The Novello Book Of Hymns is a collection of 50 favourite hymns, inspiringly and engagingly written for SATB Choirs. Edited by David Hill, all the arrangements in this book are designed to be singable by congregations without music, and can be used in any church or school service.As well as providing uplifting versions of hymns, these arrangements also work well as easy anthems, enabling church and school choirs to learn an often striking and dramatic piece of music quickly and easily.The hymns have been arranged by a range of well-loved composers including Richard Lloyd, John Bertalot, David Hill, Stephen Jackson, Philip Moore, Christopher Robinson and many others.Editor of the collection David Hill is a Choral Advisor to Novello. He is Chief Conductor of the BBC Singers, Musical Director of the Bach Choir, Chief Conductor of the Southern Sinfonia, Associate Guest Conductor of the Bournemouth Symphony Orchestra, Music Director of Leeds Philharmonic Society, and Professor of Choral Conducting at Yale University. / Choeur Mixte (SATB)

Oratorio in three parts-Israel in Egypt HWV 54Oratorio in three partsThe versions of the 1739 and 1756?7 performances The distinguishing feature of our new edition is that it reproduces Israel in Egypt in its complete three-part form: The Lamentation of the Israelites for the Death of Joseph Exodus and Moses? Song. It was in this form that the work was given at its London premiere on 4 April 1739. Handel made extensive changes for the second performance. The reason is often said to have been the audience?s dissatisfaction with the work?s unusual design. However he may possibly only have wanted to satisfy the whims of asoprano who felt under-represented with solo material. Israel in Egypt is made up of a series of contrasting and artfully constructed choruses separated only by a few numbers for solo voice. Part 1 is entirely given to the chorus Part 2 largely so and Part 3 while containing most of the solo numbers still gives ample room to the chorus. Handel shortened several choral numbers and may have taken the opportunity to alter the opening of Exodus. He also added five arias and a recitative for the soprano Elisabeth Duparc. These arias had already been written for insertion in other works of the 1730s and two of them had been sung a short while previously in An Oratorio (1738). There is no libretto containing the changes introduced at the second performance. All the insert arias are reproduced in Appendix 1 of Volume I/14 of the complete edition. The next performance of the piece did not occur until 1756. Handel now compiled an entirely new Part 1 containing a balanced proportion of choral and solo numbers by selecting items from Solomon the Occasional Oratorio and the Peace Anthem. The two other parts retained their original form apart from a few cuts in the choruses and the addition in Part 3 of the aria ?Hope hope a pure and lasting treasure? from the second version of Esther (for both 1756 and 1757) and the aria ?Toss?d from thought to thought? from Alexander Balus (for 1757). Our new edition makes it possible for the first time to perform Israel in Egypt in three different versions: that of the premiere

Thomas Campion?s Never weather-beaten sail is a sprightly text that powerfully evokes the sailor?s plea for God?s calming presence upon the sea?s unrelenting rushing waves. At the opening of this work for unaccompanied mixed voices the jaunty alto/tenor movement in thirds symbolises the curling waves of the undulating sea the mellifluous soprano melody represents the boat?s sails and the bass section?s never-changing ?A? provides the anchor. All four voices then come together in homophony urging God to ?come quickly...and take my soul to rest?. Rather than a simple repetition of thematic material in the manner of a standard hymn the texture alters through the rest ofthe work until the very end where all voices gradually fade away into the distance leaving what seems like a lone voice in the wilderness to cry ?to Thee?. Contrasting to other well-known setting of this text this new work provides a fresh interpretation suitable for intermediate choirs.

Uses: Christmas CommunionScripture: Luke 2:8-9; I Corinthians 11:23-29At the plaintive strains of Silent Night this sensitively designed anthem of reflection rises like a prayer to call thechurch to the grace of God's table. Surrounded by tender music this song delivers candlelit sonorities and cloistered chords to match the contemplative nature of the text. As the final verse issues a challenge for us to take thegift to the world an effective crescendo raises the call before allowing the anthem to end in peaceful calm as it began. Violin (or C-instrument) part included. Duration: ca. 4:16.

Besides the ?Messiah? ?Theodora? is Handel?s only oratorio with a Christian theme. In contrast to the ?Messiah? ?Theodora? which was composed in 1749 and premiered in 1750 in London takes a dramatic plot as its basis. The setting for the action is Antioch during the time of the Emperor Diocletian.The Christians refuse to take part in the heathen sacrificial cult preferring to die a martyr?s death. The plot concentrates on the virtuous Theodora whom the Roman governor wants to compel to become a heathen sacrificial victim through forced prostitution. The Roman officer Didymus who is in love with ?Theodora? and hasconverted to Christianity through her rescues her from the Temple of Venus at which point both are sentenced to martyrdom by the governor.?Theodora? is regarded as Handel?s most tender oratorio. The Christians? choruses and arias convey muted colours and Theodora?s arias are distinguished particularly through their moderate to slow tempi and their vocal inflection lost in reverie. In dramatic contrast with this are the stirring arias of the governor Valens and the choruses of the heathens who pay homage to their gods Jupiter and Venus. As so often Handel borrowed musical material from other composers which he elaborated into expressive arias and choruses here. In particular the final chorus of the oratorio which is similar to that in Bach?s ?St. Matthew Passion? in terms of expression is referred to in literature again and again. Handel himself felt that ?Theodora? was his most significant work.- First complete critical edition based on the Urtext of the Halle Handel Edition.- Includes all versions.- Full score (BA4085) & vocal score (BA4085-90) available for sale performance material (BA4085-72 available for hire.

Written by Meredith Ochs, The Bruce Springsteen Vault chronicles The Boss's incredible music career from a humble childhood to his most recent album 'High Hopes', by way of his incomparably successful and critically acclaimed back catalogue. This fantastic hardcover Illustrated Biography features over 100 images including concert photos, album covers and photographs, as well as ten pieces of removable memorabilia, such as ticket stubs and posters.Telling the story of the working-class singer and songwriter who rose to fame with his brand of poetically anthemic Americana, The Bruce Springsteen Vault uses engaging prose and vivid, full-colour photography to take the reader through the decades of Springsteen's career. No ordinary rock biography, this expansive volume features fascinating photographs from the stage, backstage and personal archives, as well as a whole host of other ephemera.Springsteen's early musical beginnings started in New Jersey, before he joined a number of bands as guitarist. His real break came when he formed what would become the E Street Band, exploring a variety of different genres while retaining his aptitude for prolifically poetic lyrics. As his fame grew, so did the scope of his songwriting, incorporating wide influences and starting a trend of epic live performances.His lengthy career has resulted in a fascinating story that is accompanied beautifully by such brilliant photography that is perfect for any Springsteen fan. Also found within The Bruce Springsteen Vault are five envelopes containing ten pieces of removable memorabilia, such as ticket stubs, posters and contact sheets. Author Meredith Ochs is an American radio commentator, DJ writer and musician, whose sparkling prose truly brings the photographs to life. / Livre

Anthem for Mixed Voices and Organ-A setting of these famous words commissioned by a church in Lisburn a useful alternative to the Parry when choirs are limited or unable to undertake the complexities of the Parry version.

Jesus Reassures His Mother is a setting of medieval lyric poetry written anonymously in the 14th century. The poet recounts a vision of the young Mary rocking the infant Christ to sleep. The child requests hismother to sing a lullaby but alas knowing her child’s fate she is too sad to sing. Jesus tells her that all mothers worry about their children’s futures and insists that she should sing nevertheless. Mary recounts the visit ofGabriel and the events of Christ’s birth but reflects how sad it is to have delivered a child to such a fate. Jesus reassures his mother that he will be with his father in heaven where Mary will come to join Him at the end oftime there to live in eternal bliss. At this point Mary is persuaded by and echoes her child’s reassuring words and she is joined in this by the choir (now representing us all). The vision fades away in the voice of the narratorwhose loneliness and longing return. We learn that it is Christmas Day. This setting grows from the visionary mystical world inhabited by Julian of Norwich whose Revelations of Divine Love provided the inspiration for awork Anne Boyd composed in 1994. The medium has been expanded from the Song Company’s six solo voices used in the Revelations to the double motet choir of the Sydney Philharmonia who commissioned this work for their 75thanniversary. The parts of the infant Jesus Mary the Narrator and the angel Gabriel are taken by choir soloists: soprano alto tenor and bass. The work is situated in the context of Boyd’s personal musical aestheticwhich she describes as the intersection of Christian Love with Buddhist silence.

Another Look at Harmony Part 4 was written while Glass was working on Einstein on the Beach and it is easy to hear similarities between the two works. In Harmony the Voices use solfege and nonsense syllables where in Einsteinrecognizable words are sometimes set non-narratively. There are similar harmonic progressions that the two pieces share though it is less predictable in Harmony. In both works Glass takes all the time he needs to explore histheme. Another Look at Harmony requires approximately one hour to perform with intensity building through the many repetitions over time.American composer Philip Glass is widely known as one of the most celebrated influentialand prolific of the modern composers. He is frequently referred to as a minimalist though he prefers to call himself a composer of ‘music with repetitive structures.’ His operas among them the renowned Einstein On The Beach are performed across the globe and he has created work for small and large ensembles film and experimental theatre and founded his own performing group The Philip Glass Ensemble.

Composer's Note'The words of this piece are taken from the poem They are all gone into the world of light by Henry Vaughan. The music came to me after attending the beautiful and moving funeral of MarianneYacoub wife of the eminent heart surgeon Sir Magdi Yacoub who has been such a great support to me over many years.'             - JohnTavenerThey Are All Gone Into The World Of LightThey are all gone into the world of light!And I alone sit ling’ring here;I see them walking in an air of glory Whoselight doth trample on my days:My days which are at best but dull and hoary Mere glimmering and decays.Dear beauteous Death! the jewel of the just Shining nowhere but in the dark;Could man outlookthat mark!And into glory peep.Either disperse these mists which blot and fillMy perspective still as they pass:Or else remove me hence unto that hill Where I shall need noglass.             - Henry Vaughan

A Service for Tenebrae-The writing team of John Purifoy and Pamela Stewart have crafted a brief work for Maundy Thursday or Good Friday suitable for use as a Tenebrae service. Told from the historical perspective of the Gospels as well as from the Old Testament laments that foreshadow them Lamentations of the Lamb takes us on a journey through the final days in the life of Christ. Each anthem itself is a plaintive lament taken from these combined narratives. With a final stirring lamentation offered by creation here is a powerful ending to Holy Week in preparation for Easter. Songs include: A Gathering of Shadows The Table of Forgiveness Forsaken in the Garden In the Twilight of My Sorrow Come Ye Disconsolate Lamentation for the Lamb. Score and parts (fl ob vc) available on CD-ROM.

Here is a modern text inviting all to take the living bread and wine and to know the goodness of the Lord. Set by the composer as a lyrically flowing song of worship this anthem is ideal to accompany a communion processional. Newsounds and fresh imagery for choirs everywhere!

SATB with piano-Here is a perfect lighter selection or encore for adult or community choir! Bottom middle and top every part gets to shine as all your singers take their places in the choir. What fun! Available: SATB. Duration: ca. 2:45.