Inspired by Matthew 11:28-Robert Roesch delivers a highly expressive anthem of assurance using the beckoning calls of the Savior as choral invitation. Written with restraint and thoughtfully crafted the music seems to melt effortlessly into the message ofthis hopeful worship canticle. Ideal for Lent communion or as an anthem of response. Lovely!

Vocal Score of Giles Swayne's 'Cry' for 28 amplified voices. (SATB) a capella. Duration 78 minutes. Composed in 1978-79 and first performed by the BBC Singers under John Poole.

Uses: General Thanksgiving Scripture: Psalm 128:1 Ephesians 1:3 An anthem of praise this lilting octavo rises naturally like a grateful prayer. Replete with two-part textures the song is easily learned creating a pleasing clarity. The contrasting middle section features a quote from the text of the Doxology to the celebrated Tallis Canon theme. An optional flute part adds a splendid spirit to the overall impact of this brief and effective choral.

Chandons Te Deum HWV 281. Par HAENDEL GEORG FRIEDRICH. Handel composed the 'Te Deum? in B-flat major HWV 281 in 1718 for the future Duke of Chandos, hence its nickname 'Chandos Te Deum?. Here it is called 'Te Deum for Cannons? after the Duke's stately home named Cannons where the first performance took place. The unusual scoring for flute, oboe, bassoon, trumpet, two violins and basso continuo plus a choir (one soprano, three tenors and a bass) probably reflects the musicians which were available at Cannons, bearing in mind that three tenors were used also in 'Acis and Galatea?, the masque which was composed at almost the same time. Though in many respects this 'Te Deum? is reminiscent of the 'Utrecht Te Deum?, its smaller forces tend to give it more the character of chamber music. This edition is based on the Urtext from the 'Halle Handel Edition? (BA 10708), which offers the first complete scholarly text of the music for the 'Te Deum?./ Répertoire / SSATB et Orchestre

This prayerful ballad combines ?Spirit Song? with the classic hymn ?Spirit of the Living God? in a choral expression for Jesus to ?come and fill your lambs.? Ideal for Pentecost and other occasions calling for the Holy Spirit todescend upon the church. (Psalm 28:2 Psalm 63:4 Psalm 103:5 Psalm 107:9 Psalm 147:14 Matthew 3:16 Matthew 11:28-30 Mark 1:10 Luke 3:22 John 1:32 John 4:7-15 John 6:37-51 John 7:37-39 John 10:1-10 Acts 2)

A Multi-Traditional Choral Celebration-Everyone will enjoy this sparkling choral show that's a snap to put together and will leave everyone with the holiday spirit! With choreography by John Jacobson it's wonderfully adaptable for everything from holiday concerts to caroling to singing for the local Rotary club. Eight flexible sections include: 1. Happy Holiday 2. Once Upon a Wintertime 3. White Christmas 4. Happy Kwanzaa 5. Feliz Navidad 6. Happy Hanukkah My Friend (The Hanukkah Song) 7. Rockin' Around the Christmas Tree 8. Do You Hear What I Hear. Available: SATB Director's Score SAB Director's Score 2-Part Director's Score SATB Singer's Edition SAB Singer's Edition 2-Part Singer's Edition Director's Kit Preview CD ShowTrax CD. Performance Time: Approx. 28:00.

Morton Gould's Hosanna Amen from 'Quotations' for Double Chorus of Mixed Voices and Wind Orchestra. Piano reduction.This work was commissioned by L. Anthony Fisher for the New York Choral Society Robert DeComier conductor and first performed by them on January 28 1983 at Carnegie Hall.The composer after thinking over the possible approaches to a choral work found the ide of platitudes common sayings and poetic referenmces challanging and stimulating. As 'Quotations' evolved he found that these sayings evoked nostalgic momories of his own childhood in Richmond Hill New York where he was reared on such aphorisms as 'theearly bird catches the worm ' 'a stitch in time saves nine ' 'a bird in the hand is worth two in the bush.'After setting the scene in Richmond Hill the piece begins with Hallelujah Amen the common shout for joy and closing whisper of all religions. An antiphonal series of platitudes follows and then moves to more complex secular litanies the 'ballads ' or stories of young love and old age and the precariousness of life which have been told and retold through the ages. In the last movement the religious litany resumes with 'ashes to ashes dust to dust' echoing the earlier prosaic motif 'here today gone tomorrow ' or as Gould finally writes 'time's up!'

Morton Gould's Ballads from 'Quotations' for Double Chorus of Mixed Voices and Wind Orchestra. Piano reduction.This work was commissioned by L. Anthony Fisher for the New York Choral Society Robert DeComier conductor and first performed by them on January 28 1983 at Carnegie Hall.The composer after thinking over the possible approaches to a choral work found the ide of platitudes common sayings and poetic referenmces challanging and stimulating. As 'Quotations' evolved he found that these sayings evoked nostalgic momories of his own childhood in Richmond Hill New York where he was reared on such aphorisms as 'the earlybird catches the worm ' 'a stitch in time saves nine ' 'a bird in the hand is worth two in the bush.'After setting the scene in Richmond Hill the piece begins with Hallelujah Amen the common shout for joy and closing whisper of all religions. An antiphonal series of platitudes follows and then moves to more complex secular litanies the 'ballads ' or stories of young love and old age and the precariousness of life which have been told and retold through the ages. In the last movement the religious litany resumes with 'ashes to ashes dust to dust' echoing the earlier prosaic motif 'here today gone tomorrow ' or as Gould finally writes 'time's up!'

Morton Gould's The Early Bird from 'Quotations' for Double Chorus of Mixed Voices and Wind Orchestra. Piano reduction.This work was commissioned by L. Anthony Fisher for the New York Choral Society Robert DeComier conductor and first performed by them on January 28 1983 at Carnegie Hall.The composer after thinking over the possible approaches to a choral work found the ide of platitudes common sayings and poetic referenmces challanging and stimulating. As 'Quotations' evolved he found that these sayings evoked nostalgic momories of his own childhood in Richmond Hill New York where he was reared on such aphorisms as 'theearly bird catches the worm ' 'a stitch in time saves nine ' 'a bird in the hand is worth two in the bush.'After setting the scene in Richmond Hill the piece begins with Hallelujah Amen the common shout for joy and closing whisper of all religions. An antiphonal series of platitudes follows and then moves to more complex secular litanies the 'ballads ' or stories of young love and old age and the precariousness of life which have been told and retold through the ages. In the last movement the religious litany resumes with 'ashes to ashes dust to dust' echoing the earlier prosaic motif 'here today gone tomorrow ' or as Gould finally writes 'time's up!'

Morton Gould's Hallelujah Amen from 'Quotations' for Double Chorus of Mixed Voices and Wind Orchestra. Piano reduction.This work was commissioned by L. Anthony Fisher for the New York Choral Society Robert DeComier conductor and first performed by them on January 28 1983 at Carnegie Hall.The composer after thinking over the possible approaches to a choral work found the ide of platitudes common sayings and poetic referenmces challanging and stimulating. As 'Quotations' evolved he found that these sayings evoked nostalgic momories of his own childhood in Richmond Hill New York where he was reared on such aphorisms as 'theearly bird catches the worm ' 'a stitch in time saves nine ' 'a bird in the hand is worth two in the bush.'After setting the scene in Richmond Hill the piece begins with Hallelujah Amen the common shout for joy and closing whisper of all religions. An antiphonal series of platitudes follows and then moves to more complex secular litanies the 'ballads ' or stories of young love and old age and the precariousness of life which have been told and retold through the ages. In the last movement the religious litany resumes with 'ashes to ashes dust to dust' echoing the earlier prosaic motif 'here today gone tomorrow ' or as Gould finally writes 'time's up!'

Uses: Christmas EasterScripture: Lamentations 3:22-23; Matthew 28:1-10; Luke 2A noble hymn tune is combined with an inspiring new text in this choral concept for groups of any size. Careful craftingof the parts enriches the sound of your group and the inclusion of both Christmas and Easter texts makes this anthem of praise a beautiful and useful addition to your choir's repertoire. Available separately: SATB Handbells(digital 3-4 octaves). Duration: ca. 3:01. Congregation pages available in the “Closer Look” feature.

Uses: General Scripture: Romans 8:28 From the pages of Scripture comes an anthem of assurance and hope. Written in a pleasing contemporary style this message in music reminds us that the purposes ofGod are perfect for His children of grace. A memorable melody carries this eternal truth forward while a thoughtful piano accompaniment provides a lovely foundation for the choral writing. Available separately: SATB LiteTrax CD.Duration: ca. 3:42.