SKU: LO.65-2125L

ISBN 9780787789961.

Ballads have been used throughout history to tell a story through music. Pepper Choplin has long used his signature musical voice to tell the meaningful stories of our faith, so itâ??s especially fitting that heâ??s brought the timeless story of Christmas alive once more with The Ballad of Bethlehem. Available for SATB or SAB choirs with rehearsal aids and accompaniment options ranging from piano only to a thrilling full orchestra written by Michael Lawrence to recorded tracks, this stunning cantata dramatically moves from a recollection of ancient prophecies through the quiet manger scene to its joyous conclusion featuring a rousing call to â??Shout with the Shepherds!â? This season, let the folk-like energy of Pepper Choplinâ??s unique voice bring The Ballad of Bethlehem to you and your listeners. â??O sing a ballad of Bethlehem. I want to hear it once more. I love that story so often told to generations before.â?.

SKU: HP.2441

UPC: 763628124410.

Traditional English Carol This thoughtful and quiet rendering of the traditional English carol by arranger Sandra Eithun is a perfect fit for times when a more reflective mood during holiday performances is desired. All of the greenery of the Christmas season is covered as segments of O Christmas Tree are woven into this lyrical setting for 3-5 octave handbells.

SKU: LO.99-3939L

UPC: 000308151510.

With quiet, flowing characteristics, the text of this anthem aptly depicts the imagery of the Advent season. Optional flute and cello parts complement the texture and expressiveness. The flexible choral parts have been conceived to be performed with either SATB or two-part mixed choirs.

SKU: LO.30-4037L

UPC: 000308159967.

Ballads have been used throughout history to tell a story through music. Pepper Choplin has long used his signature musical voice to tell the meaningful stories of our faith, so it’s especially fitting that he’s brought the timeless story of Christmas alive once more with The Ballad of Bethlehem. Available for SATB or SAB choirs with rehearsal aids and accompaniment options ranging from piano only to a thrilling full orchestra written by Michael Lawrence to recorded tracks, this stunning cantata dramatically moves from a recollection of ancient prophecies through the quiet manger scene to its joyous conclusion featuring a rousing call to “Shout with the Shepherds!” This season, let the folk-like energy of Pepper Choplin’s unique voice bring The Ballad of Bethlehem to you and your listeners. “O sing a ballad of Bethlehem. I want to hear it once more. I love that story so often told to generations before.”.

SKU: CA.5293905

ISBN 9790007300289. German.

Max Reger’s setting of Psalm 100 is one of the “grand style” choral-symphonic works of the classical modern repertoire. Contrapuntal skill in the tradition of Bach combines with overwhelmingly powerful expressiveness, rich in contrasts. The full harmonic and stylistic breadth of the early 20th century sings out, not only in frenetic song, but also in the search for awareness in quieter passages. Reger’s opulence, tonal and contrapuntal almost throughout, finally culminates in a double fugue with an off-stage orchestra similar to the trumpets of Jericho over “Ein feste Burg ist unser Gott”. The composer’s declared aim was: “The psalm must go so brilliantly, that all will be simply ’bowled over‘.”.

SKU: PR.114422710

ISBN 9781491136072. UPC: 680160688227.

DUO’s succinct movement titles (I. Here, II. Open, III. Stark, IV. Ardent) tease at revealing the grand and heartfelt inspiration for exuberant romanticism in this sonata-like work of symphonic proportions and depth. Charles Gibb is both an accomplished pianist and an award-winning flutist, who has written of this compelling major addition to the literature: “This work is a journey. What journey and whose journey does not matter. It is my journey, it is your journey. It is the journey of those who came before us, and of those who will come after us. I wrote this hoping that we can find each other along the road, so we can realize that we don’t need to go on the journey alone.” Gibb’s DUO is sure to become a favorite major work for flute recitalists.
This work is a journey. What journey and whose journey does not matter. It is my journey, it is your journey. It is the journey of those who came before us, and of those who will come after us. I wrote this hoping that we can find each other along the road, so we can realize that we don’t need to go on the journey alone.“Here” begins with three notes that shape the rhythmic and harmonic content of the entire work. Melodies and harmonies including the tonic, dominant, and leading tone can be found in each of the four movements. The first moments of this movement introduce the melody, offering itself unencumbered and uninhibited. It shows itself as it is. The melodies soar, the harmonies become voiced more intricately, and the opening theme repeats in full grandeur. The momentum slows down, and the movement ends with a sense of completion, yet remains unbalanced.A striking piano gesture launches “Open,” the idea of instability reflected with the flowing flute trills and unclear meter patterns in the piano. The sensation of an unsteady grace in 5/8 time arrives with a piano ostinato. The melody is expressive, yet insecure and unbalanced due to changing meters. After a grand pause, the movement transitions to 4/4 time with the flute switching between duplet and triplet flourishes. After a rapid descent in the flute, the opening gesture returns, changed and abruptly interrupted.The third movement, “Stark,” is very static, beginning plainly but markedly. The falling fifth calls out continually throughout the movement, searching, lost. Melodies appear in pieces, some smooth and flowing, others rather disjunct. The piece climaxes with a line of mournfulness, yet revealing a deeper strength through intense projection of tone in the high register. However, the static harmonies return, this time unsteady all the way to its foundation. This destabilization repeats, and then quietly recedes.“Ardent” is the longest of the movements and spans a wide range of musical emotion. Part of the movement is fast paced, energetic, and balances order and disarray. However, once the chaos dies down, a gentle, expressive theme comes in. The theme itself is very resolute; it is order appearing from the pandemonium. Conflict returns, and order and chaos become less distinguishable from one another, and soon fuse together. However, order returns with new meaning, synthesized with previous musical content, creating a truer, deeper sense of awareness or understanding. A moment of ambiguity arises, but the flute persists, supported by the sensitive but firm figuration in the piano, and resoundingly comes to a close, unburdened and at ease.