Non Nobis Domine / Nicht Unserm Namen, Herr. Par MENDELSSOHN-BARTHOLDY FELIX. The Psalms inspired Mendelssohn throughout his working life, and, aside from a cappella settings, he left behind five great orchestral Psalms. / Date parution : 1994-02-01/ Répertoire / Solistes STBar, Choeur SSAATTBB, 2 Flûtes Traversi

For Voice and Dulcimer-These compositions are collaborations based on texts and tunes from a variety of sources including the Bible the 1940 Episcopal Hymnal George Herbert Thomas Tallis and others. Arranged for the mountain Dulcimer these renditions provide traditional repertoire for individuals house churches and congregations without an Organ as well as a musical change of pace. They can be sung by soloists choirs and congregations alike. Writtenin standard notation and tablature in DAD tuning.

Liber Canticorum Va-The text for the choral work 'Hominis dies' is partly form the book of psalms partly from Isaiah in the Latin translation of the Bible. The words are relevant today - they are about the fate of humanity - our fear of war and destruction violence and polution. The choral work is divided in three parts all of them introduced with a Halleluja. A Halleluja is most often a praise but that is not the case in this work where the suppressed and oppressed manking with this work express desperation and sorrow but also hope.

Written for SATB choir and organ with optional brass (2 trumpets and 2 trombones) and cymbal Dr. Powell illustrates her regal flair. Based on Psalms 118 and verses from Acts 10 the tender middle section is flanked by the royalfanfares and triumphant statements. This piece will flourish in festival occasions and services of praise to God.

Orchestral Version-John McCabe's Psalm-Cantata (Orchestral Version). Vocal score for Soprano Baritone and SATB choir.This work was commissioned by the English Baroque Choir and their music director Jeremy Jackman who gave the first performance on 16th March 2013 at St. John’s SmithSquare London.'I’ve wanted to write a choral/instrumental piece based on texts from the Psalms for a very long time so this commission from the English Baroque Choir and their music director Jeremy Jackman (to whom the work is dedicated) was a wonderful opportunity to put this idea into practice. I decided to write a kind of latter-day equivalent to the Bachcantatas with two soloists (soprano and baritone). The texts are derived from a variety of Psalm sources: some in Latin some in English a meditation by Savonarola and a Henry Vaughan poem.' - John McCabe

Symphonie-Kantate. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn describes to his friend Klingemann the 1840 work as 'a ‘symphony for chorus and orchestra’… First three symphonic movements, to which 12 choral- and solo- movements are appendaged; the words from the Psalms, and indeed all pieces, vocal and instrumental, are composed in the words ‘Everything which has breath, Praise the Lord’; one understands by this that first the instruments give praise in their own way, and then the chorus and the individual voices. ' Mendelssohn's Lobgesang, Op. 52 (Symphony No. 2) for SATB and Orchestra. Mendelssohn describes to his friend Klingemann the 1840 work as 'a ‘symphony for chorus and orchestra’… First three symphonic movements, to which 12 choral- and solo- movements are appendaged; the words from the Psalms, and indeed all pieces, vocal and instrumental, are composed in the words ‘Everything which has breath, Praise the Lord’; one understands by this that first the instruments give praise in their own way, and then the chorus and the individual voices. ' / Musique religieuse / Répertoire / Solistes SST, Choeur SSAATB, 2 Flûtes Traversières

Symphonie-Kantate. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn describes to his friend Klingemann the 1840 work as 'a ‘symphony for chorus and orchestra’… First three symphonic movements, to which 12 choral- and solo- movements are appendaged; the words from the Psalms, and indeed all pieces, vocal and instrumental, are composed in the words ‘Everything which has breath, Praise the Lord’; one understands by this that first the instruments give praise in their own way, and then the chorus and the individual voices. '/ Répertoire / Solistes SST, Choeur SSAATB, 2 Flûtes Traversières

Symphonie-Kantate. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn describes to his friend Klingemann the 1840 work as 'a ‘symphony for chorus and orchestra’… First three symphonic movements, to which 12 choral- and solo- movements are appendaged; the words from the Psalms, and indeed all pieces, vocal and instrumental, are composed in the words ‘Everything which has breath, Praise the Lord’; one understands by this that first the instruments give praise in their own way, and then the chorus and the individual voices. '/ Répertoire / Solistes SST, Choeur SSAATB, 2 Flûtes Traversières

Symphonie-Kantate. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn describes to his friend Klingemann the 1840 work as 'a ‘symphony for chorus and orchestra’… First three symphonic movements, to which 12 choral- and solo- movements are appendaged; the words from the Psalms, and indeed all pieces, vocal and instrumental, are composed in the words ‘Everything which has breath, Praise the Lord’; one understands by this that first the instruments give praise in their own way, and then the chorus and the individual voices. '/ Répertoire / Solistes SST, Choeur SSAATB, 2 Flûtes Traversières

Symphonie-Kantate. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn describes to his friend Klingemann the 1840 work as 'a ‘symphony for chorus and orchestra’… First three symphonic movements, to which 12 choral- and solo- movements are appendaged; the words from the Psalms, and indeed all pieces, vocal and instrumental, are composed in the words ‘Everything which has breath, Praise the Lord’; one understands by this that first the instruments give praise in their own way, and then the chorus and the individual voices. ' / Musique religieuse / Répertoire / Solistes SST, Choeur SSAATB, 2 Flûtes Traversières

Symphonie-Kantate. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn describes to his friend Klingemann the 1840 work as 'a ‘symphony for chorus and orchestra’… First three symphonic movements, to which 12 choral- and solo- movements are appendaged; the words from the Psalms, and indeed all pieces, vocal and instrumental, are composed in the words ‘Everything which has breath, Praise the Lord’; one understands by this that first the instruments give praise in their own way, and then the chorus and the individual voices. '/ Répertoire / Solistes SST, Choeur SSAATB, 2 Flûtes Traversières

Level A Method Book-A Progressive Piano Method for the Christian Studentby Joseph Martin David Angerman and Mark HayesKeys for the Kingdom is a fully graded piano series designed especially for the Christian student. Through astylistically diverse set of musical experiences students will learn the foundations of good musicianship. Each lesson is carefully written to provide gradual progress. The graphic illustrations are designed to be fun andinspiring as well as to reinforce the lesson. While learning the basic concepts of piano playing the student is introduced to many styles of sacred music: the wealth of great hymnody songs and psalms of the church; as well asthe great classics in piano literature that every student needs to excel in musical study. Also included in the series are Bible verses affirming spiritual values intended to motivate the student toward excellence at thekeyboard.This multi-key stylistically diverse series of books introduces basic concepts of rhythm intervals scales chords music theory artistry and improvisation. Companion products include hymnbooks contemporaryChristian songbooks theory/technique/improvisation books performance books seasonal books and duet books. These along with planned future companion materials will help support the student's learning quest.Each methodbook establishes a deliberate but steady pace for the developing student. Principles of reading music theory technique interpretation and musicianship are explored. Calling on the combined teaching experience of over 40years the authors have fashioned new ways of teaching proven concepts. Great emphasis is placed on the beauty if the music the lyrics and the art which accompanies individual songs. Each lesson also includes appropriatescripture references to help students discover the joy of worshipping and serving God through their own music.