SKU: CA.3123512
ISBN 9790007085933. Key: G minor. Language: Latin.
As well as the Mass in B minor, there are four further, shorter mass compositions by Bach, the so-called Lutheran or Kyrie-Gloria masses. Despite their high musical qualities, they are often overshadowed by other church works by Bach. With their six-movement structure (up to the Cum sancto spiritu) they had their specific liturgical position in church services of the time of Bach. The masses largely comprise parodies, with the original music mainly taken from cantatas which Bach sometimes considerably reworked in his well-known style according to the new context of the work. Ulrich Leisinger has edited the four works for Carus in new critical editions. Score and part available separately - see item CA.3123500.
SKU: AP.47913
ISBN 9781470642150. UPC: 038081549255. English.
The Worship Essentials series offers a valuable resource for church pianists that includes collections with accessible piano arrangements specifically for preludes, offertories, and postludes. This book includes selections of contemporary Christian hits appropriate for prelude music. Titles: 10,000 Reasons (Bless the Lord) (Matt Redman) * Come As You Are (Crowder) * Come, Now Is the Time to Worship (Brian Doerksen) * Glorious Day (Living He Loved Me) (Casting Crowns) * Good Good Father (Chris Tomlin) * Here I Am to Worship (Light of the World) (Tim Hughes) * Hosanna (Praise Is Rising) (Paul Baloche) * How Deep the Father's Love for Us (Stuart Townend) * How Great Is Our God (Chris Tomlin) * Jesus Messiah (Chris Tomlin) * Revelation Song (Jennie Lee Riddle) * You're Worthy of My Praise (David Ruis).
SKU: AP.47915
ISBN 9781470642174. UPC: 038081549279. English.
The Worship Essentials series offers a valuable resource for church pianists that includes collections with accessible piano arrangements specifically for preludes, offertories, and postludes. This book includes selections of contemporary Christian hits appropriate for postlude music. Titles: Cry of My Heart (Terry Butler) * Days of Elijah (Robin Mark) * Even So Come (Come Lord Jesus) (Chris Tomlin) * Everlasting God (Brenton Brown) * I Am Not Alone (Kari Jobe) * I Lift My Eyes Up (Brian Doerksen) * Indescribable (Jesse Reeves and Laura Story) * Lord, Reign in Me (Brenton Brown) * Mighty to Save (Hillsong Worship) * Our God (Chris Tomlin) * Redeemed (Big Daddy Weave) * Sing to the King (Billy Foote) * Take My Life (Holiness) (Scott Underwood) * This Is Amazing Grace (Phil Wickham) * Trust in You (Lauren Daigle) * Whom Shall I Fear (God of Angel Armies) (Chris Tomlin).
SKU: CA.2731114
ISBN 9790007201562. Language: Latin.
The Requiem of Gabriel Faure is now available in two versions: in the symphonic version which was completed in 1900 and in a version with small orchestra of 1889. The symphonic version of Gabriel Faure's Requiem, published in 1901, was the product of a 13-year compositional process. Starting from the original five-movement form for strings, harp and organ, the composer wrote two additional movements, one after the other, and expanded the instrumentation in various stages for later performances. The present reconstruction of a version with small orchestra differs from other such attempts in that for the first time it presents the work not in a mixed version, but rather in the unified form from 1889. This is distinguished from the final version both in musical terms, as well as through the fact that it forgoes the use of flutes, clarinets and bassoons, while employing only two horns instead of four. With a critical Report with information about the source situation and the edition, and containing the individual readings (alternative readings, etc.). Since in 1889 the Offertoire was still without the choral section the present edition contains the Offertoire of the final version as appendix. Now available in carus music, the choir app. Score and part available separately - see item CA.2731100.
SKU: CA.2731112
ISBN 9790007201548. Language: Latin.
SKU: CA.2731115
ISBN 9790007201579. Language: Latin.
SKU: CA.2731116
ISBN 9790007201586. Language: Latin.
SKU: CA.2731119
ISBN 9790007133894. Language: Latin.
The Requiem of Gabriel Faure is now available in two versions: in the symphonic version which was completed in 1900 and in a version with small orchestra of 1889. The symphonic version of Gabriel Faure's Requiem, published in 1901, was the product of a 13-year compositional process. Starting from the original five-movement form for strings, harp and organ, the composer wrote two additional movements, one after the other, and expanded the instrumentation in various stages for later performances. The present reconstruction of a version with small orchestra differs from other such attempts in that for the first time it presents the work not in a mixed version, but rather in the unified form from 1889. This is distinguished from the final version both in musical terms, as well as through the fact that it forgoes the use of flutes, clarinets and bassoons, while employing only two horns instead of four. With a critical Report with information about the source situation and the edition, and containing the individual readings (alternative readings, etc.). Since in 1889 the Offertoire was still without the choral section the present edition contains the Offertoire of the final version as appendix. Now available in carus music, the choir app. Score and parts available separately - see item CA.2731100.
SKU: CA.2731102
ISBN 9790007246778. Language: Latin.
The Requiem of Gabriel Faure is now available in two versions: in the symphonic version which was completed in 1900 and in a version with small orchestra of 1889. The symphonic version of Gabriel Faure's Requiem, published in 1901, was the product of a 13-year compositional process. Starting from the original five-movement form for strings, harp and organ, the composer wrote two additional movements, one after the other, and expanded the instrumentation in various stages for later performances. The present reconstruction of a version with small orchestra differs from other such attempts in that for the first time it presents the work not in a mixed version, but rather in the unified form from 1889. This is distinguished from the final version both in musical terms, as well as through the fact that it forgoes the use of flutes, clarinets and bassoons, while employing only two horns instead of four. With a critical Report with information about the source situation and the edition, and containing the individual readings (alternative readings, etc.). Since in 1889 the Offertoire was still without the choral section the present edition contains the Offertoire of the final version as appendix. Now available in carus music, the choir app. Score available separately - see item CA.2731100.
SKU: CA.2731105
ISBN 9790007132255. Language: Latin.
SKU: CA.2731113
ISBN 9790007201555. Language: Latin.
SKU: CA.2731149
ISBN 9790007201593. Language: Latin.
SKU: CA.2731104
ISBN 9790007244606. Language: Latin.
SKU: LO.30-2867L
ISBN 9781429129671.
From Abednego to the Wise Men, the Bible's many appealing--and instructive--characters are the centerpiece of this collection of delightful songs by Ruthie Schram. All of the songs, a mix of familiar favorites and originals, are very easy to sing. Accompanying body motions are suggested too, adding another layer to the fun. Great for Sunday school, Christian school, children's worship, children's choir, vacation Bible school, and church camp, this collection also features reproducible lyric/activity pages. The CD includes accompaniment tracks that facilitate rehearsal or performance in a choral setting along with performance recordings that are perfect for modeling and create an irresistible invitation for children to join along in song.
SKU: MN.90-51
UPC: 688670090516. 8 1/2 x 11 inches.
A delightful second volume of brief essays by revered professor of church music, Carl Schalk. Carl’s wit, charm, and wisdom shine through each of these essays. Some may make you uncomfortable while others will make you laugh. As with the original book, First Person Singular, these essays are refreshing and remarkable insights into our work as church musicians. Ultimately, all will make you think. Paperback. 60 pages.
SKU: CF.CM9580
ISBN 9781491154021. UPC: 680160912520. 6.875 x 10.5 inches. Key: D mixolydian. English, Latin. 15th Century Medieval Carol.
The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherds response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compassthe distance between the highest and lowest noteis at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherdas response in the gospel of Luke 2:15, Transeamus. Latin phraseA translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compassathe distance between the highest and lowest noteais at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd's response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass--the distance between the highest and lowest note--is at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd's response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pares forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass--the distance between the highest and lowest note--is at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written.The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd’s response in the gospel of Luke 2:15, Transeamus.Latin phrase translation sourceAlleluia Alleluia LaetabundusRes miranda A thing to be wondered at LaetabundusPares forma of equal form LaetabundusGaudeamus Let us rejoice! GaudeamusTranseamus Let us go Luke 2:15The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty.The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists.Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass—the distance between the highest and lowest note—is at its widest.The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.
SKU: HL.14048145
UPC: 888680662004. 6.75x10.5 inches.
“The Beatitudes” is a work by Nico Muhly, taken from the four-movement work Our Present Charter, commissioned by the Choir of the Temple Church, Mother-Church of the Common Law, to celebrate the 800th Anniversary of the Sealing of Magna Carta on 15th June 1215. This vocal score is for SATB choir and organ accompaniment, and lasts around 4 minutes.
SKU: HL.14048146
UPC: 888680660789. 8.0x11.75x0.036 inches.
Thy Kingdom Come, O God is a work by Nico Muhly, taken from the four-movement work Our Present Charter, commissioned by the Choir of the Temple Church, Mother-Church of the Common Law, to celebrate the 800th Anniversary of the Sealing of Magna carta on 15th June 1215. This is the vocal score, scored for SATB choir and organ accompaniment, lasting around 4.5 minutes.
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