SKU: AU.9781506496023
ISBN 9781506496023. 8.5 x 11 inches.
This collection of eleven tunes features a rich variety of hymns, old and new, arranged by Mary Howarth in an engaging light jazz style. The South African hymn “God Welcomes All is set in an energetic and rhythmic style while the traditional French carol “’Twas In the Moon of Wintertime is beautifully set in a mysterious dreamy mood.
SKU: AU.9781506496054
ISBN 9781506496054. 8.5 x 11 inches.
Bob Moore beautifully captures the mood of each hymn with a lyrical and improvisatory style in this collection of 10 hymn tune settings for piano. The tunes have ecumenical appeal and include CANDLER, CEDARWOLD, COE FEN, and SINE NOMINE.
SKU: FP.FSD01
ISBN 979-0-57050-267-7.
A remarkable collection of piano and organ pieces by Douglas Steele, Thomas Beecham's talented assistant.
SKU: GI.G-7900GS
This fourth edition will be everything users of any previous edition of Worship would expect from GIA’s premiere hymnal—and more! A comprehensive hymnal, somewhat in the style of GIA’s RitualSong: a substantial compilation of the finest organ-based hymnody (approximately 80%) with the best-loved piano/guitar-based music (20%) A wide-ranging selection of hymn texts by modern writers, mostly wedded to familiar hymn tunes A Hymn of the Day calendar to match one or two hymns to the gospel reading for each Sunday of the Lectionary cycle A significant selection of bilingual (English-Spanish) music and world music, additional language options for Taizé chants Lectionary psalms set to Gelineau and Guimont psalm tones, plus a sampling of additional psalm settings from a variety of composer G-7900GS is the spiral bound edition of the guitar accompaniment for Worship—Fourth Edition. Guitar accompaniments contain melody, some harmony, and text along with the guitar chords.
SKU: HL.48186484
UPC: 888680828844. 9x12 inches.
“Engl ish Horn (or flute or clarinet or alto), Violin & Cello Rarely has a musical work been better characterized by its subtitle than Nicolas Bacri's Lyric Interlude: 'A Study in Pastoral Style'. When, in 2008, the composer received the commission for a piece with English horn from Cecilia Benner, patron of the Chamber Music Society of Detroit, he immediately thought of the duo between this instrument and the oboe that Berlioz, in the Symphonie fantastique, placed at the beginning of the 'Scène aux champs', making suddenly appear a nocturnal country landscape where two shepherds carry on a dialogue on their pipes. First performed in March 2009 at one of the Scarab Club Concerts in Detroit, the Lyric Interlude for English horn, violin and cello (Op.110a) nonetheless proclaims another tradition: that of British pastoralism, illustrated by the music of Ralph Vaughan Williams (1872-1958), the 50th anniversary of his death having just been celebrated. This score pays him homage of rare sensitivity: set off by refined counterpoint, the undulating lament of the beginning, rhythmically supple, evokes the waving wheat, as does Vaughan Williams in the opening undulation of his Symphony No.3. The lyrical effusion, briefly interrupted by a scherzo in 6/8, again pours out, making the work evolve towards a slow, ecstatic atmosphere, close to the last of the English composer's Three Preludes on Welsh Hymn Tunes. Far from bucolic, postcard clichés and servile imitation, this Lyric Interlude opens the doors to a realm where pure beauty reigns. The composer also wrote another version of this work for English horn (or flute, clarinet, or viola) and piano, Op.110b (AL 30 750)&rdquo.
SKU: MN.25-723
UPC: 688670257230.
The composer brings his sparkling and creative style to three hymn tunes. Like all of the pieces in our Duane Funderburk Chamber Music Series, these are for accomplished players and the result is impressive.
SKU: GI.G-7419
UPC: 785147741909. English. Text Source: Original Sacred Harp, 1971 ed. Text by John Leland.
A favorite hymn from The Sacred Harp for many people, the opening measures are reflective of the version that was originally published, but then Heider expands the piece in a style that brings to mind the great choral settings of shape-note tunes. There is divisi in all parts as the piece progresses, but much of it is simply doubling of the melody in octaves. A great choral anthem for worship, but also a crowd pleaser for concerts! Â .
