This may very well be the “don't miss” anthem of the year. Weaving together four of the best beloved adoration hymns Joseph Martin has penned a masterful love song to Jesus. With some a cappella elements ofbarbershop harmony gospel tent revival even grand waltz this piece has something for everybody. Show off your men's section your women's chorus your great tenor soloist AND your accompanist with this impressive medley.“Jesus Keeps Me Singing” will bring back memories and will keep you singing all of these old favorites for days to come.

For SATB Chorus.Jointly commissioned by the National Chamber Choir and the Cork International Choral Festival for the seminar 'from composition to performance the seminar on choral music'.This work was premièred at the Cork International Choral Festival on 2nd May 2008 by the National Chamber Choir of Ireland conducted by Bo Holten. Text: Acallam na Senórach (12th century)After the battles of Commar Gabair and Ollarba the F an was destroyed. The survivors scatteredacross Ireland and by the time our story begins only two of the nobles of this ancient F anwerestill alive: Ois n and Ca lte. Sixteen of the F an warriors travelled with them across the wooded andflower-covered slopes of the Fews. Patrick was reciting his office. Then his priests seeing Ca lte and his men approaching wereseized with fear and horror at the sight of these warriors of an earlier age. Then Patrick apostle tothe Irish arose and sprinkled holy water on these great men for a thousand legions of demons hadbeen above their heads. The great men then sat down.?Well my friend there is something I would ask you ? said Patrick to Ca lte. ?Find us a well of purewater close by so that we might baptize the peoples.? Ca lte took Patrick by the hand and togetherthey went over the ramparts of the fortress. Just nine steps from the portal they saw a lovely crystalclearspring. Then Ca lte recited these lines:A thoibur Trágha dhá bhan laind do bhilar barrhglan.ó ro tréigedh do chnuas ortn r? léiced fás dot fochlocht Is uait dochuadar in Fianndar? marbad Coinchend coimfial dar? cuiredh ár Feinde Find.isin mhadain ós Maolghlind.A(r) marbadh chon ocus ferar n-athchuma laoch

Cantata for string orchestra and chorus. Triptych represents the concatenation and re-orchestration of two extant works. Movement I was commissioned with funds from The RVW Trust for the inaugural concert of the Choir of London conducted by Jeremy Summerly in Christ Church, Spitalfields on 18th December, 2004 - the work, premièred as Threnody, was subsequently toured by the Choir to Jerusalem and the West Bank from 19th-26th December, 2004. Movements II and III, commissioned by Portsmouth Grammar School with financial support from the PRS Foundation, were premièred as And There Was a Great Calm in a contiguous version for lower strings and upper voices by the Portsmouth Grammar School Chamber Choir and the London Mozart Players in a concert at Portsmouth Anglican Cathedral on 13th November, 2005 conducted by Nicolae Moldoveanu. The title of this latter section is taken from Thomas Hardy's poem of the same name, written at the signing of the Armistice on 11th November, 1918 - a couplet from which is set, in a moment of tranquillity, in the final movement. Relatively new to living in New York, I am much more aware of the independent, vibrant cultural plurality that exists today - it's probably the single most dazzling facet of the City and is largely responsible for the infamous 'edginess' that pervades daily life there. With this in mind, I set to work on Threnody (movement I here) in 2004 - I wanted to write something that was relevant to the Israeli/Palestinian issue without losing that City 'edge'. The texts, in English, are excerpted from a variety of sources: William Penn, William Blake, the Psalms of David and Muhammad Rajab Al-Bayoumi, an Egyptian poet of the early twentieth-century. Fast and rhythmically influenced by the music of North Africa in its syncopations, this movement was the first composition that evolved entirely from my New York perspective. From the moment that the commission for And There Was a Great Calm (movements II and amp - III here) was offered, I knew the piece I was about to embark upon would end up being linked with Threnody in some way. I realized that what I had been aiming for in Threnody served as a template for this new piece, originally composed for a Remembrance Sunday concert. Musical works connected with commemoration or memorials are often suitably pensive and slow - I wanted to start with that concept, but to bring in some of the relentless urban rhythms that had been such a large influence on my life in the preceding two years. The result is that that the second movement is quiet and gentle (a moment of recollection), while the final movement is much faster and vibrant, returning to a more openly elated rendering of the start of Triptych (the texts here dealing with transmigration and the future). and nbsp - I gratefully acknowledge the assistance of Bruce Ruben and Judith Clurman, as well as that of my parents, with the collation of the texts. Tarik O'Regan New York, February 2006 / Soprano, SATB Et Orchestre De Cordes

from Tootsie. Broadway veteran David Yazbek hasn't written original music for a production that didn't go on to be nominated for Best Original Score at the Tony Awards. This astonishing 5-for-5 streak is currently capped by his work on Tootsie, a musical adaptation of the 1982 film of the same name. ?I Won't Let You Down? is an in-show audition piece, starting out lethargic, but morphing into something grandiose and memorable by the end--a showstopper!

Par WEIR JUDITH. Celebrate HM The Queen's 90th Birthday with your choir Sing Judith Weir's special new choral piece I Love All Beauteous Things Master of the Queen's Music, Judith Weir, has been commissioned by St Paul's Cathedral in London to write a piece for SATB choir and organ in celebration of HM The Queen's 90th birthday in 2016. The piece is now available from Chester Music, so that choirs all over the world can join in with the festivities. Churches and other local organisations are planning events on Sunday 12th June and many may want to include this approachable setting of Robert Bridges' poem. Directed by Andrew Carwood, the St Paul's Cathedral Choir will perform I love all beauteous things as part of the National Service of Thanksgiving which will take place on at 11am on 10 June in the presence of HM The Queen and HRH The Duke of Edinburgh. At the service the Archbishop of Canterbury will give the address and the Prime Minister will read a lesson. The event will be televised live on BBC1. Judith Weir comments: 'It is a particular honour to contribute new music for this great occasion, and a pleasure to write a choral version of Robert Bridges' beautiful verse.' Preview the score here Download the digital sheet music here COMPOSER'S NOTE At the suggestion of Michael Hampel, Precentor of St Paul's Cathedral, I have set words by Robert Bridges, who was Poet Laureate from 1913-1930. Bridges was an outstanding humanitarian and writer, whose poetry has inspired me before in The Voice of Desire, a song-cycle for mezzo-soprano and piano. This short, fast-tempo setting aims to emulate the swift, fleet-footed rhyme and metre of the two-verse poem, with its unobtrusive but telling reference to 'man in his hasty days'. J.W. Commissioned by the Chapter of St Paul's Cathedral to mark the 90th birthday of HM The Queen, generously supported by the Boltini Trust. Performed at the National Service of Thanksgiving for HM The Queen's birthday at St Paul's Cathedral, London, on Friday 10th June 2016 in the presence of HM The Queen and HRH The Duke of Edinburgh. Music by Judith Weir, Master of the Queen's Music, words by Robert Bridges, Poet Laureate in the year HM The Queen was born. Duration c. 3½ minutes I LOVE ALL BEAUTEOUS THINGS words by Robert Bridges OM (1844-1930) Poet Laureate 1913-30 I love all beauteous things, I seek and adore them - God hath no better praise, And man in his hasty days Is honoured for them. I too will something make And joy in the making - Altho' to-morrow it seem Like the empty words of a dream Remembered on waking. (I love all beauteous things, etc…)/ Feuillet / Choeur Mixte (SATB) et Orgue

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'.

The opening section of Fauré's beloved “Requiem” could easily be considered a classic. Conductor and former Chanticleer singer Sanford Dole has done something miraculous and incredible - he has arranged it for a cappella choir. The results are stunning. His craftsmanship could not be more truthful. You would think Fauré had intended or done it himself. A great choice for Lent or communion in worship or a lovely addition to a concert venue. Medium difficulty.

An electro-pop tune as infectious as it is timely with its singular message the creative hands of Zedd Maren Morris and Grey teamed up to create something reflective and vibrant. Released during the Grammy Awards broadcast in 2018 the chorus asks of us ?why don't you just meet me in the middle??

Originally commissioned by Chorus America for Unison/ 2-part choirs the powerful and socially conscience work is now available for SATB choirs. Merging a Christina Rossetti text with words from choir students in Flint Michigan composer Ramsey lifts up the horrific water crisis situation in Flint Michigan. This was the personal revelation for the composer that there was something she could do to affect in a positive way the tragedy in Flint. This is also a vehicle for you and your students to positively affect this tragedy as half of the profits from the sale will go directly to Rlint Rising a coalition of community organizations and allies. There is a QR code in the musicfor the audience to make a donation and the web site is also included.

Uses: General Lent prayer serviceScripture: Philippians 4:6-7; John 14:13-14; 1 Thessalonians 5:16-18Following the success of Didn't My Lord Deliver Daniel? Don Hart brings us anexhilarating spiritual arrangement of the classic Standing in the Need of Prayer. Use it as something up-beat during Lent for contrast to more contemplative calls to prayer. Use in services where prayers are offered and formoments when the assurance of pardon is proclaimed. Whatever your use it will be a welcome addition to your spiritual repertoire! Duration: ca. 3:15.