The Gibbons Hymnal contains the 17 hymn tunes composed by Orlando Gibbons for George Wither's The Hymnes and Songs of the Church (1623), many of which are still popular today. This is the first modern edition which incorporates Wither's hymn texts beyond the first verses. Gibbons composed treble and bass lines for the hymns - editor David Skinner has constructed the inner voices to create a collection of pieces that can be performed either as hymns or as simple anthems. Also in this volume are Gibbons's ten surviving full anthems, including popular works such as Almighty And Everlasting God and his masterpiece, O Clap Your Hands , alongside lesser-known compositions such as the beautiful miniature, O Lord, I Lift My Heart To Thee , and, presented here in a new reconstruction, I Am The Resurrection And The Life . / Choeur Mixte (SATB)

Third edition of the world's biggest songbook. This is a vast bumper collection, perfect for buskers, of 1001 all-time hit songs.Whatever your taste, there's guaranteed to be tonnes of songs you'll want to play, this book will last you years!Inside the spiral bound cover you will find a generous selection of hit songs, golden standards, jazz and blues numbers, classical pieces, hymns, gospel songs, stage, film and musical music! Arranged here in Melody line arrangements for Piano, Organ, Electronic Keyboards, Guitar and all C instruments, complete with lyrics and chord symbols. / Ligne Mélodique, Paroles Et Accords (Avec Grilles D'Accords)

The Gibbons Hymnal contains the 17 hymn tunes composed by Orlando Gibbons for George Wither’s The Hymnes and Songs of the Church (1623) many of which are still popular today. This is the first modern edition which incorporates Wither’s hymn texts beyond the first verses.Gibbons composed treble and bass lines for the hymns; editor David Skinner has constructed the inner voices to create a collection of pieces that can be performed either as hymns or as simple anthems.Also in this volume are Gibbons’s ten surviving full anthems including popular works such as Almighty And Everlasting God and his masterpiece O Clap YourHands alongside lesser-known compositions such as the beautiful miniature O Lord I Lift My Heart To Thee and presented here in a new reconstruction I Am The Resurrection And The Life.In the January 2015 edition of the Journal of the Association of Anglican Musicians Jason Overall writes about this 'superlative collection' that it 'provides a valuable resource for choirs.'

The Novello Book Of Hymns is a collection of 50 favourite hymns, inspiringly and engagingly written for SATB Choirs. Edited by David Hill, all the arrangements in this book are designed to be singable by congregations without music, and can be used in any church or school service.As well as providing uplifting versions of hymns, these arrangements also work well as easy anthems, enabling church and school choirs to learn an often striking and dramatic piece of music quickly and easily.The hymns have been arranged by a range of well-loved composers including Richard Lloyd, John Bertalot, David Hill, Stephen Jackson, Philip Moore, Christopher Robinson and many others.Editor of the collection David Hill is a Choral Advisor to Novello. He is Chief Conductor of the BBC Singers, Musical Director of the Bach Choir, Chief Conductor of the Southern Sinfonia, Associate Guest Conductor of the Bournemouth Symphony Orchestra, Music Director of Leeds Philharmonic Society, and Professor of Choral Conducting at Yale University. / Choeur Mixte (SATB)

Nowhere else will you find gathered together into one priceless treasury so many of your favourite American folk songs, patriotic anthems and marches, heart songs, sea chanteys, colonial songs, civil war songs, hymns, gospel songs, spirituals, Christmas carols, memorial songs, and sacred classics. This comprehensive volume includes over 175 full Piano arrangements with complete lyrics and chord symbols, and is illustrated with woodcuts, engravings and drawings throughout. / Rép International / Recueil / Piano

Hymnus was commissioned by the Wilhelmina Easterein Fanfare Orchestra in the Autumn of 1999 for their performance at the World Music Contest Kerkrade. The commission was the result of a collaboration between the composer and the thenmusical director Marten van der Wal. The exact meaning of the word Hymnus is not known but it is taken in this presentation to mean hymn or hymn-like. The melodic material is organic and grows from an initial unison tone. Thisinterval is gradually expanded to form the cell F E C F a semitone third fifth. The only other melodic motif is the ascending three-note pattern spanning a major third. This is the second of his compositions to use this ascending motif theother being Fanfare for a Bright New Age for Brass Band and Organ also of 2000. These characteristic intervals appear in many contrasting moods and guises throughout the piece. The opening unison notes are intended to convey as sense ofpower and magnificence like the first sounds at the dawning of the universe. After the immense power a period of stunned silence and reverence. The evolution of the hymn melody incorporates a variety of moods and atmospheres sometimes expressing much joy and celebration whilst also suggesting periods of intense savagery or prayerful contemplation. The hymn builds as the piece progresses and is finally stated in its complete form at letter W. The official worldpremiere of the work was given by Wilhelmina Easterein at the World Music Contest 2001. Whilst the composer was unable to attend in person he was able to enjoy the premier simultaneously transmitted via a mobile phone from the audience! Conductors Note The tempo indications are to be viewed as a guide rather than a literal instruction. Within the music there is an innate sense of pulse and metre lending itself to considerable rubato. Melody is king and all else is mere support and decoration careful attention must therefore be given to balance.

The Four Hymns are in similar vein to the Five Mystical Songs (1911) although on a smaller and more intimate scale. Together with the Fantasia on a Theme of Thomas Tallis these form a succession of works displaying a strong mystical, meditative content.The first of the hymns, 'Lord! come away!', employs vigorous Purcellian recitative in a setting of a Palm Sunday text from Bishop Jeremy Taylor's Golden Grove (17th century). 'Who is this fair one?' (Isaac Watts, 1674-1748) is a dialogue for the tenor and viola about divine love. As described by Christopher Palmer, 'Come Love, come Lord' (Richard Crashaw, c1613-49) 'breathes that spirit of mystical remoteness later to inform A Pastoral Symphony?. The final 'Evening Hymn' is a radiant setting of a translation from pre-4th century Greek by Robert Bridges, notable for its contrapuntal expertise over a bell-like basso ostinato.Four Hymns is also available in the version for tenor, viola and piano (979-0-060-02852-6), and the score (978-0-85162-908-7) serves as the vocal score for use with the orchestral version. However, the solo viola part of the orchestral version is incompatible with that for the piano version.Suitable for advanced standard performers. / Conducteur De Poche

'Yankee Doodle' with variations is the most concise way to describe the piece commissioned by the New Haven Symphony Orchestra to commemorate Conneticut's participation in The United States Bicentennial. 'Yankee Doodle' a tune dating back to the Middle Ages in Holland and England (and used by the British as early as 1755 to poke fun at untrained American troops in the French and Indian war) is interwoven with other folk and national melodies to stitch a patchwork or a musical collage. It is a personal view of American history.'To explain my approach to They All Sang Yankee Doodle I must explain my own background because the piece is made up ofmusical memories imprinted from early childhood.My earliest musical memories are a juxtaposition of sounds - hymns and Bach chorales from the church next door where my mother was choir director; early twenties jazz from my oldest brother's dance band; classical piano from my middle brother and my mother's piano studio; and cowboy songs and turn-of-the-century ballads that I have always identified with my father. Concord California where I was born was once part of a land grant from the Mexican government and the Spanish-Mexican influence remained strong even as the town expanded from a sleepy settlement into an American microcosmos with a wide variety of ethnic groups. Over fifty years ago most of us who sang 'Yankee Doodle' in Concord could not trace our ancestry to the founding fathers. Those of us with Anglo-Saxon names were at the end of the Westward push our forefathers having left behind the Eastern cities a few generations before settling for a time mid-continent then restlessly pushing further West. Little is known of my paternal grandfather for instance except that he had come to California from Indiana walking across Nevada desert to become one of the first settlers in Mordoc Indian territory.Of course the native American the Indian was there to greet each new migration and it is his

The New Novello Book Of Short and Easy Anthems For Upper Voices is a wonderful collection and an invaluable resource for Upper Voice choirs who have the desire to sing a variety of beautiful anthems, but who have an unfortunately limited amount of rehearsal time. Selected and edited by David Hill, this collection includes anthems that are easy to learn, enjoyable to sing but also sound simply fantastic.Some works included in this collection are universally-loved, pieces like Ave Maria by Marcel Dupré, The Lord's Prayer by John Tavener and James Whitbourn's wonderful A Prayer Of Desmond Tutu. Despite the title of Short And Easy, these pieces are anything but mundane or tired, they are all exciting, versatile and enjoyable, making this collection perfect for any choir. The collection is an antidote to the fact that many choirs have to rehearse on a limited time, with limited resources. Learning from this collection is quick and efficient, but the songs don't compromise in beauty.With a range of styles, and settings for Eucharist and Evensong, this collection offers a carefully-chosen diversity for Upper Voice Choirs large and small. With James Davy's Sun Of My Soul, Philip Moore's Listen To The Song Of The Children and Elizabeth Poston's The Dormouse's Carol, the selection here is brilliant, including pieces for all occasions and events throughout the year. This makes Short And Easy Anthems indispensable for Upper Voice Choirs and directors who will instantly be able to draw from a wealth of songs that can be learnt quickly. The works here include simple unison settings, while most of them can be performed with some flexible scoring, allowing the music to be opened up to wider choirs.Featuring a vast number of anthems that can be learnt and sung quickly, The New Novello Book Of Short and Easy Anthems gives Upper Voice choirs a grand selection of songs that will prevent a reliance on the same ones. Whether your choir is large or small, the music contained within this collection is perfect for beautifully versatile melodies that can be learned very easily. / Choeur SSA Et Piano

Full Score for John Tavener's Three Hymns Of George Herbert for SATB chorus percussion and strings. Commissioned by the Legatum Institute [www.LI.com] as part of its ?British and American Notions of Liberty?programme in the year of the Diamond Jubilee of Her Majesty Queen Elizabeth II. First performance on 21st April 2013 in Washington National Cathedral by the City Choir of Washington conducted by Robert Shafer.'The ThreeHymns of George Herbert were written after a long illness and represent for me a Hymn of thanksgiving to God for a relative return to health. They are intended to be sung in a large resonant acoustic with the main choir andstring orchestra at one end of the building and an echo choir and string quartet at the other. The percussion (tubular bells gongs and tam-tams) should sound from a gallery or other raised position.The Hymns wereinspired by the transparent poetry of George Herbert and are dedicated in gratitude and love to the memory of Mother Thekla former Abbess of the Orthodox Monastery of the Assumption Normanby near Whitby who died in 2011.' -John Tavener

for String Quartet op. 35a. Par SUK JOSEF. Josef Suk played second violin in the Bohemian String Quartet. Since 1914 the ensemble was obliged to perform the Austrian national anthem at the opening of every concert. Suk decided to supplement this obligatory piece with a work inspired by the ancient sacred Bohemian 'St. Wenceslas” hymn. The hymn's message - a plea for the well-being of the Czech people, directed at their patron saint - was immediately understood by the audience. The Bohemian String Quartet performed this single-movement Meditation for the first time on 27 September 1914 - the premiere of the version for string orchestra followed on 22 November 1914, played by the Czech Philharmonic. That same year the piece was published by Fr. A. Urbánek together with arrangements for piano and organ. This first Urtext edition, prepared by the Suk scholar Zdenek Nouza, is published in two scorings, one for string quartet (BA 9583 - study score TP 583) and another for string orchestra (BA 9584). The orchestral version differs in some details and has an added part for double bass. - First Urtext edition/ Répertoire / Quatuor à Cordes

Classic hymns are given an artful touch in this flexible new collection. Each arrangement stands beautifully on its own, or the entire five arrangements (with optional narration to tie them together) can be performed as a 20-minute 'Hymnfest' during a regular worship service. Optional suggestions are also included to create a full hour-long hymn service with additional anthem and hymn suggestions. / Choeur Mixte (SATB)