Good Friday

from A Time for Alleluia-Uses: Good Friday Holy Week Scripture: Isaiah 53:3 - John 1:11 - Matthew 26:21-22 - John 3:16-17 - Galatians 2:20 A moving choral lamentation for the crucified Christ is presented in this anthem for Good Friday. From the shadows of Golgotha this poignant paean weeps with emotion through expressive music and cries of Kyrie Eleison. The anthem is dependent on two soloists that soar above the dramatic choral. The classic chorale Ah Holy Jesus is a sensitive ending to the piece.

This work for soprano solo and SATB chorus was commissioned by the Norwich Festival of Contemporary Church Music.Tavener:'In the Orthodox Church the Lament of the Mother of God is normally sung on Holy and Great Friday. Inits full length it lasts about half and hour and it is intoned by the Priest or Bishop while the people venerate the Epitaphios (or Shroud of the Dead Christ) which is in the centre of the church and decorated withflowers.The Lament must be sung with an ikon-like stillness and great purity. It grows in intensity as it climbs in tessitura but without anything sudden or remotely melodramatic.For the Orthodox Church there is never thesense of absolute desolation felt by the Western Church on Good Friday. Hence the cry of the Mother of God 'Dost thou change my grief to gladness by thy Resurrection?' followed by the full forces: 'Rise O God and judge theearth.'Mother of God also features in the film Philomena starring Judi Dench and Steve Coogan and directed by Stephen Frears.

Autograph: Staatsbibliothek zu Berlin - Preußischer Kulturbesitz-?I have never experienced such silence or seen an audience moved in this way.?(Felix Mendelssohn Bartholdy)Up to the present day there has scarcely been a work in the history of music which has fascinated listeners and performers more than Bach?s ?St Matthew Passion?. Originally composed for Vespers on Good Friday and even longer in duration than the ?St John Passion? it reconstructs the story of Christ?s Passion with immense musical emotional and spiritual intensity.And so this monumental and complex composition has come to rank amongst the high points of Western culture. For good reason the ?rediscovery? of Johann Sebastian Bach?s music began in 1829 with theperformance of this work by Felix Mendelssohn Bartholdy and the Berlin Singakademie.The autograph manuscript is regarded as one of Bach?s most beautiful the fair copy demonstrates the importance he attached to the careful preservation of the work for posterity. A further special feature is the coloured ink with which he wrote the biblical text and the music of the chorale ?O Lamm Gottes unschuldig?.This facsimile edition reproduces the autograph score of the ?St Matthew Passion? for the first time in high-quality colour printing. The Bach specialist Christoph Wolff introduces the background to the work?s composition and the characteristics of the manuscript.Martina Rebmann (Staatsbibliothek zu Berlin) provides further details regarding the history of the autograph manuscript; with a preface by Barbara Schneider-Kempf general director of the Staatsbibliothek.BÄRENREITER FACSIMILEThe seal is used exclusively for facsimile editions published by Bärenreiter which meet the highest demands in both scholarly and technical terms.The distinguishing features include:- a facsimile in high-quality colour printing- scholarly commentary- attractive cover designFacsimile of the authograph score in the Staatsbibliothek zu Berlin - Preussischer Kulturbesitz.With a commentary by Christoph Wolff Martina Rebmann and Barbara Schneider-Kempf.Documenta musicologica II 47166 pages of facsimile and approx. 30 pages commentary (Eng/Ger)Format: 37.5 x 24cm; Half-leather binding hardbackISBN 978-3-7618-2294-4

Composer's notes:The Fool is a time-honoured Orthodox religious figure: a Saint the highest of all who discards everything for Christ's sake. He discards all convention all decency all wealth actual and spiritual and turns himself into a figure of fun - defying all acceptable behaviour - and all religious decency. He stands in the square and lets down his trousers - he stuffs himself with food on Good Friday - he gets drunk - he 'appears'to fornicate wildly. There is a faint possibility (in not the highest of 'Fools') of gaining worldly popularity by such flagrant denial of all moral behaviour. Can such behaviour be too interesting? The true fool however embraces all of this and also (unseen) shrinks before the face of his God. By his behaviour he plucks out all hypocrisy false piety and corruption. He is a figure much needed in our times!!! The way I have tried to tacklethis extraordinary subject is to show him in seven stages from an obscene huge fat traditional clown who is drunk fornicating etc. through a stumbling frail agonized figure to a sallow-faced gaunt business man in a formalsuit staring at an empty glass. Having first revered him then mocked him the 'people' while they get drunk and jabber away at 'Christmas' and at the Feast of Feasts 'Easter' are no longer aware of him. But the audience seeshim - a tiny ragged scrap of mortality lying in a corner and faintly so faintly the voice of the Fool the true Fool for Christ's sake sings above the ribald crowd. 'He has given His life'. The Gogmagogs are the 'people' 'priests' 'singers' etc. and one male singer who can 'create' or 'uncreate' this vast role (singing and acting miming etc.) John Tavener Arranged for SSATBB chorus. Date of composition 2000. Chorus part only.

The dramatic text from Isaiah “Surely He Hath Borne our Griefs ” is vividly conveyed in the interplay between the two solo voices and powerful choral support. For Holy Week or Good Friday use the moving chamberorchestration for pageants or concerts. A tender offering for this most reverent time in the church year.

1. Choir Organ 1. Basso continuo-Version of 1736 (final version)Bach’s St. Matthew Passion passed through several stages in its progress towards its final form stages that today cannot be completely reconstructed. It may be taken as certain that the work was performed on Good Friday 1729 in St. Thomas’s Church Leipzig in a version of which the copy made by Bach’s son-in-law Johann Christoph Altnickol gives us an approximate idea. There is no earlier extant autograph score than that of the later version which may probably be dated 1736 and on which the present edition is based.- Study score format 22.5 x 16.5cm- Urtext of the New Bach Edition-Full score performance material (BA5038) vocal score (BA5038-90) and study score (TP196) available for sale

The creative team that brought you The Lenten Sketches and Covenant of Grace now present a work filled with intensity and passion. In this work the silent witnesses to the last days of Christ speak in 5 soliloquiesthat testify to the timeless message of grace. These monologues are followed by beautiful musical moments that present new anthems as well as traditional Lenten hymns. This work designed primarily for Holy Week performanceincorporates simple symbols (Palms Chalice Robe Crown of Thorns and Cross) to be presented as the work unfolds.Whispers of the Passion is supported by a complete line of products that will add a variety ofoptions for churches of any size. With a 30-35 minute length of performance this flexible work can be integrated into a regular service or can even be done progressively over the weeks leading up to Good Friday. Reflect upon thegift of grace and the price of redemption as you experience the emotion of this inspired cantata.

Drawn from the last words of Christ this beautiful Good Friday piece dwells on the relationship between God the Father and God the Son the sacrifice is willingly made and the reunion is complete.

Uses: Good Friday Holy Week Scripture: Isaiah 43:10 Mark 8:31 I Peter 1:18:23 A stunning offering for Holy Week this anthem is a testimony to the power of the cross. This contemplative text calls us to ponder the cost of grace and to reflect upon this great gift of God's mercy. Sensitive part-writing assures success and the French Horn obbligato is an artful touch. Splendid!

Good Friday is the perfect time for this anthem although any Lenten use would be appropriate. Benjamin Harlan's ponderous and dark music moves to a beautiful and positive response to Christ's choice to endure the cross. Moving! Available: SATB.

Commissioned by the Hickory NC Choral Society for their 35th anniversary season Dan Forrest's Requiem For The Living is scored for mixed choir with solos for boy soprano and/or mezzo-soprano soprano & tenor. The instrumentation is available for large orchestra or chamber ensemble. Combining both liturgical and non-liturgical texts in some cases the traditional texts are slightly re-arranged for contextual emphasis. This powerful five movement work projects a wide range of meaningful expression from a biting essay on the vanity and pain of existence to a plea for mercy and a celebration of eternal light. The work standsalone - but would be especially moving for all saints Good Friday or even Palm Sunday. Movements: Introit - Kyrie Vanitas Vanitatum Agnus Dei Sanctus Lux Aeterna 3. Instrumentations available on rental only: 1. Full orch. (HMB265a): 2 flutes 2 oboes 2 bb clarinets 2 bassoons 2 horns (or 1-4: if performing with a large choir horn lines may be doubled by a second player on each part) 2 bb trumpets 2 trombones bass trombone or trombone 3 tuba percussion (1 player: suspended cymbal crash cymbal bass drum triangle glockenspiel crotales (bowed) snare drum low tom-tom (opt.)(or other low drum) timpani (3) (one player) harp strings (min. Suggested count 4.4.2.2.1) full score. 2. Chamber version (HMB265b) - flute oboe horn in f (optional) combined percussion (one player: timpani suspended cymbal crash cymbal triangle glockenspiel crotales (bowed) snare drum low tom-tom (optional) (or other low drum) harp violin cello organ full score. 3. Expanded chamber version (HMB265c) - flute oboe horn in f(opt.) percussion from full orchestra version (1 player: suspended cymbal crash cymbal bass drum triangle glockenspiel crotales (bowed) snare drum low tom-tom (opt. or other low drum) timpani (3) from full orchestra version (1 player) harp strings from full orchestra version

Uses: Good Friday Maundy Thursday Scripture: Matthew 26:36-46 - Luke 23:26-43 A emotional portrait of Jesus' final hours this anthem reminds us of His ultimate sacrifice. Singers and listeners are taken on a journey from Gethsemane to Golgotha and the words Father forgive them are a powerful reminder of His love for us. The cries of Kyrie Eleison in the background add to the poignant depth of the work.

Oxford Choral Classics: English Church Music assembles in two volumes around 100 of the finest examples of English sacred choral music. The second volume presents a wealth of service material suitable for use throughout the year. The evening canticles are given due space with seventeen settings including those by Byrd Gibbons Purcell Walmisley Stanford Noble Howells Walton and Tippett. Also included are settings of the Te Deum and Jubilate Deo alongside seven settings of the Preces and Responses and two additional early Lord's Prayers. The selection is completed with three supplementary items: a set of previously unpublished Psalm chants byHowells John Sanders's Good Friday Reproaches and a written-out Order for Compline.Robert King has prepared completely new editions of all the pre-twentieth-century works going back to the earliest and most reliable manuscripts or printed sources. Playable keyboard reductions have been added for the majority of unaccompanied items.