For SATB. Modern Christian. Sacred. Hymnal. Published by Brentwood-Benson Music Publishing.

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.

(Manners and Classroom Procedure Songs). By Brad Green. Performance/Accompaniment CD. Expressive Art (Choral). CD only

SATB choir, cantor, voice solo, assembly, piano accompaniment, guitar - Beginning

SKU: GI.G-7519

Composed by Paul Melley. Advent 2 C, Lent 5 C, Ordinary Time 30 B. Leavensong Series. Sacred. Octavo. With guitar chord names. 8 pages. GIA Publications #7519. Published by GIA Publications (GI.G-7519).

UPC: 785147751908. English. Text Source: Psalm 126:1–6, NAB, ref.: Lectionary for Mass Scripture: Psalm 126:1–6.

This setting of Psalm 126, expressing the melancholy of captivity as well as thanksgiving for deliverance, is more syncopated and upbeat than most. The melodic repetition in the refrain makes it easy for the assembly to respond, and the harmonization is jazzy and wistful. Youth and adult choirs will love this piece, plus there's a chance for solo or section to shine on the verses. Appropriate for Advent, Lent, and Ordinary Time (30B). For cantor or soloist.

Arranged by Mac Huff. SATB Score for SATB chorus. With vocal score, lyrics and spoken text. 55 pages. Published by Hal Leonard.

Mixed choir

SKU: FG.55011-355-5

Composed by Matthew Whittall. Score. Fennica Gehrman #55011-355-5. Published by Fennica Gehrman (FG.55011-355-5).

Asked to contribute a carol to the already rich Finnish Christmas repertoire, music I've sung myself for many years, I was very aware of the things that mark the season for my adopted countrymen: peace, stillness, the cold landscape and home. When I came across Ester Ahokainen's gentle poem, so focused around these images, it seemed like providence. The resulting song is modest and warmly modal, departing only a little from Finnish tradition: a lingering dissonance here, a moment of quiet sentiment held slightly longer expected there. Like the words, the music opens outward in thanks at the end. Aattoilta was composed for the Helsinki Chamber Choir Christmas CD recording, and is dedicated to them.