SKU: HL.2050293

UPC: 797242885594. 6.75x10.5x0.351 inches.

The truly blessed are those that can see the miraculous in what others see as mundane. Even more so are those that never lose the wonder of the awesome impact of the sacred. It is part of our nature to allow the most wonderful things in our lives to seem commonplace at times - to take tremendous blessings for granted. King David's prayer, “Restore to me the joy of Your salvation and grant me a willing spirit to sustain me.” (Psalm 51:12) speaks to us in the times and seasons of our own lives.This musical is about the importance of remembering. On the eve of His trial and execution Jesus made it clear that we were to remember Him and His sacrifice. He instituted the sacrament of the Last Supper to be a central part of the Christian faith - a time to gather as His Body and remember.We cannot stand in the distance and casually observe the sacrifice of the Cross. We cannot pretend it did not happen - that it is less than it is proclaimed to be - that it does not touch us or our lives. The Cross is not something that we get used to - not something that we can get comfortable with - not something that we can ever take lightly.Jesus Christ, the Son of God, by His own choice died nailed to a Cross for the sins that you and I committed. May we never forget His sacrifice, may we never fail to fall to our knees in thanksgiving for that kind of love, may we never lose the wonder - the wonder of the Cross.

SKU: GI.G-10314

ISBN 7851471031413. English, Latin. Text Source: Antiphons tr. Charles Thatcher, verses, The Grail, 1963.

Entrance Antiphons for the Church Year contains thirty antiphon texts from the Graduale Simplex, translated from Latin and set to newly composed music. The psalm verses appointed for these antiphons are taken from the Grail translation (1963). As with the Responsorial Psalm of the Mass, the assembly sings the antiphon after its intonation by the cantor/choir, repeating it after each verse of the psalm. The number of psalm verses which are sung may vary according to need. The singing of the doxology, Glory to the Father, while recommended, is optional. In several cases (e.g., Christmas and Easter), the assembly sings a refrain—a simple acclamation in Latin—and the actual antiphon text is sung by the cantor/choir. The antiphon functions as a first and final verse. It is thought that liturgical singing in the early Church consisted in part of such short acclamatory phrases. Many of the antiphons in this collection are proper to a specific Sunday, solemnity, or feast. The rest are seasonal in nature and, like the common Responsorial Psalms of the Lectionary, may be chosen according to what seems best for the occasion. The antiphons of Christmas Day and Easter Sunday could be used at daily Masses during their octaves. Notations in the scores of some antiphons suggest alternate occasions when they are appropriate. Regarding performance, these compositions were conceived with flexibility in mind. Assembly participation and instrumental accompaniment are assumed. SATB choral singing is effective, but not necessary. Discrete use of descants where provided can lend an air of festivity. Psalm verses might be sung by an entire choir, by a small group or cantor, or a combination of both.

SKU: GI.G-3523

Translation: Book of Common Prayer. Scripture: Psalm 27:5, 6.

SKU: HP.A686O

UPC: 763628249311. 1 Corinthians 15:51 Eccesliastes 3:1-8, Genesis 1:14, John 12:24, Psalms 1:3, Psalms 30:5.

Original anthem
Natalie Sleeth's original SATB choral setting is also known as In the Bulb There Is a Flower. The provocative text relates both to our present life and our hope of eternal life, as expressed in I Corinthians 15:35-58. This fresh setting emphasizes the resurrected life as it builds to the final victory stanza with driving rhythm and a change to common meter (4/4). This arrangement is also available in a medium-voice vocal solo in the key of F.

Please note that the Conductor's Score in the Orchestraion is hand written and marked. For this reason, the Orchestration is available at a reduced price of $30 dollars.

SKU: SB.SBMP-1663

UPC: 000308159035.

Ever clever, composer Narverud came up with a highly rhythmic celebratory composition. The title translates “We are one”, the theme being that all human beings have much in common. The energetic djembe sets the tone, the piano adds its own rhythmic design, and the singers deliver the message, at times sounding as though there should be a campfire at the center of their circle. This BEST SELLER is great fun, a profound message, and an intriguing piece. See composer notes below for pronunciation.

SKU: CA.5505319

ISBN 9790007145804. Text language: English/German.

Saul, published for the first time in the version conducted by Handel himself. Saul is one of the most dramatic of Handel's oratorios. To a greater extent than almost any other oratorio it reveals with its gripping dramatic power its proximity to opera of its time. The score demands what was at the time Handel's most varied orchestra. The normal opera orchestra of the day was augmented by trombones, harp, solo organ, carillon (Glockenspiel) and large kettledrums. The choir functions for the first time as a central participant in dramatic action, while also undertaking commentating functions as in a Greek tragedy. This new edition makes use for the first time of musical material revealed by the latest Handel research, based as its most important source on the conducting score from which Handel himself directed his performances. Only this research has shown which arias, choruses, recitatives and instrumental pieces, after he had made numerous corrections in his autograph, Handel chose for his performances, and in what order they were given. The result has produced, apart from many changes of details (e.g. autograph instructions concerning the use of the organ), uncommon ordering of individual pieces, and passages with altered notes. Score and parts available separately - see item CA.5505300.

SKU: CA.5505300

ISBN 9790007167639. Text language: English/German.

Saul, published for the first time in the version conducted by Handel himself. Saul is one of the most dramatic of Handel's oratorios. To a greater extent than almost any other oratorio it reveals with its gripping dramatic power its proximity to opera of its time. The score demands what was at the time Handel's most varied orchestra. The normal opera orchestra of the day was augmented by trombones, harp, solo organ, carillon (Glockenspiel) and large kettledrums. The choir functions for the first time as a central participant in dramatic action, while also undertaking commentating functions as in a Greek tragedy. This new edition makes use for the first time of musical material revealed by the latest Handel research, based as its most important source on the conducting score from which Handel himself directed his performances. Only this research has shown which arias, choruses, recitatives and instrumental pieces, after he had made numerous corrections in his autograph, Handel chose for his performances, and in what order they were given. The result has produced, apart from many changes of details (e.g. autograph instructions concerning the use of the organ), uncommon ordering of individual pieces, and passages with altered notes.

SKU: CA.5505349

ISBN 9790007145767. Text language: English/German.

Saul, published for the first time in the version conducted by Handel himself. Saul is one of the most dramatic of Handel's oratorios. To a greater extent than almost any other oratorio it reveals with its gripping dramatic power its proximity to opera of its time. The score demands what was at the time Handel's most varied orchestra. The normal opera orchestra of the day was augmented by trombones, harp, solo organ, carillon (Glockenspiel) and large kettledrums. The choir functions for the first time as a central participant in dramatic action, while also undertaking commentating functions as in a Greek tragedy. This new edition makes use for the first time of musical material revealed by the latest Handel research, based as its most important source on the conducting score from which Handel himself directed his performances. Only this research has shown which arias, choruses, recitatives and instrumental pieces, after he had made numerous corrections in his autograph, Handel chose for his performances, and in what order they were given. The result has produced, apart from many changes of details (e.g. autograph instructions concerning the use of the organ), uncommon ordering of individual pieces, and passages with altered notes. Score and part available separately - see item CA.5505300.