Come, Light of Hope

Uses: Christmas Christmas Eve Epiphany Scripture: Matthew 1:18 Luke 2:1-20 Acts 4:20 Like a whispered prayer of thanksgiving this Christmas piece wafts on the air with tender grace. Poetry and music perfectly meld to create a stunning portrait of the newborn Savior. The call and response chorus is exquisite assuring us that Love Hope Peace and Joy have come! Light the Christ Candle accompanied by this song for a moment that will be long remembered.

Par HUMMEL BERTOLD. With the Eight Fragments Bertold Hummel has successfully created a most impressive work. Uncommonly concentrated in the evoking of atmosphere and reflecting the texts strongly, these 'dark grey songs' - to quote Ludwig Hirsch - develop a sadly expressive, almost somnambulant charm. These songs seem to have become Bertold Hummel's completely inwardly turned 'Winterreise', the epigram of a psychosis, full of concealed suggestion and dark references, but always more full of hope. The 'sun' becomes the constantly invoked bearer of hope. The music is highly expressive, exploiting the various performing and bowing possibilities of the stringed instruments and their capacity for nuances to the limits; occasionally oppressive visions in sound appear. It is music in danger, of a most fragile balance. Nor are subtle musical references missing. With only one note, following the word 'music', harmony and tonality are conjured up. / Date parution : 2007-11-20/ Répertoire / Baryton et Quatuor à Cordes

From the pen of master composer Joyce Eilers comes this delightful anthem of hope. As one candle can light another so can one person inspire and encourage another. Light the light share the vision show the world what just one can do… Easily learned it is an excellent choice for many concert occasions. Available for SATB 3-Part Mixed 2-Part and VoiceTrax CD. Performance Time: Approx. 3:30. Level 2.

from Journey of Promises-From the highly successful cantata Journey of Promises comes this joyful advent proclamation “Arise and Shine! Your Light Has Come!” based on scripture from the prophecy of Isaiah. Joseph Martin's adaptationof these hopeful words is set to the popular English tune “Sussex Carol.” Brant Adams has provided a luscious orchestration that is a spectacular option for churches with instrumental resources.

Featuring exciting new songs from Geron Davis this worship experience presents the Christmas story in a fresh new way-Jesus is our Hope and will return as conquering King. With celebratory praise and awesome worship songs thismusical incorporates soloists worship teams as well as adult and children's choirs. Music narration and production notes are included in the songbook. Titles include: Christmas Praise Medley The Cradle That Rocked TheWorld Glory To God Hope Has Come Isn't It Amazing Lord I Lift Your Name On High Sing Watch For The Light Why Would He Choose Me? Worship (Worship The King). Orchestration includes score and parts for Flute 1 2 Oboe Alto Sax Tenor Sax Horn 1-3 Trombone 1-3 Tuba Percussion Harp Rhythm Violin 1 2 Viola Cello String Bass. Instrumentation varies. SATB Listening Cassette Listening CD CD Accompaniment Trax (Split) RehearsalTrax CD Orchestration CD 10-Pack Preview Pack (Cassette) Preview Pack (CD) Bulletin Pack (100) Poster Pack (10) also available.

Come to the Fair was taught and sung extensively throughout the twentieth century in England and abroad having been first published in 1917. It has a charming tune whose allargando at the beginning of each Chorus is memorableand catchy as is the refrain ‘Heigh! Ho! Come to the Fair!’ It has been recorded several times including a version by Kiri te Kanewa.Easthope Martin was an English composer prolific in his production of light music primarily for the Voice. He wrote three sets of Songs of the Fair from which this tune comes and it has been extensively arranged for various Choral voicing. Poet Helen Taylor is famous for having written the text for popularsong Bless This House.

At First Light was commissioned by Eric Bruskin a resident of Philadelphia USA in memory of his mother. Eric had a longstanding enthusiasm for my work and I was touched to be the person he approached for a task which is both a privilege and a daunting responsibility. In a sense no music can ever measure up to the weight of love or the hope of consolation vested in it under such circumstances – but in memory I carry the deaths of both my own parents and I was able to draw upon that. Eric’s fondness for my Cello Sonata (itself written in memoriam) led him to ask that I include a solo ‘cello part in the new work – but his attachment also to my polyphonic sacred choral writing meant that he wanted a centrepiece which would be both a showcase of that approach and the celebration of a life well lived. Therefore the seven movements of At First Light arrange themselves as a series of slow meditations surrounding an exuberant 9-minute motet in which the lamenting cello falls temporarily silent. Eric’s Jewish faith meant that approaching an agnostic humanist brought up within the Anglican tradition was hardly free of problems! Gradually though I was able to win his approval for a collated mosaic of texts. This embraces some liturgical Latin (necessary for the motet) as the shared preserve of broad western culture in general but balances it with a secular approach to loss celebration remembrance and the many shades of our mourning those whom we see no longer. Eric was adamant that he did not want the title Requiem; but what has emerged is still a form of semi-secular Requiem in all but name taking its title instead from a phrase in the poem by Thomas Blackburn set as the third movement. This seemed to suggest succinctly how the loss of one very close to us is an awakening into an unfamiliar world where everything is changed. Following the exuberant central movement the texts by the Lebanese-born Kahlil Gibran and the US Kentuckian poet Wendell Berry first address the departed loved one directly then place us within an imaginary funeral cortège where the perennial and universal in human experience become personal without subscribing explicitly to any particular faith (or lack of it). The final text of all is a translation of a Hebraic prayer requested and provided by Eric Bruskin which serves to mirror its Latin counterpart heard at the outset. Throughout the lamenting cello represents a commentary on the experience articulated in the text. It evokes and in a sense tries to embrace and sanctify the individual existential journeys of the bereft as they in turn seek to make their own sense of what the short-lived Second World War poet Alun Lewis called ‘the unbearable beauty of the dead’ (movement 5). In a modern world hostage to ever greater menace displacement bloodshed and anguish I hope fervently that this music not only brings a measure of solace to the person who commissioned it but also makes its own small contribu

Arrangeur: Alexander L'Estrange. Par L'ESTRANGE ALEXANDER. More Songs of a Rainbow Nation brings you four more songs from South Africa for mixed voices, in beautifully crafted arrangements by Alexander L'Estrange. The selection opens with Freedom is Coming, a joyful, infectious celebration of hope and freedom from oppression, and the hugely popular Siyahamba is also featured. Both songs form part of L’Estrange's hit cantata Zimbe! Come sing the songs of Africa. Part of the Choral Basics series, the four songs are arranged for soprano and alto with combined men's voices - ideal for beginner choirs and those in which the male singers are few or at the stage when their voices are changing. All Choral Basics publications feature a straightforward piano accompaniment to support the singers. More Songs of a Rainbow Nation brings you four more songs from South Africa for mixed voices, in beautifully crafted arrangements by Alexander L'Estrange. The selection opens with Freedom is Coming, a joyful, infectious celebration of hope and freedom from oppression, and the hugely popular Siyahamba is also featured. Both songs form part of L'Estrange's hit cantata Zimbe! Come sing the songs of Africa. Part of the Choral Basics series, the four songs are arranged for soprano and alto with combined men's voices - ideal for beginner choirs andthose in which the male singers are few or at the stage when their voices are changing. All Choral Basics publications feature a straightforward piano accompaniment to support the singers. / Niveau : Débutant / Répertoire / Choeur

Includes A Fine Romance , New York, New York , The Lady Is A Tramp , Come Fly With Me plus many more Frank Sinatra hits. / Chant Et Guitare

From the pen of Scott Krippayne and Marie Reynolds comes a contemporary song that proclaims God's plan let there be light through the birth of his Son Jesus. Hints of star of wonder star of night are masterfully intertwined with the driving melody. This uplifting anthem of hope and joy will fit well into any Christmas service or program. Performance Time: Approx. 4:15.Available separately: SATB ChoirTrax CD and Instrumental ePak (Score and Parts for Full Orchestra; Instrumentation: Flute 1 & 2 (Oboe) Clarinet Trumpet 1 2 & 3 F Horn Trombone 1 & 2 Rhythm Percussion 1 & 2 Violin 1 & 2 Viola and Cello/Bass).

The anticipation and longing for Messiah is captured in this engaging new choral. Singable harmonies and a memorable melody move the worshipper from hope to joy and give the choir an opportunity to be messengers of the cominglight. The optional oboe obbligato adds a plaintive and mysterious quality to this Advent choral. Spread the joy of the coming of the Messiah with “When Emmanuel Has Come”

Uses: Advent ConcertScripture: Matthew 24:27-30; Isaiah 60:1-3With a tip of the straw hat to “barbershop” singing this new TTBB arrangement of an Advent best-seller will be a uniqueprogramming moment for your men. The quickly learned theme delivers the hope and joy of the coming “Light” in a cheerful quartet style. The inclusion of the spiritual “My Lord What a Morning” providescontrast and depth. Available separately: SATB a cappella TTBB a cappella. Duration: ca. 3:01.

SATB w/opt. Handbells-An infectious jazzy holiday song with a dash of handbells thrown in for text-painting and a middle section verse of 'O Come O Come Emmanuel ' this Joel Raney original is a joyful fun-filled number that will be a highlighton any Advent or Christmas program. The handbell part is included.

Quirky New Piano Pieces-'In choosing to call this set of 25 pieces The FitzTanner Collection I make a tongue-in-cheek allusion to the Fitzwilliam Virginal Book.The FitzTanner Collection doffs its cap in the direction of this seminal ancient tome by borrowing some of the more fanciful and suggestive titles from which it is comprised but beyond this there is no musical connection with the original pieces at all. And yet stirred into the mix is my fondness for melding together bygone musical styles. Hence this album of piano pieces pitched at the more robust intermediate pianist combines quirky originality with older musical styles drawinginspiration not just from Renaissance dances and fantasies but from more elaborate Baroque and Classical styles too. That said the music is conceived very much with the qualities of the modern piano in mind and hence requires a good many pedal effects dynamics and plenty of expression. What emerges is I hope a collection of attractive piano pieces which cheerfully bear the traces of a time when the modern piano was but a twinkle in the eye.There is an enjoyable charisma to the Old English spellings of these pieces (as well as a healthy margin for idiosyncrasy I might add) and to my own creations I have taken great delight in adding a few light-hearted directions which I trust won't cause too much consternation. Not all of the Fitzwilliam titles are easily fathomed but the playful risqué and politically incorrect overtones are sometimes quite striking leading me to contemplate a similarly unserious vein in my own writing. To what (or indeed to whom) you may ask does 'Quodlings Delight' refer? I'm not sure I'd recognise a Quodling if it crawled out of my porridge (and likewise who the eponymous Barafostus might have been is anybody's guess). Perhaps on balance the music is best left to speak for itself and regardless of how many ways an old title can be reworked it will always come down to living breathing