Revelation Of New Life Op. 8

SKU: GI.G-9630

UPC: 785147963004. English. Text Source: Vv.: James Quinn, SJ, 1919–2010, Ref.: Ephrem Feeley. Text by James Quinn.

In the Gospel of John, there are a number of times when Jesus uses the statement “I Am,” which his followers would have automatically linked to the divine Name. Some of these statements—Christ as the Bread of Life, the Gateway, the Light of the World—are referenced in Quinn’s text, as well as the Alpha and Omega, which is found three times in Revelation. A few of these statements also appear in the refrain. The verses may be sung by a cantor or the choir. There are a number of musically effective ways to use this piece in liturgy: with the full choir, as written, simply, with cantor and assembly, or with a two-part refrain, using only the soprano and tenor lines.

SKU: GI.G-9687

UPC: 785147968702. English. Text by Stephen Starke. Scripture: Genesis 2:9, Genesis 3:1–7, 15, Revelation 22:2.

James Biery has created a setting of the WEXFORD CAROL set to Stephen Starke’s text based on the Fall in the garden as recounted in the Book of Genesis. The piece has multiple uses throughout the year, notably for Good Friday. For choirs that present a service of Lessons and Carols, this piece would be a welcome addition to the repertoire that follows the traditional first reading. The oboe part is optional.   Listen to the music and follow the score in this preview video.

SKU: HP.C5740R

UPC: 763628257408. Bert Stratton. Matthew 24:30-31, Revelation 19:11-16, Philippians 3:14, Revelation 21:21, Revelation 5:13, 1 Thessalonians 4:16, Matthew 25:13, 1 John 3:2, Luke 21:27, Revelation 1:7.

Original anthem Inspired by Matthew 24:30-31 and Revelation 19:11-16, this rollicking, gospel celebration by Bert Stratton with music by Vicki Courtney reminds us that Jesus will return again and take us to a joyous, heavenly reunion where we'll walk those golden streets together. Filled with rhythmic energy and the promise of eternal life - this is sure to be an uplifting moment in your worship. The Rhythm packet contains parts for Guitar, Bass and Drums.

SKU: HP.C6208

UPC: 763628162085. By Chris Tomlin, Jesse Reeves, Louie Giglio & Matt Maher. Isaiah 53:3-5, John 5:24-30, I Corinthians 15:51-57, I Thessalonians 4:13-18, Revelation 4-5, Revelation 21:4.

Popular contemporary song by Chris Tomlin, Jesse Reeves, Louie Giglio & Matt Maher This popular, contemporary song has a theme of rising to heaven to be with Jesus, and offers assurance. The victory is won; he is risen from the dead. And I will rise on eagles' wings. Worthy is the Lamb! This powerful arrangement brings solace and hope to the believer for life everlasting.

SKU: HP.C6201

UPC: 763628162016. By Andrae Crouch. Revelation 1:7, Luke 21:28, Revelation 7:17, 21:4.

Medley of a tune by Andrae Crouch and a spiritual This clever, Appalachian-style anthem introduces the theme of heaven and the promised land, and then segues into the Andrae Crouch classic. The optional fiddle and acoustic guitar add just the right amount of flavor to set the easy flowing pace, as the voices join to sing, Hallelujah! Walk on the streets of gold; hallelujah! Heaven's glory behold!'.

SKU: WD.080689422232

UPC: 080689422232.

This driving arrangement by Joshua Spacht brings Bethel Music’s “You Make Me Brave” to life for choirs everywhere. Fear – we all encounter it; we all experience it - some for moments, some for lifetimes. But when we realize the One Who created us has always been there, when we reach a deeper revelation of Who God is, we can embrace what we’re afraid of. He will not forsake us; He remains faithful…forever. In confidence, be brave!

SKU: IG.PMS122

9 x 12 in inches.

For Piano.
By Vladimir Nikolov

Flashes is a collection of twelve miniature pieces for solo piano, composed in several stages over a long period of time.

Each one of these pieces illustrates an independent story and mood and is written with a different approach to the piano. All of the stories are products of instant moments of creativity that gradually became depictions of everyday life events, places and revelations that occurred during the process of writing. Many times this process became the story itself, thus the source of light evolved into its own reflection.

Styles vary from classical, post-impressionist to jazz and minimal through organic compositional structure.

Titles Include:
First Etude for Piano
Sun - trine - Moon
Last Etude for Piano
Distance
Bit Bang
Wednesday Afternoon
Game
Skopje
Reflection...(on Caress)
Prelude to Still Life
The Third Day
'Round Midday.

SKU: PR.41641576L

UPC: 680160636549. 11 x 17 inches.

The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.