thorns as Jesus was sacrificed. From the worshipful opener, We Behold His Glory, to the meditative and stunningly powerful path to the cross, O Sacred Journey, the importance of Christâ??s body remains the center point of this work. The final number, We Are the Body of Christ, is a benediction that can be presented immediately following the preceding number or after closing remarks from a speaker. For Christ is our head and though we are many, His Spirit will make us oneâ?¦Go now as the body of Christ..
SKU: HL.44012737
9x12 inches. English-German-French-Dutch.
Perihelion was commissioned by the Cory Band as their own-choice piece for the 2013 European Brass Band Championships, held in Oslo, Norway. Winning the set piece section of the contest and coming second to Eikanger-Bjorsvik Musikklag with their own choice selection, Cory went on to become European Champions for the fifth time.Cory MD Philip Harper had asked for a 'Concerto for Band' to fully exploit his outstanding band of virtuosi, and composer Philip Sparke created a one-movement work with contiguous sections, first featuring horns and flugel, then trombones followed by cornets and a slower central section for percussion and baritones, euphonium andbasses.The piece is abstract in nature, without a specific programme, and the title merely reflects the fact that the piece was begun on January 2nd 2013, the day of Earth's perihelion - the point in its orbit when it is closest to the sun. It could also be argued that the piece weaves between moments of brilliant optimism and dark shadow, both of which can be the result of bright sunshine. Perihelion wurde von der der Cory Band als Selbstwahlstuck fur die European Brass Band Championships 2013 in Oslo, Norwegen, in Auftrag gegeben. Nachdem sie die Pflichtstuck-Sektion des Wettbewerbs gewonnen und mit ihrem Selbstwahlstuck den zweiten Platz hinter dem Eikanger-Bjorsvik Musiklag belegt hatte, wurde die Cory Band zum funften Mal Europameister.Der musikalische Leiter der Cory Band Philip Harper hatte ein 'Konzert fur Brass Band' in Auftrag gegeben, um das ausserordentliche Potential an Virtuosen in seiner Formation voll auszunutzen. Philip Sparke lieferte ihm ein einsatziges Werk aus aneinandergereihten Abschnitten, das zunachst die Tenor- und Flugelhorner,dann die Posaunen in den Mittelpunkt ruckt, gefolgt von den Cornets und einem langsameren Mittelteil fur Schlaginstrumente, Baritone, Euphonium und Basse.Es handelt sich um ein abstraktes, nicht programmatisches Stuck, dessen Titel sich lediglich auf die Tatsache bezieht, dass am 2. Januar 2013, als Philip Sparke mit dem Schreiben begann, das Perihel der Erde war - der sonnennachste Punkt der Erdumlaufbahn. Man konnte auch sagen, dass sich das Stuck zwischen Momenten strahlenden Optimismus' und dunklen Schatten bewegt, was beides der Wirkung strahlenden Sonnenscheins geschuldet sein kann.
SKU: HL.44012738
SKU: MN.56-0037
UPC: 688670220425. English.
Commissioned for the BBC Singers for “Carols for a New Millennium,†a CD released in November 2000, this piece was first performed by the choir of Christ Church Cathedral, Oxford under the direction of Stephen Darlington. The text is included in an English translation by the composer and the original 15th century Spanish underneath. The text begins “Let there be joy on earth and heaven,†and the music certainly couldn’t reflect this any better. The music is playful and happy, with an unforgettable organ part that dances without ceasing. Your choir will find this fresh and fun.
SKU: LO.99-3474L
UPC: 000308145007.
A stately fanfare opens this masterful setting that reflects on the wonders of God’s creation. The subsequent section is much quieter, but the fullness of sound quickly returns as the congregation is invited to join in, leading to a vigorous and fulfilling finale.
SKU: GI.G-8015
UPC: 785147801504. English. Text by John L. Bell.
A hymn for baptism that addresses God as the parent who conceived all of creation, and nurtured it as a mother and father, and in whose image we are made. The original tune is carol-like, possessing a gentle 3/4 lilt, but ending by repeating the last line in a more reflective 4/4. Useful as a choral anthem or unison hymn. .
SKU: AU.9781506495231
ISBN 9781506495231. 7 x 10.25 inches.
David Sims skillfully weaves a Susan Palo Cherwien text with Psalm 50 in this gently flowing anthem filled with graceful text-painting reflecting Godâ??s promises of healing and new life. The writing is both musically engaging and accessible for SATB choirs of any size.
SKU: PR.165001000
ISBN 9781491129241. UPC: 680160669776. 9 x 12 inches.
Commissioned for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,â€giving rise to the work’s title.This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,†butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty†than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?†takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.â€Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,â€constantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.†This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key†of the hymn seems to shift — until the “Lord of all, toThee we praise†melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tuneâ€heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty†with long spaces between them, but it soonchanges to a series of “Amen†cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth†contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sightâ€and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected.
