For SATB. Modern Christian. Sacred. Consumer Print Book. Published by Brentwood-Benson Music Publishing.

(from Legally Blonde). Arranged by Mac Huff. SATB. Broadway Choral. 16 pages. Published by Hal Leonard

Choral SATB Choir and Piano

SKU: CF.CM9740

Composed by Mark Burrows. 16 pages. Duration 4 minutes, 22 seconds. Carl Fischer Music #CM9740. Published by Carl Fischer Music (CF.CM9740).

ISBN 9781491161203. UPC: 680160919789. Key: Bb major. English. Siegfried Sasson.

Everyone suddenly burst out singing; And I was filled with such delight As prisoned birds must find in freedom... These opening lines to Everyone Sang by the British war poet Siegfried Sassoon feel as relevant today as they did when the poem was first published in 1919. It was after the end of World War I and these words capture so much of the collective exhilaration, relief, and pure joy about the Great War finally coming to an end. And yet Sassoon himself felt none of that when he wrote this poem. In his own words, he was feeling dull-minded and depressed. Perhaps his time in the trenches was still too recent. One of the reasons the creative arts are so powerful is that a poet like Sassoon (or a painter like Van Gogh or a composer like Mahler) can take their own feelings of deep sadness or pain and transform them into something beautiful, even uplifting. Everyone Sang is a celebration of the promise that things can get better, that there are things worth looking forward to.   The poem itself has so much rhythm and musicality. The appearance of suddenly in the first line of each verse gives those verses a rush of energy. Attention to the crescendo in measure 7, and again in measure 37, from mf to f will help the listener experience that rush. There are expressive opportunities with so many of the poet's bold choices of action words - burst, winging, and shaken. Then there's alliteration - a poetic device that can be overdone, but Sassoon strikes a wonderful balance. Suddenly/singing (measures 6-7 and 10-11) Find/freedom (measure 21-22) Winging/wildly (measure 23) Setting/sun (measures 47-49) Was/wordless (measures 65-75) Give these alliterations just a hint of emphasis (without overdoing) to bring out the natural rhythm of the text.   And just as O is set apart in the poem by punctuation, I wanted the musical setting - in measure 57 - to honor that feeling of wonder - ...O, but Everyone Was a bird; and the song was wordless; the singing will Never be done. Friends, there is so much good ahead, so much to be excited about. May the singing never be done.
Everyone suddenly burst out singingAnd I was filled with such delightAs prisoned birds must find in freedom…These opening lines to Everyone Sang by the British war poet Siegfried Sassoon feel as relevant today as they did when the poem was first published in 1919. It was after the end of World War I and these words capture so much of the collective exhilaration, relief, and pure joy about the “Great War” finally coming to an end. And yet Sassoon himself felt none of that when he wrote this poem. In his own words, he “was feeling dull-minded and depressed.” Perhaps his time in the trenches was still too recent.One of the reasons the creative arts are so powerful is that a poet like Sassoon (or a painter like Van Gogh or a composer like Mahler) can take their own feelings of deep sadness or pain and transform them into something beautiful, even uplifting. Everyone Sang is a celebration of the promise that things can get better, that there are things worth looking forward to. The poem itself has so much rhythm and musicality.The appearance of “suddenly” in the first line of each verse gives those verses a rush of energy. Attention to the crescendo in measure 7, and again in measure 37, from mf to f will help the listener experience that rush.There are expressive opportunities with so many of the poet’s bold choices of action words – burst, winging, and shaken.Then there’s alliteration - a poetic device that can be overdone, but Sassoon strikes a wonderful balance.Suddenly/singing (measures 6-7 and 10-11)Find/freedom (measure 21-22)Winging/wildly (measure 23)Setting/sun (measures 47-49)Was/wordless (measures 65-75)Give these alliterations just a hint of emphasis (without overdoing) to bring out the natural rhythm of the text. And just as “O” is set apart in the poem by punctuation, I wanted the musical setting – in measure 57 - to honor that feeling of wonder –…O, but EveryoneWas a bird; and the song was wordless; the singing willNever be done. Friends, there is so much good ahead, so much to be excited about.May the singing never be done.

Choral Medley. Arranged by Mac Huff. Broadway Choral. Octavo. 72 pages. Published by Hal Leonard (HL.154275).

SATB choir

SKU: ST.EM18

Composed by Thomas Tomkins. Edited by Edmund H Fellowes. Library Volumes. Edited Edmund Fellowes. Revised Thurston Dart. Paperback. Madrigals. Collection. Stainer & Bell Ltd. #EM18. Published by Stainer & Bell Ltd. (ST.EM18).

ISBN 9790220216930.

Though better known as a composer of church and keyboard music, Tomkins wrote secular vocal music that offers a compendium of all the various styles: canzonets, balletts, madrigals and 'sacred songs'. Each was dedicated to one of his relatives, a friend or a colleague. The names of these 28 dedicatees form a fascinating list at the end of the book.

CONTENTS
Adieu, ye city-poisoning towers (SSATB)
Cloris, whenas I woo (SSATB)
Come, shepherds sing with me (SSATB)
Fond men, that do so highly prize (SST (or A))
Fusca, in thy starry eyes (SSATB)
How great delight (SST)
It is my well-beloved's voice (SSATTB)
Love, cease tormenting (SSA (or T))
Music divine (SSATTB)
No more I will thy love (SATB)
O let me die for true love (SATB)
O let me live for true love (SATB)
Oft did I marle (SSAATB)
Our hasty life away dost post (SST)
Oyez! Has any found a lad? (SATB)
Phyllis, now cease to move me (SSATB)
Phyllis, yet see him dying (SSATB)
See, see the shepherds' Queen (SSATB)
Sure there is no god of love (SSA)
The fauns and satyrs tripping (SSATB)
To the shady woods (SSATB)
Too much I once lamented (SSATB)
Turn unto the Lord (SSATTB)
Was ever wretch tormented? (ST (or A) TB)
Weep no more, thou sorry Boy (SATB)
When David heard (SAATB)
When I observe (SSAATB)
Woe is me (SSATBB)
Yet again, as soon revived (SAT (or A) B).

SATB choir, piano

SKU: LO.15-3687H

Composed by Kirby Shaw. Choral. Octavo. Heritage Music Press #15/3687H. Published by Heritage Music Press (LO.15-3687H).

ISBN 9780787768140.

Now you've got good news to share. Take my hand and take us there. Sing out now and soon you'll see how much better life can be. Just sing it!...Sing it to me! Kirby Shaw's feel-good lyrics are set in a fast-paced, light Calypso style that is perfect for a concert opener. An orchestrated track is also available as an alternate accompaniment.

ATB vocal soli, SATB choir, 2 recorders f1, 2 oboe d'caccia, trumpet (tromba or horn da tirarsi), 2 violins, viola, basso continuo

SKU: CA.3104612

Cantata for the 10th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Paul Horn and Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Schauet Doch Und Sehet, Ob Irgend Ein. Sacred vocal music, Cantatas. Single Part, Violin 2. Composed 1723. BWV 46. 8 pages. Duration 20 minutes. Carus Verlag #CV 31.046/12. Published by Carus Verlag (CA.3104612).

ISBN 9790007042981. Key: D minor. Language: German/English.

The opening chorus of the cantata Schauet doch und sehet (Look ye then and see now) is one of those movements by Bach which are much better known in their later guise: the first part of it became the Qui tollis of the Mass in B minor. But this movement is not the only high point of the cantata from Bach's earliest Leipzig period. Both the arias are also unusual: a bass aria depicting God's anger dramatically as a thundering storm, with strings and slide trumpet, which gives the movement a very special colour through its unexpected notes beyond the instrument's natural series, and an alto aria with two recorders, accompanied by just two oboi da caccia in unison, which take the role of the continuo as little basset instruments. Music almost not of this world! New revised edition. Score and part available separately - see item CA.3104600.

ATB vocal soli, SATB choir, 2 recorders f1, 2 oboe d'caccia, trumpet (tromba or horn da tirarsi), 2 violins, viola, basso continuo

SKU: CA.3104609

Cantata for the 10th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Paul Horn and Uwe Wolf. This edition: urtext. 1x 31.046/21 recorder 1, 1x 31.046/22 recorder 2, 1x 31.046/23 oboe 1, 1x 31.046/24 oboe 2, 1x 31.046/31 trumpet. Stuttgart Urtext Edition: Bach vocal. German title: Schauet Doch Und Sehet, Ob Irgend Ein. Sacred vocal music, Cantatas. Set of Orchestra Parts. Composed 1723. BWV 46. 40 pages. Duration 20 minutes. Carus Verlag #CV 31.046/09. Published by Carus Verlag (CA.3104609).

ISBN 9790007042967. Key: D minor. Language: German/English.

The opening chorus of the cantata Schauet doch und sehet (Look ye then and see now) is one of those movements by Bach which are much better known in their later guise: the first part of it became the Qui tollis of the Mass in B minor. But this movement is not the only high point of the cantata from Bach's earliest Leipzig period. Both the arias are also unusual: a bass aria depicting God's anger dramatically as a thundering storm, with strings and slide trumpet, which gives the movement a very special colour through its unexpected notes beyond the instrument's natural series, and an alto aria with two recorders, accompanied by just two oboi da caccia in unison, which take the role of the continuo as little basset instruments. Music almost not of this world! New revised edition. Score and parts available separately - see item CA.3104600.

ATB vocal soli, SATB choir, 2 recorders f1, 2 oboe d'caccia, trumpet (tromba or horn da tirarsi), 2 violins, viola, basso continuo

SKU: CA.3104613

Cantata for the 10th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Paul Horn and Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Schauet Doch Und Sehet, Ob Irgend Ein. Sacred vocal music, Cantatas. Single Part, Viola. Composed 1723. BWV 46. 8 pages. Duration 20 minutes. Carus Verlag #CV 31.046/13. Published by Carus Verlag (CA.3104613).

ISBN 9790007042998. Key: D minor. Language: German/English.

The opening chorus of the cantata Schauet doch und sehet (Look ye then and see now) is one of those movements by Bach which are much better known in their later guise: the first part of it became the Qui tollis of the Mass in B minor. But this movement is not the only high point of the cantata from Bach's earliest Leipzig period. Both the arias are also unusual: a bass aria depicting God's anger dramatically as a thundering storm, with strings and slide trumpet, which gives the movement a very special colour through its unexpected notes beyond the instrument's natural series, and an alto aria with two recorders, accompanied by just two oboi da caccia in unison, which take the role of the continuo as little basset instruments. Music almost not of this world! New revised edition. Score and part available separately - see item CA.3104600.

ATB vocal soli, SATB choir, 2 recorders f1, 2 oboe d'caccia, trumpet (tromba or horn da tirarsi), 2 violins, viola, basso continuo

SKU: CA.3104600

Cantata for the 10th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Paul Horn and Uwe Wolf. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: Schauet Doch Und Sehet, Ob Irgend Ein. Sacred vocal music, Cantatas. Full score. Composed 1723. BWV 46. 60 pages. Duration 20 minutes. Carus Verlag #CV 31.046/00. Published by Carus Verlag (CA.3104600).

ISBN 9790007042936. Key: D minor. Language: German/English.

The opening chorus of the cantata Schauet doch und sehet (Look ye then and see now) is one of those movements by Bach which are much better known in their later guise: the first part of it became the Qui tollis of the Mass in B minor. But this movement is not the only high point of the cantata from Bach's earliest Leipzig period. Both the arias are also unusual: a bass aria depicting God's anger dramatically as a thundering storm, with strings and slide trumpet, which gives the movement a very special colour through its unexpected notes beyond the instrument's natural series, and an alto aria with two recorders, accompanied by just two oboi da caccia in unison, which take the role of the continuo as little basset instruments. Music almost not of this world! New revised edition.

Mixed choir

SKU: ST.B934

Composed by Brian Wren. Hymns & Relgious Drama. Hymns & Psalms 2009-2012. . If ordering from USA, Canada, Australia or New Zealand please contact. Collection. Stainer & Bell Ltd. #B934. Published by Stainer & Bell Ltd. (ST.B934).

ISBN 9780852499344.

This, the ninth of a series of books begun in 1983, contains Brian Wren's 36 most recent hymns (2009 to 2012). It is nicely presented and laid out in a user-friendly way. The hymns are divided into five thematic sections: Jesus from Cradle to Cross; Easter Hymns; Church and Mission; Praise; and Metrical Psalms. This last section, rooted in (though not bound by) the Old Testament, is often influenced by Isaac Watts and will be of more use to some than others; it concludes with a tremendous rendering of Psalm 8; a paean of praise which all will love, set to a stirring tune.

Each section is prefaced with a single page introduction listing the contents and, in some instances, giving an interesting insight into Brian Wren's theology and thinking which provides food for contemplation. Each hymn is printed in words format with all the necessary information for inclusion in an order of worship. Every hymn is also printed with full score music for accompaniment interlined with the words. The book is slightly larger than A5, and there are various useful indexes.

The tunes range from ancient to modern, some very familiar, including Candler (better known as Ye Banks and Braes). A number are of a metre where alternative tunes are available. Those tunes which are new vary in ease of use; some will be readily picked up, others would prove challenging for occasional use in a small congregation but could be used as music group items.

These are hymns which need to be read as a whole and require thought. The words are chosen with care and notable as much for those not used as those included e.g.: 'Christ, untameably alive,/ breathe your life upon us - / Compass, Governor and Guide, / with us and beyond us,/ Sky and Sunlight, / spreading Vine./ Spring of Living Water,/ Truth and Wisdom, Way and Word,/ here, and then hereafter.' These hymns will be useful in worship as either sung or read pieces, and will also prove an invaluable resource for private devotion.

Robert Canham, Reform