Organ. Sacred. Level: 3-staff. Sacred organ. Published by Lorenz Publishing Company.

SATB and Organ. By Benjamin Britten. (SATB). Boosey and Hawkes Sacred Choral. Size 7.25x10.25 inches. 12 pages. Published by Boosey and Hawkes.

By Carolyn Hamlin. For SATB choir and piano. Sacred. Sacred Anthem. Published by Monarch Music. (10/3625M)

SKU: GI.G-1062

2019 LA Theme Song and more. Composed by Jeanne Cotter. Sacred. GIA Publications #1062. Published by GIA Publications (GI.G-1062).

UPC: 785147006220.

All Is Holy is a compilation recording packed with all the best songs from liturgical composer and author Jeanne Cotter's impressive catalog. This recording also includes “Thirsting for Justice,” the exciting new theme song written for the 2019 Los Angeles Religious Educator’s Congress. With beloved songs like “Psalm 103: The Lord Is Kind and Merciful,”  “Lord, Send out Your Spirit,” and “Psalm 33: Blessed Are We” along with several of her most beloved piano solos, All Is Holy will bring you moments of exquisite joy, quiet contemplation, and blissful peace.

3-5 octave handbells - Grade 3

SKU: BP.HB386

Composed by Jane McFadden. Arranged by Jane McFadden. Handbell choir music. Handbell part. Beckenhorst Press #HB386. Published by Beckenhorst Press (BP.HB386).

3-5 octave level 3- Jane McFadden's delicate original three-to-five octave composition Always By My Side speaks of the steadfastness of God's love and the peace of His presence. You'll want to add the optional two octaves of handchimes, which are skillfully interwoven with the handbell accompaniment and countermelody. This lovely work is perfect for those quiet and introspective moments in any worship service.

3-7 octave handbells - Grade 3

SKU: BP.HB436

Composed by Jason W. Krug. Arranged by Jason W. Krug. Handbell choir music. Handbell part. Beckenhorst Press #HB436. Published by Beckenhorst Press (BP.HB436).

For 3-7 octaves, optional 3-6 octaves of handchimes, level 3-. This haunting original composition will provide ringers with ample opportunity to focus on their musicality. From moments of quiet tranquility to soaring heights of passion, this song runs the gamut of emotions, carrying musician and listener alike on a beautiful musical journey.

Composed by Robert J. Powell. Minimal Pedal, Offertories, Preludes. 21st Century. Published by MorningStar Music Publishers (MN.10-987).

Piano - Grade 5

SKU: FA.MFCD017B

By Nicolas Horvath. By Claude Debussy and Robert Orledge. Rediscoverd Debussy. Christmas. Score. Musik Fabrik #MFCD017B. Published by Musik Fabrik (FA.MFCD017B).

8.27 x 11.69 inches.

Contains Le Roi Lear: Prelude,Premiere Fanfare, and La Mort de Cordelia,Toomai des elephants, Rodrigue et Chimene: Prelude a l'acte 1p. Le Martyre de Saint Sebastien: La Passion , and No-ja-li ou Le Palais du Silence

From Robert Orledge's notes:

My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelleas et Melisande in 1893-1902 and the ballet Jeux for Diaghilev's Ballets Russes in 1912-13). Of the rest, many were never started musically (like Siddartha and Orphee-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902-03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908-17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912-13; or Le Martyre de Saint Sebastien and La Boite a joujoux by his 'angel of corrections' ['l'ange des Corrections'] Andre Caplet in 1911 and 1919 respectively).

For it has to be admitted that what some scholars call Debussy's 'compulsive achievement' could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure's 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.

It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to 'write a ballet for him that he would sign' on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with Andre Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.

So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy's lost potential masterpieces from his existing sketches and drafts--then orchestrating them in Debussy's style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.

Late intermediate

SKU: GI.G-9823

Arranged by Marilyn Biery. Tune Name: Blest Are They, Castlewood, Coena Domini, Dundee, Dunedin, Dunstan, Romans 8, Sharpthorne, Sojourner, Yadkinville. Sacred. 52 pages. GIA Publications #9823. Published by GIA Publications (GI.G-9823).

UPC: 785147982364.

From prelude to interlude to moments of quiet meditation, these ten arrangements of classic and modern hymn tunes emulate the style of many master composers. They are great for use during the liturgical year, during worship services, or as concert repertoire. Contents: BLEST ARE THEY � CASTLEWOOD Choral Variations on Come to Us, Creative Spirit � COENA DOMINI Draw Near and Take the Body of the Lord � DUNDEE � DUNEDIN The Church of Christ, in Every Age � DUNSTAN Come to Me, O Weary Traveler � ROMANS 8 Shall Tribulation or Distress � SHARPTHORNE What Does the Lord Require � SOJOURNER I Want Jesus to Walk with Me � YADKINVILLE Air and Variations on Be Thou My Vision.

Concert Band - Grade 4

SKU: PE.TSGB010S

Composed by Tyler S. Grant. Concert Band; Performance Music Ensemble. Tyler S. Grant Music Works. Score. Duration 7:00. Edition Peters #98-TSGB010S. Published by Edition Peters (PE.TSGB010S).

UPC: 038081584317.

Instrumental colors abound in this emotionally moving memorial piece, Solace in the Equinox by Tyler S. Grant. Impressionistic passages float in and out of varied instrumental combinations, creating sonic palettes of pastel colors and swirling shapes. Just as the fall equinox balances darkness and light, the music exhibits a harmonious balance between moments of quiet and delicate textures with contrasting fully scored statements of brightness and joy. (7:00).

Composed by Heather Sorenson. Sacred. Lillenas Publishing Company #9780787767648. Published by Lillenas Publishing Company

By Jeff Smallman. For Clarinet and Keyboard. Solo; Woodwind - B-Flat Clarinet Solo. Contemporary. Part(s). Duration 00:02:00