SKU: C4.9790902260473
ISBN 9790902260473. 8.27 x 11.7 inches.
Forming part of the A Distant Music anthology, Praise: Psalms and Prayers 1 showcases 20 sacred choral works by Australian composers, most published here for the first time.Containing a variety of accompanied and unaccompanied works, Praise: Psalms and Prayers 1 offers choirs access to quality Australian sacred music. Settings include texts from the Book of Psalms, well-known prayers as well as a spiritual poem by Australian Erica Jolly.The 90-page volume covers a range of abilities and variety of compositional styles.
SKU: GI.G-5015
Text Source: vs. 1, 4, 5: Michael Balhoff, Darryl Ducote, Gary Daigle, vs. 2, 3, 6, 7: Rory Cooney. Text by Various.
Flute, Oboe (or 2 Flutes), String Quartet - 2 Violins, Viola, Cello parts are optional.
SKU: HL.425014
UPC: 196288062073. 6.75x10.5x0.019 inches. Ephesians 6:8, I John 5:14, James 5:16.
The ministry of prayer is beautifully showcased in this lyrical anthem of devotion. A winsome melody carries the heartfelt text, while an elegant piano part provides expressive support.
SKU: HL.14021927
UPC: 888680053062. 0.011 inches.
Eric Thiman's Morning Prayer, arranged for SATB Chorus.
SKU: BP.2155
This a cappella call to prayer is both tender and intense and will soon become a favorite with choir and parishioners alike. Whether at worship or in a prayer meeting, the essence of praying for each other comes to life with this simple but powerful text.
SKU: CA.3118449
ISBN 9790007240608. Key: G major / e minor. Language: German/English.
The Pentecost cantata Desired ray of light BWV 184 is based on a Kothen composition, probably a congratulatory cantata, whose instrumental parts (only these have survived) Bach reused in the Leipzig Pentecost cantata. Only the chorale setting was evidently newly composed. Despite the narrow leeway that the already finished composition left for the librettist, he nevertheless succeeded in crafting a coherent Pentecost text. The fact that the cantata begins with a long tenor accompagnato with two flutes followed by a pastoral duet is surprising. The placing of the chorale not at the end of the work but before the concluding chorus is unusual. Bach was evidently aware of the effect that the ending of this lively movement would have and wanted to retain this in its sacred form as well. The sacred version was first performed on the third day of Pentecost in 1724, probably after a parody version of another Kothen cantata (BWV 173) had already been performed on the second day of Pentecost. Score and part available separately - see item CA.3118400.
