Uses: Palm SundayScripture: Luke 19:28-40; Luke 19:41-44; Matthew 21:1-11Here is a utilitarian set perfectly designed to be the “bookends” for your Palm Sunday services. Using the hymntune “Plainfield” as a melodic basis the call and response style of this introit is easily sung while entering the sanctuary. The use of children in response and optional handbells are a splendid touch. The finalblessing is a harbinger for Holy Week's time of reflection and helps make the transition from hosannas to kyries.

Pepper Choplin has created a very creative unique choral anthem for worship. This Palm Sunday piece effectively merges the traditional Hosannas with a jazz setting that is sure to bring excitement to any worship service.

Morton Gould's Hosanna Amen from 'Quotations' for Double Chorus of Mixed Voices and Wind Orchestra. Piano reduction.This work was commissioned by L. Anthony Fisher for the New York Choral Society Robert DeComier conductor and first performed by them on January 28 1983 at Carnegie Hall.The composer after thinking over the possible approaches to a choral work found the ide of platitudes common sayings and poetic referenmces challanging and stimulating. As 'Quotations' evolved he found that these sayings evoked nostalgic momories of his own childhood in Richmond Hill New York where he was reared on such aphorisms as 'theearly bird catches the worm ' 'a stitch in time saves nine ' 'a bird in the hand is worth two in the bush.'After setting the scene in Richmond Hill the piece begins with Hallelujah Amen the common shout for joy and closing whisper of all religions. An antiphonal series of platitudes follows and then moves to more complex secular litanies the 'ballads ' or stories of young love and old age and the precariousness of life which have been told and retold through the ages. In the last movement the religious litany resumes with 'ashes to ashes dust to dust' echoing the earlier prosaic motif 'here today gone tomorrow ' or as Gould finally writes 'time's up!'

The Vineyard praise chorus Hosanna has been adapted into a compelling arrangement for choir and optional brass by top arranger Lloyd Larson. An ideal anthem for Palm Sunday this powerful setting will heighten your worship experience. Performance Time: Approx. 2:45.Available separately: SATB. Instrumental ePak and BonusTrax also available.

Sing, Choirs! is a library in miniature. It contains many of the Christian church's popular traditional anthems, including at least one example that will be suitable for each of the major services of the year. A number of Anglican chants (Psalms, Magnificat and Nunc Dimittis) are included, set out in a way that should enable those who are unfamiliar with the style to perform them easily. The selection of movements from the Mass can be used to enrich the music of the liturgy in services. Many of the works in Sing, Choirs! are presented in their original form, such as Bruckner's Locus Iste and Mozart's Laudate Dominum . Others are arrangements, adaptations or longer pieces, abridged to bring them into the scope of a useable anthem, including choral arrangements of Handel's Largo , the Ave Marias by Schubert and by Bach and Gounod, and Franck's Panis Angelicus amongst many others. This collection has practicability as a priority. The Organ parts can be played on either the Piano or the Keyboard. Much of the music in Sing, Choirs! will be suitable for special occasions, making this an indispensable volume for choirs singing at weekly church services, weddings, funerals and in the concert hall. / Choeur Mixte (SATB) Et Orgue

La cour d'organiste Antonio de Cabezón, qui a été nommé à la chapelle de la cour de la Reine Isabelle de Toledo à l'âge de 16 ans, a été considéré à juste titre par ses contemporains comme l'organiste espagnole leader et claviériste du 16 ème siècle. Ses hymnes et des versets sont basées sur courte, harmonisations décorée des tonalités psaume. Dans le tientos, la transformation du style motet vocal à un style d'écriture approprié pour les instruments à clavier est parfaitement exécuté.Cette édition Urtext contient une sélection des meilleurs Cabezon de travaux connus et se composera de quatre volumes. Il a été préparé par deux rédacteurs en chef travaillant dans les universités portugaises et espagnoles qui sont tous deux grands spécialistes des oeuvres de Cabezón et reflète les derniers résultats de recherche.- Première édition critique universitaire, des oeuvres sélectionnées par l'organiste leader espagnol- Reflète les derniers résultats de la recherche- Chaque volume avec une préface (Ger / Eng) avec des conseils sur la technique de rédaction, le commentaire critique (Ger / Eng) et l'indice de sources / Orgue, Piano, Clavecin

Originally scored for mixed voices as a part of the set Words from Paradise this re-voicing for unaccompanied male chorus is lively and has use both in the church and with some academic ensembles. Use it on Palm Sunday or as a concert opener. Lots of fun!

Emily Crocker's setting of Psalm 117:26 is written for 3-part chorus and combines a fast tempo and mixed meters to create a jubilant and buoyant style that will delight singers audiences and congregations alike.Commissioned by the Florida Elementary Music Association Elementary All-State Chorus in January 2006.

Francis Pott’s My song is love unknown sets all of Samuel Crossman’s famous verses but one (commonly omitted when the poem is sung metrically as a hymn). The music begins with offbeat repeated chords prompted—not inappropriately—by the opening to Richard Strauss’s tone poem  Death and transfiguration. In its early stages only trebles and altos are heard. The sequential flow of Crossman’s poem is soon disrupted with particular dramatic ends in mind. After a seemingly anxious harmonic distortion of the opening chords the word ‘crucify’ arises initially as a mere mutter from the lowervoices so timed as to afford assonance with other words in the upper parts and thus remain barely discernible as if only imagined. In due course however cries of ‘Hosanna’ find themselves on a collision course with a rising tide of ‘Crucify’ during which the ‘Hosanna’ faction gradually loses heart and sheep-like defects until a single treble voice—plaintively daring to repeat the ‘offending’ word—is swept aside by a murderous outcry. In due course ‘Crucify’ recurs as a further angry climax before the opening music returns this time expanding into an extended polyphonic final section for double choir and SATB soloists. The principal climax of the work subsides into a form of epilogue crowned sorrowfully by a treble soloist to whom the music in toto has by now presented many challenges. The anthem ends in the key and mood of its opening. The character of its demanding organ part reflects the possibility that it may one day be orchestrated.   My song is love unknown was composed in memory of Michael Renton a craftsman and largely self-taught ‘Renaissance’ man who was not only a member of the Winchester cathedral congregation but also the cathedral’s stonemason. He was beloved of many in the Cathedral community; a true and

Commissioned by the award-winning Kalamazoo (MI) Concert Band Alleluia is a convergence of hauntingly emotive themes that culminate in breath-taking builds. The Kalamazoo Gazette described it as the “pinnacle of theconcert” in which it was premiered adding that Hazo's master composition takes the listener from “...bells and chimes to full Hosannas. The result was transfiguring! It first fades like a sunset then explodes inwhite light bringing the audience to their feet.” Written for mature ensembles this work will have a powerful impact on the performers as well as all who hear it. Dur: 7:55

This Palm Sunday offering begins with a brisk proclamation Sing Hosanna in the highest! Fred Pratt Green's stirring text is set with great care and creativity by John Purifoy with marvelous effect. Accompany with one or two trumpets for a spirited Palm Sunday introit.

Here is a spirited piece which works wonderfully with any combination of voices but will absolutely sparkle with young singers. It makes a nice set with John's Antiphonal Hosanna and Antiphonal Alleluia too. Optional percussionand string bass. Available: 2-Part any combination ShowTrax CD. Performance Time: Approx. 1:30.

Written in 1899 for the Cambridge Degree of Doctor of Music and prepared by Alan Tongue from the composer's manuscript A Cambridge Mass is the largest work written by Ralph Vaughan Williams before A Sea Symphony of 1909 and amongst his most ambitious. The opening Credo is set for SATB soloists double chorus and orchestra on the broadest and most dramatic scale. The Offertorium that follows is for orchestra only in lyrical sonata form. These two contrasting movements are balanced by a third part: a solemn Sanctus for double Chorus Brass Timpani and Organ and a choral-orchestral Hosanna which returns da capoafter a serene Benedictus for soloists wind and strings to crown the work with a jubilant fugal conclusion.

A majestic opening which gets a thoroughly sparkling musical follow-up captivating ensemble and a very well-known hymn are the ingredients of Keep me praising by Andrew Mackareth from the English town of Nuneaton. His music sets itself apart through it scintillating vitality and spontanity. His feeling for style and melody makes this flashing work into a beautifully balanced composition which will undoubtedly find its way into the concert-stage. Influences from both jazz and rock furthermore make it an absolute hit. Een majestueuze opening een spetterend vervolg bekende hymnes en technische uitdaging zijn de ingrediënten van Keep me Praising. De muziek van AndrewMackereth uit het Engelse Nuneaton kenmerkt zich door veelzijdigheid. Gebaseerd op Sing Hosanna en Praise my soul. Een aanrader!