From Everlasting to Everlasting by Benjamin Harlan for SATB (with divisions) and Piano.This joyous setting of Psalm 145 is an emphatic statement of praise. Homophonic rhythms unite the singers in their presentation of the text while a sprightly Piano accompaniment drives the music forward and leads into explorations of different tonalities.

Cantata for the 15th Sunday after Trinity-Jauchzet Gott In Allen Landen - Praise Ye God Throughout Creation BWV 51.Cantata for the 15th Sunday after Trinity.The solo cantata ?Jauchzet Gott In Allen Landen? written around 1730 for the 15th Sunday after Trinity is one of Bach?s best-known cantatas.The scoring for solo Soprano Trumpet Strings and Continuo is unique amongst Bach?s cantatas and has parallels with Italian composers of the period.The enduring popularity of the work is due to the clear and succinct formal structure and not least to the virtuoso Trumpet part and Soprano arias in which the soloists can demonstrate their total mastery.The cantata ispublished in a Vocal score based on the ?New Bach Edition? with an idiomatic straightforward Piano reduction by Martin Focke.- Famous work with a festive instrumental sound.- Urtext based on the ?New Bach Edition?.- Clear straightforward Piano reduction.- Study score (TP1051) performance material (BA10051) & Vocal score (BA10051-90) available for sale.

Tree Of Life by Mack Wilberg for SATB and Piano or Orchestra.Tree Of Life is an expansive setting of an evocative text by David Warner that depicts the sacred archetype of the life-giving tree through the cycle of all four seasons. The lyrics coupled with simple memorable melodies speak of spiritual planting and growth nourishment and an abundant harvest; each observation is punctuated by an 'Alleluia' as an expression of praise and gratitude. Wilberg's imaginative orchestration creates an abundant soundworld with arching woodwind phrases sweeping strings and a cacophony of Handbells that lifts theclosing alleluias skywards in celebration. This is the title track on the Tabernacle Choir's 2018 CD release.

(Novello New Choral Series)-There is no rose of such virtue is an anonymous mediaeval text already well known through beautiful settings by Britten (in his Ceremony of Carols) John Joubert and others. The poem is ‘macaronic’ (it presents a verse in English followed by a varying Latin refrain). This new version follows the illustrious examples above by remaining strophic and presenting broadly the same music in a succession of slightly different guises. The first verse is a straightforward four-part setting the second gives the melody to the tenors and surrounds them with hushed wordless writing for the other parts and the third explores a freely canonic relationshipbetween the tenor and soprano lines before carrying the previous verse-endings to a higher more exalted pitch and mood. The fourth verse then expands its texture in a free climactic passage evoking the songs of praise sung by the angels. This subsides towards the final verse where the texture of the music attenuates again to four parts and canonic writing (based on the first four notes of the original melody) permeates all of them. This slightly extended statement leads to a hushed final cadence.Francis Pott (b. 1957) began musical life as a chorister at New College Oxford. He held open music scholarships at Winchester College and at Magdalene College Cambridge where he studied composition with Robin Holloway and Hugh Wood while pursuing piano studies privately in London with the distinguished British artist Hamish Milne. Throughout the 1990s Francis was John Bennett Lecturer in Music at St Hilda’s College Oxford and a lay clerk in the Choir of Winchester Cathedral. In 2001 he became Head of London College of Music University of West London later leading research across the University’s Faculty of Arts and acceding in 2007 to its first Chair in Composition. Francis Pott has become recognised particularly for his sacred choral and organ music. This has been performed in concert and on radio in

Uses: General Pentecost Evangelism Reformation Music AppreciationScripture: Isaiah 43:10-11; Romans 12:1-2; Psalm 150:6; Revelation 4:8An evocative piano pattern in minor establishes a dramaticunderpinning for this choral about the music of our faith. With the challenge to “live our song” through service music becomes a metaphor for a strong sermon in song for the church as a whole. A celebrated hymn tunecarries the message and the final crescendo is an effective punctuation mark to our divine purpose as people of praise. Duration: ca. 4:00.

Uses: General Thanksgiving Scripture: II Chronicles 5:13 Psalm 9:1 Psalm 95:2-3 Alive with festive joy this anthem of gratitude to the Trinity is a cheerful song for Thanksgiving or any worship service. A vigorous paean of praise the main theme is punctuated with approachable mixed meter patterns mingled with syncopation. A percussive piano part moves the piece forward and the expressive middle section offers a lyrical contrast with affirming words of worship and adoration. Driving to a confident conclusion the song ends with an dramatic exclamation of I will give thanks!

Uses: General Thanksgiving stewardshipScripture: Psalm 50:12; Ecclesiastes 3Two beloved sacred songs “Simple Gifts” and “This Is My Father's World” move as one in thisbestselling offering that has become a Thanksgiving standard. Utilizing a unique strumming effect in the optional piano part adds authenticity to this very special anthem of gratitude and praise; while new changes from thecomposer enable effective performances by churches of every size. Duration: ca. 3:34.

With a delicate touch this quiet manger song of praise is heartfelt. The optional handbell accompaniment will enhance the rich vocal and piano writing. Easy to prepare and perform yet highly effective.

Uses: GeneralScripture: Psalm 148Based on Psalm 148 this anthem of praise invites all creation to “sing out with gladness” and worship the Lord. Piano and a variety of optional percussion instruments providean expressive calypso-style accompaniment for the jovial melody thats easy to learn and fun to sing. Available separately: Unison/opt. 2-Part Treble CelebrationTrax CD. Duration: ca. 2:22

William Boyce’s Te Deum And Jubilate In C was written for four Voices (SATB) with Bass continuo (Piano) accompaniment and first published in 1790. The lyrics of the two sacred pieces are both in English translation an early Christian hymn of praise (Te Deum) and Psalm 100 (Jubilate). As morning canticles they are usually sung at Morning Prayer in the Anglican tradition. Duration if performed together is approximately 6:15 minutes.William Boyce is widely regarded as one of the most important English-born composers of the 18th century however he remains little-performed today. The beauty of his sacredcompositions is proof of his lifelong involvement with various aspects of Church music (as a choirboy organist and composer) since the age of 9.

This anthem sets the mood for worship in a wonderful way. Beginning slowly the warm melody beckons the Holy Spirit to immerse us building as it goes. The addition of piano to the organ and handbells to that create a cacophony of glorious praise to the Lord.

Bach, Johann Sebastian Now my soul exalts the Lord BWV 10 Cantata for the Feast of Visitation B. V. M. With his cantata 'Meine Seel erhebt den Herren' which Bach composed for the Visitation of Mary (2 July), he created a Magnificat setting of a different kind: The German text source is a combination of biblical text and a free interpretation, the basis being the Marian hymn of praise from the Gospel according to Luke. The 9th psalm tone acts as the chorale melody and becomes a recurring musical theme. With a small scoring of one trumpet (which if need be can be omitted), two oboes, strings and basso continuo along with four soloists and choir, Bach succeeds in writing a festive music of 20-25 minutes. This performing edition is based on the Urtext of the 'New Bach Edition'. - Festive cantata based on the Urtext of the 'New Bach Edition' - With a duration of 20-25 minutes Edition no.: BA 10010-90 ISMN: 9790006561520 Editor: Wolf, Uwe Arranger: Grünert, Matthias Language(s) of work: German, English Language(s) of text: English, German Product format: Piano reduction, Urtext edition Binding: Stapled Pages / Format: IV, 33 S. - 27,0 x 19,0 cm

Tenor Horn Studies-A collection of religious pieces and songs of praise arranged by Alwyn Green for Tenor Horn with Piano accompaniment. Includes selections for the ABRSM Tenor Horn Grades 4 and 6.

A Worship Experience for All Seasons-This is Integrity Music's first Praise and Worship Musical and a bestseller created by Don Moen. Titles include Give Thanks Celebrate Jesus Worthy You Are Worthy Come Into His Presence and more. Orchestration includesscore and parts for Flute 1 2 Oboe Clarinet 1 2 Bass Clarinet Bassoon Trumpet 1-3 Horn 1 2 (Alto Sax) Trombone 1 2 (Tenor Sax/Baritone Treble Clef) Trombone 3/Tuba Harp Violin Viola (Clarinet 3) Cello StringBass String Synthesizer Reduction Drums Percussion 1 2 Rhythm (Piano/Guitar/Bass). SATB CD Accompaniment Trax (Split) Rehearsal Trax (Cassette) Slide Pack Bulletin Pack (100) Poster Pack (10) Video also available.

In The Violin Concerto Op. 64 and Chamber Music For Strings-Mendelssohn’s Violin Concerto Op.64 is a key work of the 19th century adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David who worked closely with the composer during its composition and played it at the première; the ‘child prodigy’ Joseph Joachim; and Hubert Léonard a young Belgian virtuoso about whom little is known.As proof sheets for the Violin Concerto in E minor were long considered lost it could be described as somewhat of a sensation when proofs for the soloviolin part resurfaced together with a letter from Mendelssohn to Léonard.The letter informs us that the composer invited Léonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to Léonard.The recently discovered proofs reveal how Léonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering they also show how Léonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown.It is safe to assume that all of this was done with Mendelssohn’s approval. That the young violinist made a positive impression on the composer is confirmed in the latter’s correspondence following their joint performance. Mendelssohn is full of praise for Léonard’s playing and offers to lend his support in finding employment in Germany.The editor Clive Brown is an acknowledged expert on Romantic performance practice.- New source situation owing to recently rediscovered proofs- Revised Urtext edition- With a separate booklet on performance practice (Eng/Ger)- Full score in the revised early and late (popular) versions (BA9099) available for sale- Parts of both early and late versions (BA9050) available for sale- Violin & Piano in the revised late (popular) version (BA9099-90)