Canon of Hope

Par HINDEMITH PAUL. These canons now published for the first time document Hindemith's fondness of composing little parodistic works with a wink on certain occasions. More than 30 artistic postcard-sized works were written by the composer. In strict counterpoint, he used them to convey season's greetings, congratulations on birthdays and anniversaries, and thanks to friends, colleagues and cultural institutions. Some of these witty and entertaining pieces have been released on recordings several times, but they have not been available in printed editions yet. Our first edition now enables every choir and every small singing group to find a canon of the appropriate level of difficulty and perform it on many occasions with great success with the audience./ Répertoire / Choeur a Cappella

Songs of Grace and Hope. Filled to the brim with recognizable tunes and texts, this hymn montage is a splendid piece for slim Sundays. Anchored by a newly composed song, the anthem opens with confidence and moves through some of the most beloved grace-inspired gospel hymns in the sacred canon. Lilting with joy and assurance, the music navigates quickly and easily between the songs. Your congregation's hearts will be smiling as you remind them of the promises of God through this cheerful menagerie of praise. Songs include: What a Wonderful Savior; Grace Greater than Our Sin; Wonderful Grace of Jesus.

Score for this piece which was comissioned by London Brass and first performed in 1992.Quoting composer: The piece was completed without title on 12th August 1992. A title once considered was Canons Chorales and Waltzes butthis was dropped since there was only one canon (the opening) and only genuine waltz (apart from a passage towards the end which superimposes the canon over a waltz rhythm). The following day I read the paper that John Cage haddied - the day I finished writing. For this reason but mainly because Cage was the most revolutionary practical music thinker of the 20th century this piece is dedicated to him. His influence on my music may be perceived underthe 'very un-Cagein' surface: though stylistically there may be little in For John Cage that may have been to his taste I hope he would at least have appreciated its diversity its non-simultaneous multiplicity.Parts areavailable on hire or special order. Duration 15 minutes.

Padre Pio's Prayer-A setting of Padre Pio's “Prayer after Holy Communion” commissioned by the Genesis Foundation and first performed by The Sixteen in June 2008 at Westminster Cathedral London.Padre Pio (1887-1968) was in his lifetime a controversial and holy man and was canonized St. Pius of Pietrelcina in 2002. He is known unofficially as “the patron saint of stress relief ” in accord with his most famous dictum “Pray hope and don't worry.” Will Todd sets an English version of the text by Ben Dunwell; by turns gentle and intense the resulting choral prayer captures the reflective and emotional core of Pio'swords.

Robert Saxton's The Resurrection Of The Soldiers for String Orchestra.Composed and published 2016.Duration: c. 12 minutes.The Resurrection Of The Soldiers for String Orchestra was commissioned by George Vass to whom it is dedicated and the English Symphony Orchestra for the 2016 Presteigne Festival with funds generously provided by the John S. Cohen Foundation and the Arts Council of England. The title derives from the final panel of Stanley Spencer’s Sandham Chapel visionary series of paintings which were the result of Spencer’s experiencesin the British army in World War One and depicts soldiers emerging from their graves on the last day. The music is in three continuous sections: a slow sustained introduction which is in essence a descent from the note E by means of a prolation canon but which ascends to a rather intense climactic point before finally falling and giving way to an active fugue which after arriving at an anguished sustained climax is succeeded by a closing slow movement consisting of a rising melodic line which permeates the entire texture heterophonically leading to the closing E major triad. The work thus traces a cyclical pitch path which while tracing a cyclical path also develops expressively towards a sense of hope and resurrection. - Robert Saxton April 2016

This comprehensive collection contains the most well-known, best-loved pieces of music that every pianist should have in their repertoire. You'll find classical favourites, famous film themes, laid-back jazz, chart hits, wedding music, Christmas classics and handy must-haves like 'Auld Lang Syne' and 'Happy Birthday To You', all organised into themed sections for easy navigation. With everything from Mozart to Mariah Carey, Einaudi to Elton John and John Williams to Ed Sheeran, this is the ultimate dip-in resources for pianists! (Everything I Do) I Do It For You A Night In Tunisia A Thousand Miles A Thousand Years Adagio For Strings All I Want For Christmas Is You All Of Me All You Need Is Love At Last Auld Lang Syne Autumn Leaves Ave Maria Blackadder Theme Bridal March Bridge Over Troubled Water Can You Feel The Love Tonight Candle In The Wind Canon in D Can't Help Falling In Love Chasing Cars Clair de lune Clocks Congratulations Dancing Queen Ding Dong! Merrily On High Eine Kleine Nachtmusik (1st Movement: Allegro) Fairytale Of New York Flower Duet Fly me to the moon For He's A Jolly Good Fellow Für Elise Georgia On My Mind Get Lucky Gymnopédie No. 1 Happy Birthday To You Have Yourself A Merry Little Christmas He's A Pirate Jingle Bell Rock Jingle Bells Jurassic Park Theme Love Theme (From The Godfather) Mad World Make You Feel My Love Maple Leaf Rag Moon River Moonlight Sonata My Heart Will Go On Nuvole Bianche O Come Ye Faithful Once In Royal David's City Over The Rainbow (From The Wizard Of Oz) Panis Angelicus Piano Man Pie Jesu Pomp And Circumstance, March No. 1 (Land Of Hope And Glory) Rhapsody In Blue Rocket Man Santa Claus Is Coming To Town Satin Doll Silent Night Singin' In The Rain Skyfall Someone Like You Spring Symphony No. 5 (Theme From First Movement) Take The 'A' Train The Arrival Of The Queen Of Sheba The Entertainer The Girl From Ipanema The Heart Asks Pleasure First The Pink Panther Theme The Way You Look Tonight Thinking Out Loud Walking In The Air Wedding March White Christmas Winter Wonderland You've Got A Friend In Me

Ma'Oz Tzur-Conductors of many mixed choirs are already familiar with the very popular SATB version of this piece; composer Ryan Brechmacher now provides a version for treble choir. The sheer beauty of this absolutely gorgeous upliftingpiece alone makes it destined to take its place among and forever alter the canon of Chanukah songs – and beyond. Original English lyrics serve as bookends to the Ma'oz Tzur prayer and lend the piece to a universallyapplicable theme of hope unity and freedom.

Moving Parts is the music for Benjamin Millepied’s ballet of the same name. Scored for Violin Clarinet and Pipe Organ the piece is a series of rhythmic etudes. The slow movement is a very slow passacaglia with I hope unexpected lyrical melodies in the violin. After an extended Organ toccata built over a drone a brief slow movement creates a natural midpoint. The violin aggressively plucking builds up to form a canon with a clarinet and after a loud outburst from the organ the piece ends quietly. Moving Parts written in 2012 is dedicated to Benjamin and the Los Angeles Dance Project. 

Multicultural Collection of Partner Songs and Canons-Calling all world brothers and sisters! Travel our musical globe with WORLD PARTNERS! Like the patches of a family quilt the folk songs of the world's children tell their stories. Arranged by master music educator CherylLavender the twelve “patches” in this collection are shared with the hope that global cultures and traditions might be better understood and celebrated by our world siblings and ultimately come together into the“quilt of humanity.” For instantly successful and “can-do” harmonies these kid-tested folk songs are arranged with catchy original partner songs and canons. Adaptable for classroom or concert all songsare reproducible and include piano/vocal arrangements teaching tips and reproducible songsheets with phonetic pronunciations. For a richer performance opportunity many songs feature Orff and percussion parts as well aseasy-to-learn folk dances. For added value there are teaching objectives linked to the National Standards for each song! Available: Teacher Edition (with reproducible pages) Performance/Accompaniment CD Classroom Kit (Teacherand P/A CD). Suggested for grades 3-8.

Viola da Gamba Part for Nico Muhly's Malmesbury Motets.   Commissioned for the choir of Malmesbury Abbey Wiltshire by Revd Canon Neill Archer (vicar) and Dr Annie Davis (Lay Precentor). First performed on 26 & 27 November 2016 at the Advent Carol Services at Malmesbury Abbey by the Abbey Choir directed by John Hughes and Rebecca Saunders.   Duration approximately: 8 minutes.   '...one hopes there are enough good (Gamba) players available to take on the challenge so that Muhly's imaginative collection can be widely appreciated'. Choir & Organ  December 2017

Written in memory of innocent victims this dramatic piece is ideally performed within a church. It uses texts form the Gospels St Ephrem the Syrian the Old testament Shakespeare and from Mathnawi of Jalal al-Din Rumi.The work begins in a musical wasteland seemingly hopeless and without redemption. Words are turned upside down with apocalyptic screams from the organ. The work ends with an echo of this opening but the suffering this time isinside redemption. All the various streams come from this and flow back into it in the pianissimo canon “The son of man is come to save that which is lost.” Contains detailed performance suggestions; duration is25 minutes.

In memory of Christopher Rowland. Originally a concerto for Cello and chamber orchestra now for Cello with a Piano reduction of the orchestral part.The concerto is in four movements which are played without a break: Meditation Intermezzo Toccata-Scherzo and Song. The work lasts for some 18 minutes and was scored for two oboes two horns timpani (doubling tubular bells) and strings(found here in a Cello/Piano form). It is organised in one large arch-shaped structure with two fast inner movements flanked by two outer slow ones. The solo cello opens the work reflectively and introduces core melodic material which is continuously developed throughout theconcerto. Gradually the strings enter then wind and timpani and build a pyramid twelve-note chord at the peak of which there is a dramatic climax. The music then subsides (solo cello again) but links to the two faster middle movements. The second movement Intermezzo has an ABA structure and in its middle section quotes the opening of Shostakovich's Third String Quartet (written in the same year as Christopher Rowland was born!). Indeed the ghost of Shostakovich looms large throughout the concerto in more ways than one. The Toccata-Scherzo is energetic and rhythmically-charged again using an ABA structure. Here the writing for solo cello is quite virtuosic but not I hope in a shallow sense. The music builds inexorably towards a powerful climax underpinned by the opening twelve-note chord's re-appearance together with a violent outburst from the timpani at which point a tonal resolution (on G) arrives through a pianissimo held chord on strings which leads directly to the final movement - Song. And so the music arrives at its emotional heart through a simple melody (present in other forms throughout the work) announced by solo cello at the very top of its register against a quiet backdrop of horns and strings. A solo oboe enters with cello in canonic reply and all the time the music builds in texture and