SKU: MN.60-6600
UPC: 688670666001. English.
An easy but striking congregational hymn setting of the tune RUSTINGTON to a text by Shirley Erena Murray. Stanzas one and three are in unison (three with descanting ahs). Stanza two invites the choir and even the congregation to sing in four parts! This can be as streamlined as you need it to be, but can also expand by use of the optional Brass Quintet, Handbells, Timpani, and Crash Cymbals.
SKU: WD.080689639173
UPC: 080689639173.
Christy and Daniel Semsen have done it again, bringing you the most epic, entertaining, and exhilarating new kids musical from Word Music & Church Resources! With songs that your kids will love, Back to the Beginning is the perfect musical for engaging your kids in the story of creation. Filled with scriptural truth and the promise of God’s love, this message of hope and redemption is a reminder of how good His ways are! The scene opens up at a rustic campground in the mountains when a few campers hear a strange sound. Norman, the camp counselor, recognizing the all-too-familiar sound, leaves the group to investigate and finds Finn, a good kid who has been spending too much time with the rebellious Rigsby brothers, and the H. O. 2000 Time Machine. Wanting to impress his two new “friends,†Finn had activated the machine and lost the Rigsby brothers… back in the Garden of Eden! Ready to embark on an unplanned adventure, the campers jump into the H. O. 2000 to find the lost boys and end up traveling back through time, visiting the same campsite in 2000, 1995, 1978, 1955, 1808, and finally, making it all the way back to Creation!
SKU: MN.50-8704
UPC: 688670587047. Text: Jaroslav J. Vajda.
Festive setting of GELOBT SEI GOTT. First text (composer) calls on all creation to sing of new life begun and victory won. Second text (Jaroslav Vajda) is hymn of praise to the Trinity incorporating traditional alleluias associated with tune. Easter theme overtones.
SKU: HL.14002526
SKU: MN.50-4305
UPC: 688670543050. English.
The popular tune SHADES MOUNTAIN by K. Lee Scott (1976) has been fashioned into a celebratory hymn-anthem by composer Michael Burkhardt. Written for a new pipe organ at the Lutheran Church of the Risen Savior, Green Valley, Arizona, the organ part is understandably in the foreground. There is a congregational part as well as a verse for SATB choir. Optional brass quartet parts are also available. The text is by Carl Daw (1990) and speaks of creation, blessing, redemption, and service.
SKU: MN.60-9011A
UPC: 688670003790.
Extended setting of festive hymn LASST UNS ERFREUEN includes trumpet dialogue for prelude, one stanza SA, another SATB, one for organ alone. Remaining four stanzas sung by congregation. Requires competent trumpeters. Written for SATB, congregation, two trumpets, and organ.
SKU: MN.50-0068
UPC: 688670500688. English. Isaiah 65:17-25.
With a text that is contemporary but reflects on Isaiah 65:17-25, this is a perfect anthem for any size choir by one of our best-selling composers. A few divisi spots, but also a fair amount of unison singing. The accompaniment, for piano, could easily be adapted for organ on the fly. A string quartet accompaniment is also available. The text has Advent themes (waiting, re-birth, wolf/lamb) but is also appropriate for other Sundays, such as Pentecost 23 (Proper 28) in year C.
SKU: JU.JMG1362
UPC: 850055807471.
Here’s a lilting setting of a classic hymn text and tune. An energetic accompaniment underscores the smooth vocal scoring...while the text of praise will uplift and inspire. With primarily 2-part vocal writing, this selection can become an instant anthem that is ready to go all year long.
SKU: SU.26180050
Hail Lovely and Pure is a setting for a cappella chorus of a short poem from The Second Shepherds' Play, an English mystery play written in the 15th century by The Wakeï¬eld Master of Northern England. Mystery (or miracle) plays were a form of medieval drama that represented Biblical subjects such as the Creation and the Last Judgment. The text consists of the ï¬rst lines spoken by the shepherds when they entered the stable to celebrate the birth of Jesus. My brother David C. K. McClelland (1947-1976) translated this fragment from the original Middle English and made a small calligraphic version of it which I discovered among his papers. David probably intended to make a larger, more elaborate manuscript of the poem, though if he did so it has not been found.SATB Chorus, a cappella Duration: 13'30 Composed: 2011 Published by: WMC Music (BMI).
SKU: BA.BA04648-91
ISBN 9790006566525. 27 x 19 cm inches. Text Language: German, English.
Urtext aus/from: Joseph Haydn Werke, G. Henle Verlag Munchen.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: HL.14020715
This piece has been composed by J. Philip Marshall for SATB.
The Benedicite (also Benedicite, omnia opera Domini or A Song of Creation) is a canticle that is used in the Roman Catholic Liturgy of the Hours, and is also used in Anglican and Lutheran worship.
A setting of the canticle is frequently sung at Matins in the Anglican liturgy by J. Philip Marshall (1921-2005), formerly organist at St Botolph's Boston, and Ripon and Lincoln Cathedrals.
SKU: ST.EM33
ISBN 9790220200076.
This interesting collection looks back to the 'Winter' of Byrd and Mundy in the conservative settings of such verse as My prime of youth (see EM35B); but it is also a contemporary record, with two madrigals celebrating the failure of Guy Fawkes' Gunpowder Plot against James I. CONTENTS Behold now praise the Lord (S (or A) S (or A) TBB) But yet it seems (SSAB) Can I abide this prancing? (SSATB) Earth's but a point (SSATB) For Lust is frail (SSATB) He only can behold (SSAB) Her eyes like angels (SSATB) I can no more but hope (SSAB) In hope a King (SSAB) My prime of youth (SSAB) O heavy heart (SSAB) O Lord bow down thine ear (SATTB) Rest with yourselves (SSATB) Shall I abide this jesting (SSATB) The man upright of life (SSAB) The sacred choir of angels (SATBB) The Spring is past (SSAB) The stately stag (SSATB) The sturdy rock (SSATB) There is a garden in her face (SSATB) Those cherries fairly do enclose (SSATB) Though Wit bids Will (SSAB) What if a day (SSATB) Who loves this life (SSAB).
SKU: BT.CMP-0353-00-050
English.
SKU: PR.362034230
ISBN 9781598069556. UPC: 680160624225. Letter inches. English.
When the Texas Choral Consort asked Welcher to write a short prologue to Haydn's The Creation, his first reaction was that Haydn already presents Chaos in his introductory movement. As he thought about it, Welcher began envisioning a truer void to precede Haydn's depiction of Chaos within the scope of 18th-century classical style - quoting some of Haydn's themes and showing human voices and inhuman sounds in a kind of pre-creation melange of color, mood, and atmosphere. Welcher accepted this challenge with the proviso that his prologue would lead directly into Haydn's masterpiece without stopping, and certainly without applause in between. Scored for mixed chorus and Haydn's instrumentation, Without Form and Void is a dramatically fresh yet pragmatic enhancement to deepen any performance of Haydn's The Creation. Orchestral score and parts are available on rental.When Brent Baldwin asked me to consider writing a short prologue to THE CREATION, my first response was “Why?â€Â THE CREATION already contains a prologue; it’s called “Representation of Chaosâ€, and it’s Haydn’s way of showing the formless universe. How could a new piece do anything but get in the way? But the more I thought about it, the more it made sense. The Age of Enlightenment’s idea of “Chaos†was just extended chromaticism, no more than Bach used (in fact, Bach went further).Perhaps there might be a way to use the full resources of the modern orchestra (or at least, a Haydn-sized orchestra) and the modern chorus to really present a cosmic soup of unborn musical atoms, just waiting for Haydn’s sure touch to animate them. Perhaps it could even quote some of Haydn’s themes before he knew them himself, and also show human voices and inhuman sounds in a kind of pre-creation mélange of color, mood, and atmosphere. So I accepted the challenge, with the proviso that my new piece not be treated as some kind of “overtureâ€, but would instead be allowed to lead directly into Haydn’s masterpiece without stopping, and certainly without applause. I crafted this five minute piece to begin with a kind of “music of the spheres†universe-hum, created by tuned wine glasses and violin harmonics. The chorus enters very soon after, with the opening words of Genesis whispered simultaneously in as many languages as can be found in a chorus. The first two minutes of my work are all about unborn human voices and unfocused planetary sounds, gradually becoming more and more “coherent†until we finally hear actual pitches, melodies, and words. Three of Haydn’s melodies will be heard, to be specific, but not in the way he will present them an hour from now. It’s almost as if we are listening inside the womb of the universe, looking for a faint heartbeat of worlds, animals, and people to come. At the end of the piece, the chorus finally finds its voice with a single word: “God!â€, and the orchestra finally finds its own pulse as well. The unstoppable desire for birth must now be answered, and it is----by Haydn’s marvelous oratorio. I am not a religious man in any traditional sense. Neither was Haydn, nor Mozart, nor Beethoven. But all of them, as well as I, share in what is now called a humanistic view of how things came to be, how life in its many forms developed on this planet, and how Man became the recorder of history. The gospel according to John begins with a parody of Genesis: “In the beginning was the Word, and the Word was with God, and the Word was God.â€Â  I love that phrase, and it’s in that spirit that I offer my humble “opener†to the finest work of one of the greatest composers Western music has ever known. My piece is not supposed to sound like Haydn. It’s supposed to sound like a giant palette, on which a composer in 1798 might find more outrageous colors than his era would permit…but which, I hope, he would have been delighted to hear.
SKU: HL.268549
UPC: 888680736101. 5.0x5.0x0.15 inches. Genesis 1, Isaiah 40:28, Psalm 24:1, Romans 1:20.
Lofty musical aspirations are met and surpassed in this Psalm setting, which is the next installment in the composer's exploration of the Psalter. Modern melody meets classic text to celebrate the creative power of God in a sacred tone poem filled with fascinating sonic moments. Lush and expressive, the opening is a soundtrack of praise. Later the piece recounts the days of creation and the unfolding of the universe while counterpointing with the Latin phrase, Cantate Dominum. This is a stunning choral moment that builds intensity to a rhapsodic melody soaring to dizzying heights. This significant anthem ends quiescently with a final affirming Amen. Score and Parts (fl 1-2/picc, ob, cl 1-2, bn, hn 1-2, tpt 1-3, tbn 1-2, tba/btbn, mallet perc, aux perc, timp, hp, vn 1-2, va, vc, db) available as a digital download.
SKU: BT.DHP-1145564-010
English-German-French-Dutch.
The Gospel Mass -a mass for mixed choir, combo and concert band-is based on the gospel music that has spread throughout the world since its creation in America. The movements of the mass ordinary as we know it have now been composed in various pop styles that have their origin in the gospel music. We hear, then, not only the classic American gospel style (including the characteristic clapping and swingrhythms), but also freer gospel styles that have developed over the course of time. As far as we know, The Gospel Mass is the only true gospel mass. Choral parts available separately.The Gospel Mass een mis voor gemengd koor, combo en blaasorkest is gebaseerd op de gospelmuziek zoals die zich sinds haar ontstaan in Amerika overal in de wereld heeft verspreid en ontwikkeld. De ordinariumdelen zoals we die kennen van een mis,zijn hier gecomponeerd in diverse popstijlen die hun oorsprong vinden in de gospelmuziek. Zo horen we niet alleen de klassieke Amerikaanse gospelstijl (inclusief hand-clapping en swing), maar ook de vrijere gospelstijlen die zich in de loop der tijdhebben ontwikkeld. Voor zover bekend is The Gospel Mass de enige echte gospelmis.Koorpartijen apart verkrijgbaar.The Gospel Mass (Die Gospel-Messeâ??) eine Messe für gemischten Chor, Combo und Concert Band basiert auf der Gospelmusik, die sich seit ihren Anfängen in Amerika über die ganze Welt verbreitet hat.Die Sätze der Messe, die wir normalerweise kennen, wurden hier in verschiedenen Popmusik-Richtungen komponiert, die ihre Wurzeln in der Gospelmusik haben.So hören wir nicht nur den klassischen amerikanischen Gospelstil (mit seinem typischen Händeklatschen und den Swing-Rhythmen), sondern auch freiere Gospelrichtungen, die sich im Laufe der Zeit entwickelt haben. The Gospel Mass ist unseresWissens die einzig wahre Gospel-Messe. Chorstimmen separat erhältlich. The Gospel Mass messe pour chÅ?ur mixte, combo et orchestre dâ??harmonie, fut composée partir du style gospel, qui, depuis ses origines en Amérique, sâ??est peu peu étendu dans le monde entier. Les différents mouvements de la composition de Jacob de Haan sâ??articulent selon le déroulement dâ??une célébration liturgique ordinaire. La Gospel Mass comporte divers styles pop qui trouvent leur origine dans la musique gospel. Nous entendonsalors, non seulement le style classique américain des chants gospels (y compris les applaudissements caractéristiques et rythmes swinguant), mais aussi une plus grande liberté dâ??usage des styles de gospel qui se sont développés au fil dutemps. Pourautant que nous sachions, The Gospel Mass est la seule véritable messe gospel existante pour orchestre dâ??harmonie. Partitions pour chÅ?ur disponibles séparément.The Gospel Mass, una messa per coro misto, combo e banda da concerto, è basata sulla musica gospel che si è diffusa in tutto il mondo sin dalla sua nascita. I movimenti dellâ??ordinario della Messa, come li conosciamo, sono stati composti in vari stilipop che hanno origine nella musica gospel. Ascoltiamo quindi non solo il classico stile gospel americano (incluso il caratteristico battito di mani e ritmi swing), ma anche uno stile gospel piu libero che si è sviluppato nel corso del tempo. Perquanto ne sappiamo The Gospel Mass è lâ??unica autentica messa gospel. Parti per coro disponibili a parte.