SKU: ST.B874
ISBN 9780852498743.
The 135 hymns and songs in Whatever Name or Creed are texts for today, reflections by Andrew Pratt on a variety of contemporary topics, illuminated in the searchlight of his insistent and uncompromising questioning. A major theme, regarded from the author's own Christian viewpoint, is the relationship between faiths, especially as witnessed in their heritage of shared insights. The introduction is by Geoffrey Duncan. New musical settings by composers including Peter Cutts, Hal H. Hopson, John R. Kleinheksel Sr and Ian Sharp complement many of the texts, while others are indexed with tunes suggested from a number of standard British and American hymnals.
SKU: ST.B954
ISBN 9780852499542.
The outcome of a fruitful collaboration of theologians, writers and musicians working at the retreat and therapeutic centre of Holy Rood House in Yorkshire, this new collection articulates the needs of a contemporary ministry of healing through the agency of hymns, the church's most resonant and expressive form of worship. Acknowledging the impact of medical science in vastly expanding the range of the possible in every aspect of our living and dying, eighty-three texts tackle a rich diversity of themes: infant death, illness and suffering, ageing and dementia, the genome, mortality and bereavement, grief and lament, pain and despair - including pain and despair from the failure of healing - but also wisdom and resilience, healing as part of a spiritual holism of mind and body, and as a metaphor for social and political justice and care for the environment. The wealth of music includes new tunes and familiar ones, and the anthology concludes with a section of twelve short or repetitive texts to be used in conjunction with prayer. Hymns of Hope and Healing is the product of many voices, from those of widely experienced authors to others taking their promising early steps in the form. It will provide a vehicle for worship and reflection for those involved in chaplaincy, in therapies and counselling, and all in the wider church with an interest in this ancient ministry. Witnessed through the life, death and resurrection of Christ, it is refreshed and re-imagined here for a time both of breathtaking scientific advance, and of an urgent need to affirm our wholeness and faith while embracing the momentous challenges to our traditional understanding of health and healing.
SKU: JK.01303
Tender Easter anthem arranged for mixed chorus (SATB), female solo and piano. Sung from the perspective of Mary, the mother of Jesus:I kneel at His wounded feet, once washed with revr'ent care, now wet with mother's tears, this cross too much to bear.... Hold Him in thine arms for me, until I see Him again and take Him home to Thee. He is my Son.Composer: Thayne Martin Arranger: Brent Jorgensen Lyricist: Julia Ryan Difficulty: Medium Performance time: 4:45.
SKU: JK.00617
Psalm 82:6, Mosiah 4:15, Doctrine and Covenants 14:7.
Original Mother's Day anthem arranged for mixed chorus (SATB) and piano, recounting a mother's life from birth to death to her return to heaven as she waits for her children to return to her. Highest soprano note: E.Composer: Lynn S. Lund Lyricist: Mabel Jones Gabbott Difficulty: Medium / medium acc. Performance time: 5:00Reference: Psalm 82:6, Mosiah 4:15, Doctrine and Covenants 14:7.
SKU: CA.2810307
ISBN 9790007135836. Language: Spanish. Text: Palacios, Maria Fernanda. Text: Maria Fernanda Palacios.
Gonzalo Grau's oratorio Aqua, commissioned by the International Bachakademie Stuttgart, is concerned with the important global theme of water. It is precisely in central Europe that this precious commodity is frequently and thoughtlessly wasted, while in other parts of the world it is so scarce. Moreover, water shows two sides, which Grau makes audible in his oratorio: It gives, but it can also take life - in some places rain brings luck, while in others it brings destruction. Worldwide water is a theme, it means different things in different cultures - this, for example, is reflected in the music of Indian and African cultures. Gonzalo Grau's compositional style is marked by a variety of influences: For me a Gregorian chant is just as beautiful as a Cuban Santeria song. Indian ornamentation and baroque articulation can both appear in the same piece, says the composer. Special sound effects make Aqua a multi-cultural oratorio in which man and the environment is the central theme. Score available separately - see item CA.2810300.
SKU: ST.EM42
ISBN 9790220223136.
This is the first ever complete published edition of a major madrigal collection that is essential to our understanding of the fruitful interaction of Renaissance Italian and English music. In four, five and six voices, the 57 pieces of Musica Transalpina include 51 madrigals by Marenzio, Palestrina and others, the two parts of Byrd's 'La virginella', and four French chansons. Uniquely, the anthology also features singing translations of the original poems from the Italian into the vernacular, for which it was widely admired and circulated. As a printed source from which composers could learn the madrigal style and aesthetic, it was hugely influential in inspiring the 'golden age' of Tudor and Jacobean vocal music. An important addition to The English Madrigalists series, Musica Transalpina of 1588 is not only of great scholarly interest but is also an outstanding addition to the repertoire that will delight contemporary singers no less than it enthralled those Elizabethans who first responded with such enthusiasm to its fine music and accessible 'Englished' texts. Individual titles from this volume are available as Adobe PDF files...
SKU: GI.G-9431
UPC: 785147943105. English. Text Source: 1. Ps. 96:1, 3, 6-9, alt., The Revised Grail Psalms, 2. 1 Jn. 4:16, Ps. 103:1-2, 8, 10-12, 17-18a, The Grail, 1983, 3. Is. 7:14, Ps. 19:2-6, RGP, 4. Jn. 6:57, Ps. 119:1-2, 11, 49-50, 65, 72, 103, Grail, 1983, Ps. 2. Scripture: Psalm 96:1, 3, 6–9, 1 John 4:16, Psalm 103:1–2, 8, 10–12, 17–18a, Isaiah 7:14, Psalm 19:2–6, John 6:57, Psalm 119:1–2, 11, 49–50, 65, 72, 103, Psalm 23:5ad.
Noted composer M. Roger Holland has taken antiphons from the 2010 Roman Missal and paired them with psalm verses, creating compositions that have wide use in the liturgy. Some parishes will want to use these pieces on the appointed day for entrance or communion processionals. Others may find use for them throughout the entire year, perhaps using them as a weekly song through the season. The songs work well as stand-alone processional pieces and many choirs will want to use them as choir anthems or congregational songs during the preparation of the gifts and altar. While utilizing official texts of the Roman rite, they can be used by congregations of any denomination. Roger explores the wide breadth that is African American music, you’ll find lyric ballades, spiritualinspired offerings, gospel-style songs, and pieces with a more uptempo feel. This is the fourth volume in this series. Contains: O Sing a New Song • God Is Love • Behold Emmanuel • Communion Song For cantor or soloist.
SKU: BR.EOS-8047-15
ISBN 9790004789735. 8.5 x 11.5 inches.
Among Campra's Latin works, the ,Messe de mort' is perhaps one of the more successful and today it is one of the more frequently performed. It is also the most enigmatic score of his entire output. Despite extensive researches, no evidence of any sort has yet been brought to light to document its origin, purpose, date of composition, first performance or reception. A stylistic analysis indubitably supports the contention that the ,Messe de mort' is a late work, composed perhaps between 1722 and 1729. The present edition is based on the manuscript from the Bibliotheque Nationale de France (Paris). It it the oldest known source of the work. The very few errors have been corrected. (Jean-Paul Montagnier) Vokalensemble Stuttgart und den Kammerchor des Kopernikus-Gymnasiums Wasseralfingen. Fur diese beiden ganz unterschiedlichen Chorformationen hat Martin Smolka 2012 auch gezielt seine Partitur angelegt. Biografisch ist das Agnus Dei eine Art kleines Requiem fur seinen kurz zuvor verstorbenen Vater. Das liturgische Agnus Dei rahmt den deutschen Text Eh das Madchen entschlief ... der bei Auffuhrungen in anderen Landern durch eine Ubersetzung ersetzt werden soll.Der SWR-Redakteur Hans-Peter Jahn schreibt dazu im Programmheft: Die fur Smolka typischen minimalistischen Taktzellen schaffen eine archaische Sinnlichkeit. Eine einfache und zugleich streng gebaute Vokalmusik mit Tiefenwirkung.Nach der Urauffuhrung war die Esslinger Zeitung hellauf begeistert: Smolka ist ein Meister der Stimmbehandlung und der chorischen Klanggestaltung. Im Zentrum des Stucks gerat die Musik zum Stillstand: im leisen gleichmassigen Summen uber dem plotzlich fortissimo ein tschechisches Kinderlied erklingt eines das der Vater seinen Kindern haufig vorgesungen hat. Das alles war sehr beruhrend. Und eigentlich noch mehr als das. My father PhDr. Jaroslav Smolka (1933-2011) was a leading Czech musicologist author of books Czech Cantata and Oratorium Fuga in Czech Music Smetana's Orchestra Music Smetana's Vocal Music monography of Jan Dismas Zelenka and many others. He was a legendary teacher of Music History at Prague Music Academy critic recording producer composer; for almost 50 years he was an important and highly respected personality of Prague musical life.My father devoted a lot of time and energy to musical education and activities of my sister and me using often quite original methods such as teaching of intervals and counterpoint through Bartok's Microcosmos ear training filling all imaginable moments of everyday life or lessons of harmony analysis starting with Overture to Tristan and Musorgsky's Catacombs. The Martinu song Wondering Maiden was his solo number in our home vocal productions which he used to sing with amazing devotion while his huge voice was audible in several neighboring streets.My Agnus Dei is closely bound to all this history e.g. by using canon and preferring beauty of dissonant seconds like Bartok or quoting Martinu and his refined neoclassical harmony. Father would be probably a bit critical about the minimalistic monotony of the main body of the piece. Nevertheless firstly he would improvise a short lecture of history of Agnus Dei in Requiem in Czech Music naming by heart many dates and all examples of changes of order of the traditional text by composers. Examples would be sung probably.(Martin Smolka).
SKU: GI.G-9430
UPC: 785147943006. English. Text Source: Vv. The Grail, 1963, 1. Ps. 91:15-16, Ps. 91:1-2, 8-9, 10-11, 14-15, 2. Mt. 4:4, Ps. 19:8, 10, 11, 12-13, 15, 3. Ps. 27:8-9, Ps. 27:1, 4abcd, 5, 13-14, 4. Mt. 21:9, Ps. 118:29, 22-23, 27bc-28, 5. Lk. 24:34, Rev. 1:6, Ps. 98:1, 2-3ab, 3. Scripture: Psalm 91:15–16, Psalm 91:1–2, 8–9, 10–11, 14–15, Matthew 4:4, Psalm 19:8, 10, 11, 12–13, 15, Psalm 27:8–9, Ps. 27:1, 4abcd, 5, 13–14, Matthew 21:9, Psalm 118:29, 22–23, 27bc–28, Luke 24:34, Reveleation 1:6, Psalm 98:1, 2–3ab, 3cd–4.
Noted composer M. Roger Holland has taken antiphons from the 2010 Roman Missal and paired them with psalm verses, creating compositions that have wide use in the liturgy. Some parishes will want to use these pieces on the appointed day for entrance or communion processionals. Others may find use for them throughout the entire year, perhaps using them as a weekly song through the season. The songs work well as stand-alone processional pieces and many choirs will want to use them as choir anthems or congregational songs during the preparation of the gifts and altar. While utilizing official texts of the Roman rite, they can be used by congregations of any denomination. Roger explores the wide breadth that is African American music, you’ll find lyric ballades, spiritualinspired offerings, gospel-style songs, and pieces with a more uptempo feel. This is the third volume in this series. Contains: When He Calls on Me • Not by Bread Alone • Hide Not Your Face • Hosanna • The Lord Is Truly Risen, Alleluia For cantor or soloist.
SKU: JK.20420
Doctrine and Covenants 138:47-48, Alma 37:35*** Some Janice Kapp Perry products may require a few days additional shipping time. Thank you!
A cantata written to celebrate the Proclamation on the Family, for chorus, soloists, and readers.Original songs include: Children of God, In Whose Image Am I Made?, Half a Million Skies, We'll Make Our Father's Dream Our Own, God Gave You to Me, The Song of Ages, Travelers Who Shelter Here, Father Mother We Need Your Love, Come to the River, No Other Love, The Path to Joy, Our Brother Walked This Way, Turning the Hearts, Love One Another, and We'll Make Our Father's Dream Our Own/This Is Our ChoiceComposer: Steven Kapp Perry & Marvin PayneLyricist: Steven Kapp Perry & Marvin PayneReference: Doctrine and Covenants 138:47-48, Alma 37:35*** Some Janice Kapp Perry products may require a few days additional shipping time. Thank you!
SKU: JK.00739
Exodus 20:12.
Arranged for mixed chorus (SATB) and piano, using selections from The Children's Song Book: Mother Dear, Where Love Is, and Love at Home.Composer: Mildred Pettit, Norma Smith, John Hugh McNaughton Arranger: David Len Allen Lyricist: Maud Kimball, Marjorie Kjar, Joanne Doxey, John McNaughton Performance time: 5:45Reference: Exodus 20:12.
SKU: HL.1220116
ISBN 9781705195765. UPC: 196288142089.
Austrian-American composer and music critic Hans Ewald Heller (1894-1966) wrote this cantata in 1942, in the height of World War II. The text calls the men fighting to remember the role that their mothers, sisters, and wives have in creating them and asks the soldiers to consider the pain of these women if they die in battle.
SKU: GI.G-9537
UPC: 785147953708. English. Text by Mary Louise Bringle.
The text and music of this anthem were written for a women’s conference at Princeton Theological Seminary. Mary Louise Bringle gives us the words to celebrate the role of women in the church, acknowledging both difficult and joyful experiences. Sally Ann Morris’ flexible writing may be sung by SATB voices or in an SSA texture.
SKU: FG.55011-857-7
Žibuoklė Martinaitytė tells about the background of Aletheia (2022) for mixed choir (SSSSAAAATTTTBBBB): Aletheia is variously translated from Greek as unconcealedness, revealing or unclosedness. It is uncovering of the Truth - the one we are afraid to face, the truth that can only be expressed directly through the pre-verbal communication. How do you find words for the horrors of the war, for all unimaginable global atrocities? How do you even allow yourself to feel it out? Solely through art, through music that offer a safe space and a formalized framework for processing these accumulated complex emotions and sharing them with others in a moment. This piece has no verbal text and it is based on various combinations of vowels and consonants, thus connecting us on a deeper level through the immediate emotional experience.The war in Ukraine in spring of 2022 had an impact on all of us and shattered my deeply rooted Lithuanian identity. When the freedom is threatened and innocent people are dying, it is hard to make sense out of the reality. Yet there is poetry even in the worst nightmares. I was imagining that the only instrument people have even in situations of destruction, in the midst of the war, is their VOICE. It brought back memories of my youth when Singing revolution was taking place in the Baltic countries. Human voice was the only weapon that people used to express their determination for freedom and independence. Voice is our first and the very last instrument we have in our lifetime. Thinking in these terms brings almost a sacred dimension to the voice as an expression of the life itself - from the very first baby's scream until the last breath and whisper.Duration c. 15'The works of New York -based Lithuanian composer Žibuoklė Martinaitytė (b. 1973) have been lauded as breathtaking and profoundly moving. Her stimulating music bristles with energy and tension and revolves often around the subject of beauty, which she calls both a guiding principle and an aesthetic measure for sonic quality.
SKU: JK.00154
Mother's Day cantata for mixed chorus, solos for medium voice, narration, violin, and piano accompaniment.Composer: A. Laurence Lyon Lyricist: Lloyd T. Hanson Difficulty: Medium / medium-difficult acc.Reference: Exodus 20:12.
SKU: GI.G-10282
English. Text Source: From Songs of Innocence, William Blake, 1757-1827, alt. Text by William Blake.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version
