Jesus! - SATB Score with Performance CD

Anthem for Ascensiontide for SSATB Choir with alternative English text provided by RR Terry.

Geoffrey O'Hara's I Walked Today Where Jesus Walked for SATB chorus with Piano or Organ accompaniment. This work is a setting of a poem by Daniel S. Twohig.

Anthem for Passiontide with English translation by Lucy E. Broadwood. This is the last movement from the St. Matthew Passion. For SATB Choir A Cappella. Edited by William H. Harris

A Service of Joy and Reflection-This essential resource for Resurrection Sunday is a festive worship service designed for churches of any size. Beautifully orchestrated and wonderfully crafted to enable quick learning and maximum impact this worship set includes everything you need to fill your Easter service with glorious praise and also provide a time of meaningful reflection on the Cross. Incorporating responsive readings with time-honored hymns and newly composed music this 15-minute choral treasure has something for everyone. A hearty line-up of support products is available to facilitate your learning and presentation. Powerful! Songs include: Why Do You Seek the Living Among the Dead? Alleluia Alleluia Prayer at the Cross Reflections on the Cross Take My Life and Let It Be. Score and parts (fl ob cl hn clo perc - one player per part) available as a Printed Edition. ScorePlay - click to view score with recording.

The Five Lesser Joys of Mary begins with a conventional Nativity scene - the ox and the ass for warmth the star the Wise Men - to verses attributed by Warlock to one Daniel Lawrence Kelleher editor of Christmas Carols (No. 18 in the second series of Augustan Books of English Poetry) where the anonymous verses were published. The fourth stanza recounts Jesus 'Confounding the doctors the poor little Child ' while the fifth carries us to Calvary and a singularly lame conclusion as Mary 'Saw Jesus droop over and lie very still She thought of the good times they had long ago When He'd droop in her arms and she'd singhusheenlo.'Strophically composed with small variations Warlock's tenderness seems generic. eltine.

For mixed SATB chorus unaccompanied. Includes a Piano part on the score for rehearsal purposes only.'My God why hast thou forsaken me?' was originally written in the summer of 2006 on a course run by the National Youth Orchestra of Great Britain. It was first performed by the choir of Eton College directed by Ralph Allwood. This motet intends to capture the anguish of Jesus’ final moments on the cross. The opening bars attempt to convey the horrific pain sorrow and tragedy that these words and the climactic moment of Christ's crucifixion mean to Christians worldwide. It is also a human sentiment echoed every day by the needy regardless of their religious views. Thepiece ends with a repetition of the opening phrase followed by a blossoming 'Amen'. This expressive conclusion hints at a glimmer of hope although the final chord is left unresolved; resolution though suggested is not obtained.

. . . for Choirs Collections-Spirituals For Choirs is an exciting collection of 20 specially commissioned arrangements for a cappella and accompanied SATB choir. The contents reflect the richness and diversity of the spiritual tradition including many much-loved favorites alongside exquisite discoveries that are less well known. Each piece is bursting with freshness and invention to provide singers with inspirational moving and above all enjoyable repertoire. With a mixture of large and small-scale pieces there???s something here for every choir whatever its forces or levels of expertise.

Composed in 1990 and revised in 1991 for SATB Choir or soloists with Organ accompaniment Part’s setting of The Beatitudes is one of only a handful of works (Litany and And One of the Pharisees also falling into that category) composed in English. Taken from Jesus’ Sermon on the Mount as found in Matthew 5:1-12 The Beatitudes provide a fitting structure for Part’s setting. Each verse states a godly quality and the blessing attached to it; all except the last verse begin with the word ‘blessed’.The Beatitudes was premiered on 25 May 1990 at the Nathanaelkirche Berlin by the Theatre of Voices choir conducted by Paul Hillier.

Matthew Owens' St Matthew Passion for soloists SATB and Organ. Written for the Choir of Wells Cathedral of which Matthew Owens is Organist and Master of the Choristers this setting of the St Matthew Passion is ideally suited to liturgical performance during Holy Week. The principal role of the Evangelist is taken by a baritone soloist who narrates the story of Christ's trial and Crucifixion in unaccompanied chant. The other smaller solo roles of Judas (Tenor) Pilate (Tenor) Jesus (Bass) and Pilate's wife (Alto) continue in the same vein with four-part choral interspersions from the crowds soldiers and priests providing acontrast in texture. The hymn 'When I survey the wondrous cross' set to the Rockingham hymn tune appears twice throughout the work and the congregation are encouraged to join in on both occasions. The simple organ part supports the voices for the hymn and may also optionally double the choir during the narrative.

for SATB unaccompanied or with optional handbells (or percussion or organ) This enchanting setting brings a fresh take on a familiar fifteenth-century text. The dialogue between Mary and the infant Jesus is woven to a beguiling folk-like melody through each of the voice parts. For added sparkle there is an optional part for handbells.

The Manchester Carols is an inspired collaboration between composer Sasha Johnson Manning and Poet Laureate Carol Ann Duffy. A collection of 12 carols linked with a gentle entertaining narration which reshape and modernise the Christmas story. Its creators wanted to write something that is relevant to and reflects modern society and which acknowledges the fact that even though someone might not subscribe to the religion behind the Nativity story they can still appreciate it as an inspiring magical tale. The carols are for everyone believers or not. Duffy uses the Christmas story as a metaphor for human experience giving usup-close and personal insights into the central characters of the nativity – Mary Joseph a newborn baby and a ‘golden youth’ (aka the Angel Gabriel). As Duffy herself says: 'I think the story is wonderful. There’s a lot we can take from it on a human level even if we don’t take the divine element.' There are hints too of the darker grittier side of the Nativity story – refugees poverty giving birth on the road; and looking further forward there are hints of Jesus’ fate on the cross. These carols were written in Manchester in 2007 and first performed by children from several Manchester schools at The Royal Northern College of Music (and again in 2008). All of us who worked on them – librettist composer artist conductor teachers musicians and singers – live and work in that great city. And so these are and will forever be  The Manchester Carols'.

An anthem for Passiontide written by Chapel Royal composer John Goss for full SATB chorus and Organ accompaniment. The piece moves with slow interweaving counterpoint and the text is perfect for the Easter and Ascension celebrations.

Mark Hayes's incredibly lush harmonic writing creates vivid tone color in both melody and accompaniment adding new dimension to this beloved old hymn. “I Will Arise and Go to Jesus” is a favorite from SouthernHarmony and this fresh arrangement keeps the passion and sense of urgency of the original while gaining even more expressiveness and emotion. With or without orchestration this anthem is meant to be experienced.

Pilgrim Jesus by Bob Chilcott for SATB (with divisions) unaccompanied.This sophisticated jubilant setting of a macaronic text by Kevin Crossley-Holland begins with an emphatic opening refrain before setting off on a sprightly dance through fluctuating 2/2 and 7/8 time signatures.Pilgrim Jesus was originally published in Carols for Choirs 5.