SKU: HL.1069561
UPC: 196288095576. 9.0x12.0x0.11 inches.
Dedicated to the people of Ukraine.
SKU: LO.99-2888L
UPC: 000308130027.
Playable by bells alone, or with the addition of optional keyboard and/or concert band, congregations and audiences will be filled with hope while they experience this popular musical prayer for universal peace. The bell parts are not difficult to master.
SKU: MN.50-6087
UPC: 688670560873. English.
For SATB and piano, this original setting of Maya Angelou's poem, Prayer is in a soulful 6/8. (The accompaniment occasionally quotes Lift Every Voice and Sing, which gives you an idea of the tempo and feeling.) Beginning with a series of thanks, the piece has a slower middle section with a series of petitions, beginning, For those who have no voice, we ask you to speak. Then the music of the first section reappears and the piece closes with a prayer for peace. This is an unusual and powerful musical offering for any occasion focusing on justice and social concerns.
SKU: HL.35031612
ISBN 9781495092039. UPC: 888680676162. 8.5x11.0x0.902 inches.
The Song Heard 'Round the World is a journey of international carols and folk songs that incorporate narration and scripture to share Christmas story. With sections for Advent, Christmas and Epiphany, the anticipation, incarnation and proclamation of Christ's birth is presented. Each movement is from a different nation, filling the work with a tapestry of musical diversity. The overall theme of unity and peace on earth is timely, giving many options for creative presentations. Colorful orchestrations by Brant Adams capture the diversity that is so much a part of this meaningful work. A smaller chamber orchestration is also available, as well as a full line of support products. Songs include: A Joyful Journey of Carols; Hear the Song Heard 'Round the World; An Advent Prayer; Prepare the Way of the King; Gesu Bambino; Rejoice! Christ Is Born!; A Unity Carol; Music of the Morning Star; Prayer for Peace. Score and Parts for Full Orchestra (fl 1-2/pic, ob, cl 1-2, bn, hn 1-2, tpt 1-3, tbn 1-2, tba, timp, perc 1-4, hp, kybd, vn 1-2, va, vc, db) and Consort (fl, cl, tpt 1-2, tbn, bls, perc, kybd) available as a Printed Edition and as a digital download.
SKU: MN.30-745
UPC: 688670307454.
In times of great difficulty and stress, one need only turn to the scriptures to find a measure of peace and reassurance. Evocation of Peace provides a calm and prayerful musical setting upon which brief quotations from the New Testament are offered by a reader. It ends with a powerful affirmation of faith in response to the promises of God's Word.
SKU: LO.10-5372L
ISBN 9780787767303.
Mary McDonald adapts Beethoven’s beautiful Adagio Cantabile from his Sonata No 8. Pathetique into a flowing, delicate prayer for peace and mercy. The melodic phrases provide stunning opportunities for musical shaping and choral expression. Grant us Thy mercy never to cease. Come, Holy Spirit, grant us Thy peace; come, Holy Spirit, grant us Thy peace..
SKU: LO.99-4073L
UPC: 000308155303.
Digital Accompaniment Track for 10/5372L Mary McDonald adapts Beethoven’s beautiful Adagio Cantabile from his Sonata No 8. Pathetique into a flowing, delicate prayer for peace and mercy. The melodic phrases provide stunning opportunities for musical shaping and choral expression. Grant us Thy mercy never to cease. Come, Holy Spirit, grant us Thy peace; come, Holy Spirit, grant us Thy peace..
SKU: GI.G-8704
UPC: 785147870401. English. Text Source: Ref.: based on Luke 2:29-30, vv.: inspired by the Psalms. Text by Suzanne Toolan. Scripture: Luke 2:29–30.
A warm and tender piece that will quickly become a favorite of congregations and music programs of almost any size and makeup—this gentle, restful musical setting combines a paraphrase of the Nunc dimittis with verses from the Book of Psalms. It is easily accessible to choirs and worshiping assemblies and would be a beautiful sung prayer for any occasion from Evening or Night Prayer to moments of lament and grieving. The C instrument part is optional. For cantor or soloist.
SKU: BP.HB572
Written for 3 to 5 octave handbell choir and 3 octaves of handchimes. Level 3-. Written in memory of the September 11 terror attacks, Philip Young's original work is a haunting piece full of aching and loss. A melodic prayer is underscored by original harmonies and a moving eighth note line that propels the piece inexorably onward. Frequent use of handchimes helps bring out various lines in the music. A worthy musical choice for the ensemble looking for something different.
SKU: HP.8632
UPC: 763628186326. Tom S. Long.
Musical for Young voices This new children's musical includes three Bible stories: Noah and the Great Flood, Jonah and the Great Fish, and Paul's Shipwreck. Each story features the ocean as a symbol for the chaos of life and shows how only the power of God is greater than the natural forces of wind and wave. Done in its entirety, the three stories flow into and reflect upon one another in an entertaining 45-min. program. As an option, each story can be performed separately as a 15-minute mini-musical. It's all done with a childlike playfulness full of humor and songs rich with catchy melodies. Done all at once or in parts, the theme that only God can bring peace to the hurricanes of life shines through with charm and resonance. The DVD includes just instruction for the choreography. .
SKU: HP.9085
UPC: 763628190859.
In Little Seeds you will find new hymns from my heart. My devotional life is given to you in my hymnwriting. During the past three years I have been writing songs for the unity of the church - songs reminding us of our baptism. I have been writing biblical story hymns for lesser-known characters. I have written paperless songs that may be easily memorized. I set a Rumi poem. There are new hymns for Christian missions from everywhere to everywhere. You will find new texts and musical settings for folk songs from around the world. I hope I have treated these with the love and respect they deserve. You will find alternate arrangements of some songs that may be useful in different settings. Lim Swee Hong composed three tunes for this collection at my request. I am also pleased to include Lianne Tan's first published hymn tune in Little Seeds.
SKU: BP.1426
The simplicity and relative brevity of this musical statement of faith lend a versatility that will make it suitable for many places in your church service: prayer response, benediction, Holy Communion or special music. Lyrics by J. Paul Williams.
SKU: GI.G-9718
UPC: 785147971801. English. Text Source: Vv: Celtic prayer, first millennium, adapt. Michael Joncas, Ref.: Michael Joncas. Text by J. Michael Joncas.
Smaller choirs are not “left out†in this SAB-with-piano version of a wonderful Communion (or eucharistic adoration) hymn reflecting Celtic spirituality and musical heritage. Rumored to be already instantly popular. The English horn may be substituted by clarinet or viola. An edition for SATB, assembly, and organ is also available, G-9727. The instrument parts are optional. The clarinet and viola parts are substitues for English horn.
SKU: PR.114419030
ISBN 9781491114124. UPC: 680160669851. 9 x 12 inches.
A fascination with polycultural synergy between diverse literary textsdrives the inspiration for much of Mohammed Fairouz’s prodigiouscreative output, including instrumental music as well as vocal. Inhis profound and extensive essay preceding the score, Fairouz shedslight on how Edgar Allen Poe’s “Israfel” relates to the prophetsand prophesies of the Quran, Old Testament, and New Testament.The eight-movement quartet may be heard as a dramatic galleryof portraits and of story-telling, flourishing in a post-traditionallanguage that is at once vernacular and spiritual, Middle Easternand Western. The complete set of score and parts is included in thispublication.(See pages 2-3 of score for clear distinction of paragraphs, etc.)Prophesies, by Mohammed FairouzEdgar Allen Poe’s rendition of Israfel was the point of departure for the final movement of my previous stringquartet which is titled The Named Angels. At the opening of his poem, Poe evokes the Quran:“And the angel Israfel, whose heartstrings are a lute, and who has the sweetest voice of all God’s creatures.”This informs the first lines of the poem that, in turn, gave me the title for the final movement of The Named Angels,“Israfel’s Spell”:In Heaven a spirit doth dwell“Whose heartstrings are a lute”None sing so wildly wellAs the angel Israfel,And the giddy stars (so legends tell),Ceasing their hymns, attend the spellOf his voice, all mute.It is the end of that poem, however, that is the starting point for the current quartet, Prophesies, which concernsitself with mortal prophets rather than eternal Angelic spirits.If I could dwellWhere IsrafelHath dwelt, and he where I,He might not sing so wildly wellA mortal melody,While a bolder note than this might swellFrom my lyre within the sky.Islamic thought has asked us to look at the example of the prophets. That’s significant because of the fact thatJoseph and all the prophets were human beings with the flaws of human beings. No prophet was perfect, andIslamic tradition has never asked its followers to aspire to the example of the Angels, the perfected ones. Instead weare given the gift of our prophets. While The Named Angels drew on the motion and energy of everlasting spirits,Prophesies is a depiction of the movements within our own mortal coil.This quartet is a continuation of a long tradition of Muslim artists telling their stories and singing their songs.Many of these renditions are, in fact, figurative and (contrary to popular belief) the Quran contains no “Islamicedict” prohibiting figurative renditions of the figures described in the Old Testament, New Testament, or Quran.The majority of artists, however, have preferred eternal and abstract forms such as words and their calligraphicrepresentations, poems (Yusuf and Zuleikha or the Conference of Birds come immediately to mind), architecture,and many other non-figurative art forms to the representation of man. These cold, ancient, and everlasting shapesof unending time flourished, and the divine infinity of representing geometric forms gained favor over the placementof the explicit representation of mankind and our own likeness at the center of the universes.Adding the string quartet to these forms which express the recursive spheres of heavens and earth abstractly shouldexplain why I have chosen to render higher things through the use of music without the addition of words or anyother art-form. It is the abstract art of pure form, in which all is form and all is content, which compels me. Thisquartet should be seen as no more programmatic than the arches of the Great Mosque at Cordoba.The first movement, Yāqub (Jacob), is slow, quiet and prayerful. It evokes the patient sorrow of a slow choraledeveloping over time as it coaxes our pulse out of the ticking of a clock-like meter that defines our day-to-day livesand into a divine eternity.The second, Saleh, imagines the spirit of that desert-prophet through the use of a Liwa; the dance-sequence that hasbeen such a prevalent form of expression in the Arabian Peninsula for much of our recorded history.The third movement is titled Dawoōd, and it is emblematic of the beloved Prophet, King, and Psalmist, David.Though it has no lyrics, the movement functions as a dabkeh (an ancient dance native to the Levant) and also “sets”the opening of Psalm 100 (Make a joyful noise unto the Lord, all ye lands). This line is never set to music or sung inthe quartet but is evoked through the rhythmic shape of the violin part which imitates the phonology and rhythmof my speaking the opening line in the Hebrew and develops the contours of that line incessantly throughout themovement.3The fourth movement is an ode to Yousef (Joseph) and relates to the first movement in tempo and tone just as Josephrelates to Jacob, his father. Together, the first and fourth movements provide a sort of Lamentation and relief.Joseph had the appearance of a noble angel, but he was very much a human being. And the story of this particularprophet had tragic beginnings many years before he found himself in a position of power in Egypt. Back in his youth,still among the Israelites, Joseph experienced a series of revelations through his dreams that spoke of his impendingcareer in prophecy. He confided his dreams to his father, the Prophet Jacob, who told his son of the greatness thatawaited him in his future only to have his brothers throw him into a well and leave him for dead. Joseph eventuallyfound his way from Israel to Egypt and rose out of slavery into a position of power. Meanwhile, famine engulfs Israel.Forty years pass, and back in the land of Jacob and Rachel, of Joseph’s brothers and Abraham’s tribe, Israel wasnot spared the effects of the famine. They sorely lacked Joseph’s prophecy and his vision. The Qur’an then tells usthat Jacob, sensing Joseph, sends the other brothers to Egypt instructing them to come back with food and grain.Arriving in Egypt, they unwittingly appear before Joseph. They don’t recognize their little brother who has risen toa position of might, dressed in his Egyptian regalia. They ask for the food and the grain.After some conversation, Joseph is no longer able to contain his emotion. Overcome, he reveals himself to his nowterrified brothers. He embraces them. He asks them eagerly, “How is our father?” Joseph gives them the gift of thefood and the grain that they came in search of. He relieves them from hunger and alleviates their fear. He sendsthem back with proof that he is alive, and it is this joyful proof from the miraculous hands of a prophet that bringsback the ancient Jacob’s vision after 40 years of blindness.In this story, I am struck by the fact that Joseph may not have made the decision to forgive his brothers on thespot, but that something inside the prophet’s soul found forgiveness and peace for the brothers who had so gravelywronged him at some point along his journey. I would suspect this point to have been present at Joseph’s inception,even before he had ever been wronged.This is proof, if we needed it, that Joseph’s angel-like beauty was not only physical and external, but also internalas well: Joseph possessed a profound loveliness of spirit that bound his appearance and his soul. In Joseph, formand soul are one.Time is to musicians what light is to a painter. In this way, the story of Joseph also shows us that time can affectour perception of even the most tragic wounds. In fact, the most common Arabic word for “human being” is insaan,which shares its roots with the word insaa, “to forget.” While our ability to remember is essential to how we learnabout ourselves, our capacity to “forgive and forget” may also be one of our great gifts as human beings.The fifth movement follows my ode to Joseph with a structural memory of Mūsa (Moses). The movement consistsentirely of descending motifs which I constructed as an indication of Moses’ descending movement as he emergedto his people from the heights of Mt. Sinai. The music is constructed in five phrases which function as a formalreference to the five books of Moses, the Pentateuch. The movement is placed as the fifth of the quartet for the samereason.While Joseph is always evoked as supremely beautiful in the Books of Judaism, Christianity, and Islam, Suleiman(Solomon) is described as surpassing in his quicksilver intelligence. This movement is composed of a seven-partriddle which passes by in an instant but can be caught by the attentive listener. From Solomon, we work our wayback to Yishak (Isaac) in a seventh movement that evokes Isaac’s literal meaning in Arabic and Hebrew: laughter.The eighth and final movement of this quartet is named for the Patriarch of the entire Book: Ibrahim (Abraham). Itrelates to Isaac just as Joseph relates to Jacob; they are father and son. The lines are prayerful and contemplative;the form of the music evolves from a fugue joining together many different forms of prayer into a single tapestry ofcounterpoint, to the cyclical form of this entire quartet which is rendered through the motion of pilgrims circling theKaaba (cube) in Mecca — a structure which was built by Abraham for Hagaar and their son Ismail.These are just some of the figures that are cherished by all three of the Middle Eastern monotheisms (Judaism,Christianity, and Islam) that the Qur’an refers to collectively as Ahl Al-Kitab. This Arabic phrase is most commonlytranslated as “The People of the Book,” but here the most common translation is a flawed one: the Arabic word“ahl” means “family” and not just “people.” A better translation would be “Family of the Book.” Each of the eightmovements of Prophesies grows from a single musical cell.This quartet is a family album.—Mohammed Fairouz (2018.
SKU: AU.9798889830528
ISBN 9798889830528.
Tom Trenney brings a deeply imaginative text from John Philip Newell to life in this dynamic anthem for SATB choir. The text is a prayer from Praying with the Earth: A Prayerbook for Peace and asks that the wonders of creation fill our lives and move us to live with gratitude, humbleness, and peace. Trenneyâ??s musical text painting includes mode and rhythmic shifts, vocal echoing, and soaring lyrical writing.
SKU: HL.49046475
ISBN 9781705102701. UPC: 842819108702. 7.5x10.75x0.05 inches.
Mother Teresa liked to surprise people she met by giving them a small card printed with five concise sentences instead of a calling card. The brief text on the card beginning with the line “The fruit of silence is prayer†was a summary of her vision of devout, peace-promoting philanthropy in poetical form. In 2013, I created a musical setting of Mother Teresa's “Prayer of Peace†which was commissioned by the Schleswig-Holstein Music Festival for mixed choir a cappella (C 55851) in the form of a densely woven elegiac sound stream. Slightly later, I extended the work to produce a version with piano (C 56345) which in turn became the basis for a setting scored for mixed choir with string orchestra which was first performed in Riga in October 2014. In 2015, the versions for piano quintet (ED 22450) and string quartet (ED 22723) also permitted my musical setting of Mother Teresa's words to be performed without choir in two traditional genres of chamber music. The current published version for mixed choir and organ extends the work series through a further conventional scoring.
SKU: HL.49046017
ISBN 9790001164726. UPC: 840126929102. 9.0x12.0x0.063 inches.
Mother Teresa was happy to surprise her interlocutors by handing them a small card instead of a traditional business card, on which a short text was to be read, beginning with the line “The fruit of silence is prayer.†In 2013, Peteris Vasks set this peace prayer of Mother Teresa on behalf of the Schleswig-Holstein Music Festival for mixed choir a cappella in the form of a dense elegiac sound stream. The versions for piano quintet and string quartet now make this musical expression of Mother Teresa's words accessible to two traditional genres of chamber music without the help of a choir.
SKU: HL.49046014
ISBN 9790001159968. 9.0x12.0 inches.
Mother Teresa was happy to surprise her interlocutors by handing them a small card instead of a traditional business card, on which a short text was to be read, beginning with the line The fruit of silence is prayer. In 2013, Peteris Vasks set this peace prayer by Mother Teresa on behalf of the Schleswig-Holstein Music Festival for mixed choir a cappella in the form of a dense elegiac sound stream. The versions for piano quintet and string quartet now make this musical expression of Mother Teresa's words accessible to two traditional genres of chamber music without the help of a choir.
SKU: PR.144407280
ISBN 9781491136607. UPC: 680160680047.
Faced with the same instrumentation as Messiaen’s iconic Quartet for the End of Time, composed in a POW camp during World War II, Ellen Taaffe Zwilich was moved to give voice to those less fortunate prisoners who would never return home. Zwilich’s chilling memorial quotes music created in concentration camps, drawing on two short excerpts to create an artistic view of a death march and song of grieving.The German word “Abgang†has an innocent meaning of “exit,†but the Nazis used it as a signal that concentration camp prisoners were there to be sent off and murdered.My first movement, Abgang, is based on two musical fragments. It begins with a quote of a Hebraic melody that Viktor Ullmann used as a basis for variations in his Piano Sonata No. 7 that he was working on while in Theresienstadt. Next is a short quote of a fox trot that was arranged by a composer (only identified by his prisoner-number) for performance in Auschwitz. What follows is a purely musical, but deeply personal exploration.After finishing the movement, I felt it necessary to add a second movement, Kaddish, which is a prayer recited in mourning, without a single mention of death, but celebrating God, peace, and life. The Kaddish appears in the score and parts in an English translation (along with some Aramaic). It is not meant to be spoken or sung, but to guide the performers in giving meaning to the musical phrases.
SKU: LO.99-4114L
UPC: 000308156034.
Performance/accompaniment CD for 10/5411L Inspired by Psalm 23, Becki Slagle Mayo's tender anthem prayerfully acknowledges the rest that is found in God's company and the hope and peace that it brings. Goodness and mercy all my days shall surely follow me, and in God's house forevermore, my dwelling place shall be. The optional flute or C-instrument accompaniment enhances the delicate musical nature of this anthem.