Martin Luther. Par SCHNEIDER ENJOTT. On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther. The composer describes the five movements of the symphony as follows: '1st movement: Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of 'faith' ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people. 2nd movement: In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the 'Luther rose' which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, 'white' is the colour of angels and ghosts, 'black' stands for the pain of crucification: 'The just shall live by faith, but by faith in the Crucified.' But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time. 3rd movement: The omnipresence of death and dying – from the plague and war to the never-ending dangers of daily life – was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The 'Danse macabre' was a popular motif in those years. Luther's chorale 'Mitten wir im Leben sind / mit dem Tod umfangen' from 1524 ('Enchiridion' from Erfurt) is based on the Gregorian chant 'Media vita in morte sumus' created in France around 750 and, with its idea of transience, inspired a simplistic air. 4th movement: The famous confession delivered at the Diet of Worms in 1521, 'I stand here and can say no more. God help me. Amen', are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a 'perpetuum mobile', i.e. a dogged, ostinato and never-ending musical air. 5th movement: The 'Mighty Fortress', on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the 'Marseille anthem of the Reformation', Friedrich Engels the 'Marseillaise of the Peasants' Wars'. This disputability is not thought through to the end but rather interrupted: With a jubilant 'birdcall version' of the melody, the finale shows a rather chamber-music-like side of the 'ideals of freedom of Christians'.'/ Répertoire / Orgue

Kantate Zum Erntedankfest (Tempore Messis) Und Andere Dankfeiern. Par TELEMANN GEORG PHILIPP. Telemann's cantata cannot be assigned to any of the composer's known annual cycles of cantatas. The given designation 'Tempore Messis', which appears in the title in the sole surviving source, suggests it was composed on the occasion of a harvest thanksgiving festival, but the neutrality of the text means that other occasions for performance such as New Year, Reformation Day, church or organ consecrations and weddings are conceivable./ Répertoire / Solistes SATB, Choeur SATB, Flûte Traversière (Flû

Kantate Zum Erntedankfest (Tempore Messis) Und Andere Dankfeiern. Par TELEMANN GEORG PHILIPP. Telemann's cantata cannot be assigned to any of the composer's known annual cycles of cantatas. The given designation 'Tempore Messis', which appears in the title in the sole surviving source, suggests it was composed on the occasion of a harvest thanksgiving festival, but the neutrality of the text means that other occasions for performance such as New Year, Reformation Day, church or organ consecrations and weddings are conceivable./ Répertoire / Solistes SATB, Choeur SATB, Flûte Traversière (Flû

Kantate Zum Erntedankfest (Tempore Messis) Und Andere Dankfeiern. Par TELEMANN GEORG PHILIPP. Telemann's cantata cannot be assigned to any of the composer's known annual cycles of cantatas. The given designation 'Tempore Messis', which appears in the title in the sole surviving source, suggests it was composed on the occasion of a harvest thanksgiving festival, but the neutrality of the text means that other occasions for performance such as New Year, Reformation Day, church or organ consecrations and weddings are conceivable./ Répertoire / Solistes SATB, Choeur SATB, Flûte Traversière (Flû

Kantate Zum Erntedankfest (Tempore Messis) Und Andere Dankfeiern. Par TELEMANN GEORG PHILIPP. Telemann's cantata cannot be assigned to any of the composer's known annual cycles of cantatas. The given designation 'Tempore Messis', which appears in the title in the sole surviving source, suggests it was composed on the occasion of a harvest thanksgiving festival, but the neutrality of the text means that other occasions for performance such as New Year, Reformation Day, church or organ consecrations and weddings are conceivable./ Répertoire / Solistes SATB, Choeur SATB, Flûte Traversière (Flû

Kantate Zum Erntedankfest (Tempore Messis) Und Andere Dankfeiern. Par TELEMANN GEORG PHILIPP. Telemann's cantata cannot be assigned to any of the composer's known annual cycles of cantatas. The given designation 'Tempore Messis', which appears in the title in the sole surviving source, suggests it was composed on the occasion of a harvest thanksgiving festival, but the neutrality of the text means that other occasions for performance such as New Year, Reformation Day, church or organ consecrations and weddings are conceivable./ Répertoire / Solistes SATB, Choeur SATB, Flûte Traversière (Flû

Utilizing all the resources of your music program this festive anthem speaks to the very foundations of our faith. Hayes calls upon children and youth choirs along with handbells to declare the worthiness of the Eternal God.Reformation Sunday or any church heritage moment would benefit from the programming of this distinctive choral.

A dramatic choral flourish calls this noble general use anthem to purpose. We are reminded to lift our praise as one to the creator. The theme of unity makes this excellent for Reformation Sunday; however it can be usedthroughout the year. This anthem has a “big” impact and churches of every size will find it accessible.

Uses: General Church Anniversary Baptism Dedication Unity Reformation Scripture: Psalm 31:23-24 - Nehemiah 1:10-11 - Nehemiah 9:5-6 A powerhouse for churches commemorating important moments such as anniversaries or dedications this piece focuses on our ministry and the unity we share in Christ. A bold statement of purpose this anthem will inspire and challenge your people to service. The memorable musical themes are the perfect vehicle to carry these important ideals into the heart. When joined with the optional trumpet the selection takes on the character of a majestic victory song for the church triumphant! Part included.

Par TAKE THAT. As the original boy-band, Take That took the pop world by storm in the 1990s with a flurry of huge hit singles, setting the blueprint for today's biggest pop acts. Along with principal songwriter Gary Barlow, Robbie, Jason, Mark and Howard captured the hearts of a generation with addictive melodies, characteristic good looks and a genuine sense of fun. Originally formed as a British answer to New Kids On The Block, the band split in February 1996 prompting The Samaritans to set up telephone help lines to counsel distraught fans. The split also saw the beginning or Robbie Williams' record-breaking solo career. In 2005 the four remaining members reformed for a fresh tour and retrospective DVD release. The tour was to become one of the fastest-selling tickets of that year, confirming yet again the continued adoration of their massive dedicated fanbase. This commemorative songbook features 17 of their biggest moments, including Back For Good , Could It Be Magic and Pray , all arranged for Piano, Voice and Guitar. / Niveau : Assez Facile / Recueil / Piano, Chant et Guitare

Four children are on a modern day treasure hunt looking for the five core truths of faith as expressed by Martin Luther (ala the Reformation). While celebrating the Reformation's anniversary - 500 years next year - through humor and great music we learn some of the most profound truths in the Christian faith.

The Work Has Just Begun-For Stewardship Sunday or Reformation you would be hard pressed to find a more appropriate text than this new collaboration between two of the nation's most published writers. Larson's regal themes and harmonies create music fullof inspiring moments that will challenge the people to service and celebrate the legacy of faith for churches everywhere. Don't miss this one!

Par SHEPPARD JOHN. Edited by David Chadd The music of John Sheppard, who was about ten years younger than Tallis, dates from the uncertain times of the Reformation and the reigns of Edward VI and Mary. Perhaps his most impressive work is to be found in his cantus firmus responds, which reflect the considerable musical importance that some choral foundations attached to Matins and Vespers on special feast-days in the last decades of the Sarum rite./ Recueil / Chorale

Recognized today as the great hymn of the reformation the original Renaissance music for Ein Feste Burg is much more free in rhythm. This edition allows that original style to shine forth brilliantly. Choirs and congregationswill enjoy singing and hearing this time-honored setting.