A Clare Benediction Composed by John Rutter A Prayer Of St Richard Of Chichester Composed by L. J. White Alleluia Composed by William Boyce Author Of Life Divine Composed by Cecilia Mcdowall Be Still For The Presence Of The Lord Composed by David Evans; Arranged by Richard Shephard Bread Of The World Composed by Scottish Traditional; Arranged by Alan Bullard Brightest And Best Composed by Malcolm Archer Christ Is The World's True Light Composed by W. K. Stanton Christ The Lord Is Risen Again Composed by Richard Shephard Christians Shout For Joy And Gladness Composed by Johann Sebastian Bach Come Down, O Love Divine Composed by Hilary Tadman-robins Plainsong: Creator Of The Stars Arranged by John Scott Drop, Drop Slow Tears Composed by Kerry Andrew Evening Service In C Composed by Frank Henry Shera Fairest Lord Jesus Composed by Martin How Gabriel To Mary Came Composed by 14th Century Irish; Arranged by Alan Bullard Give Thanks To God Composed by Botswanan Traditional; Arranged by Alan Bullard God Be In My Head Composed by Armstrong Gibbs God In Mine Eternity Composed by Alan Bullard God So Loved The World Composed by Alan Bullard God That Madest Earth And Heaven Composed by Welsh Traditional; Arranged by David Thorne Hail, Virgin Mary (Ave Maria) Composed by Franz Liszt Hark, The Glad Sound Composed by David Thorne Harvest Carol Composed by Ian Ray He Is Risen Composed by Cecil Cope Hide Not Thy Face Composed by Richard Farrant see all... Holy, Holy, Holy, Holy Is The Lord Composed by Franz Schubert; Arranged by Alan Bullard Holy, Holy, Holy! Lord God Almighty Composed by Alan Smith Hosanna To The Son Of David Composed by Georg Philipp Telemann Irish Blessing Composed by Bob Chilcott Jesu, Lamb Of God, Redeemer (Ave Verum Corpus) Composed by Edward Elgar Jesus Christ The Apple Tree Composed by English Traditional; Arranged by Alan Bullard Jubilate (Let Us Praise You) Composed by Wolfgang Amadeus Mozart Lamb Of God (Agnus Dei) Composed by Samuel Webbe Let All Mortal Flesh Keep Silence Composed by Stephen Cleobury Like The Murmur Of The Dove's Song Composed by Alan Smith Lord, In Thy Mercy Composed by Felix Bartholdy Mendelssohn Magnificat And Nunc Dimittis In C Composed by F. H. Shera Never Weather-beaten Sail Composed by Thomas Campion; Arranged by Alan Bullard Now The Green Blade Riseth Composed by French Traditional; Arranged by Alan Bullard O Breath Of Life Composed by English Traditional; Arranged by Alan Bullard O For A Closer Walk With God Composed by Charles Villiers Stanford O God Of Mercy Composed by Simon Lole O God, Your Goodness Composed by Ludwig Van Beethoven O Praise God In His Holiness Composed by John Weldon Panis Angelicus Composed by Cesar Auguste Franck Peace Between Nations Composed by Christopher Wiggins Pie Jesu Composed by Gabriel Faure Praise To The Trinity Composed by Hildegard Of Bingen Psalm 150 Composed by Bob Chilcott Rejoice In The Lord Always Composed by Christopher Wiggins Shout For Joy Composed by African Traditional; Arranged by Alan Bullard Star Of Wonder Composed by Alan Bullard The Eternal Gifts Of Christ The King Composed by Guidetti/henry G. Ley The Heavens Sing Praises To God Composed by Ludwig Van Beethoven The Lord Ascendeth Composed by Michael Praetorius The Lord Bless You And Keep You Composed by John Rutter The Lord's My Shepherd Composed by Bob Chilcott The Peace Of God Composed by Alan Bullard The True And Living Bread Composed by David Blackwell There Is No Rose Composed by Andrew Smith Thou Visitest The Earth Composed by Maurice Greene To Be A Pilgrim Composed by Nick Burt Were You There? Composed by American Spiritual; Arranged by Peter Hunt Where All Charity And Love Are (Ubi Caritas) Arranged by Alan Bullard Wondrous Cross Composed by Philip Wilby The Oxford Book of Flexible Anthems by Alan Bullard (1947-). For flexible instrumentation. Mixed Voices. Sacred. Paperback. 296 pages. Published by Oxford University Press

SATB choir

SKU: WD.080689757723

Arranged by Camp Kirkland, Dave Williamson, Lari Goss, Robert Sterling, Russel Mauldin, and and More. Choral, cantatas. Sacred. Bulk CD (10-pak). Word Music #080689757723. Published by Word Music (WD.080689757723).

UPC: 080689757723.

Every choir leader knows that Sunday comes once a week, and there's always a need for sing-able arrangements that can be ready in an instant. The Instant Worship Choir Collection is packed with 20 dynamic arrangements that meet the need right when you need it! Perfect for small and large choirs alike (depending upon the circumstance: slim Sundays, summer choir, special event choir, snow choir, during busy seasonal rehearsal times) or whenever you want an easily-prepared song your choir is guaranteed to enjoy presenting.

20 song value collection, re-voiced to be able to be rehearsed and ready in 30 minutes. At $9.95, that is less than 50 cents per anthem! Practice Trax available.

For SATB voices (with optional guitar chords). Format: SATB songbook. With choral notation, lyrics, chord names and guitar chord diagrams. Americana, traditional pop and pop vocal. Series: Everybody's Favorite Series #67. 127 pages. 9x12 inches. Published by Music Sales.

Composed by Laura Farnell. Arranged by Victor C Johnson. Choral. Sacred Anthem. Octavo. Lorenz Publishing Company #10/5195L. Published by Lorenz Publishing Company

SATB chorus and piano

SKU: JK.19990

Composed by Janice Kapp Perry. Choral General Conference, Choral SATB, Difficulty Medium, Piano Choir, Special Events Home and Family, Hope, Jesus Christ - Savior. Christian, Inspirational. Jackman Music Corporation #19990. Published by Jackman Music Corporation (JK.19990).

Hebrews 9:28, John 14:6*** Some Janice Kapp Perry products may require a few days additional shipping time. Thank you!

46 new hymns, inspired by the General Conference addresses of Elder Jeffry R. Holland. (October 1994 - April 2017).
Collection includes:
All Ye Who Watch the Master's Sheep
Are the Heavens Truly Open?
Are We Not All Beggars?
As an Ensign to the Nations
A Sinless, Pure and Holy Man
Be Clean, Oh House of Israel
Be Not Afraid, But Be Believing
Bless Me to Be a Little More Like Thee
Do You Love Me?
Christ Can Heal the Broken Hearted
ever We'll Remember
For God Loves Us With All His Heart
For God So Loved the World
God Has Raised Up Noble Daughters
God will Never Leave the Weary
He Will Bring Rest to Your Soul
His More Excellent Way
Holy Father, King of Heaven
How Fair Upon the Mountain
I Am a Child of Destiny
I Bear My Witness of the Lord
In Heaven There Is a Law
Inviting All to Come to Christ
I Testify
I Would Be Thy True Disciple
let Not Your Heart Be Troubled
Let Thy Word Be In Our Hearts
Lord, Accept My Humble Offering
Lord, I Believe
Lord, I'll Strive to Live Worthy of Thy Love
Lord, We Pray For All the Children
May We Have the Tongues of Angels
My Life is Not My Own
None Were With Him
Oh Come Ye Heavy Laden Come
Our Faith Unites Us With One Heart
The Keys of the Kingdom
The Love of God Is Without End
The Mother of All Living
The Words of God Will Never Cease
The Worth of Souls Is Great Indeed
Through a Thousand Generations
To the Rising Generation
Who Will Now Speak For the Widow?
Wilt Thou, Lord, In Me Abide
You Can Always Come Back Home
Composer: Janice Kapp Perry
Lyricist: David B. Larsen
Reference: Hebrews 9:28, John 14:6
*** Some Janice Kapp Perry products may require a few days additional shipping time. Thank you!

Composed by John Rutter (1945-). Mixed Voices. Vocal score. 12 pages. Duration 3.5'. Published by Oxford University Press (OU.9780193416314).

SATB Choir

SKU: BT.MUSM570368679

For choir and fixed media. Composed by Evis Sammoutis. Score Only. Composed 2019. 14 pages. University of York Music Press #MUSM570368679. Published by University of York Music Press (BT.MUSM570368679).

Isthmus denotes a narrow strip of land with sea on either side, forming a link between two larger ars of land. The title is a metaphor for an effort to bond artistically my experiences of living in Cyprus, my birthplace, and in the USA, my recently adopted homeland. Having lived in a small, partitioned island for my formative years and in England for eleven years, water has always had a double meaning: it has at once served as a gateway to other cultures but also as a border, a violent and absolute interruption of a continuum. While in the USA, or indeed in a now connected Europe, it is possible to travel on land for days without having to encounter a border, in the countries where I lived for most of my life, that was not possible. As an artist, this notion of establishing boundaries and consciously trying to break them is very close to me, as my music deals both with modernity but also with tradition and, similarly, with metaphor and reality. As a Cypriot, the sea, the world of antiquity, the mysteries of the oracles, the notion of borders and the pastoral are all very central to my way of thinking. In Cyprus, different layers of history are frequently superimposed on a single building that might still preserve its Roman, Byzantine, Venetian and Ottoman features in its layers of stone and architecture. Similarly, ancient ruins or the barbed wire of modern conflict often interrupt placid fields. An isthmus, therefore, can be seen to symbolize my artistic struggle to join strikingly different experiences and notions in a cohesive way. Similar to an isthmus, in this short piece, I connect these experiences with the purpose of creating a distinct and unique sonic context, connecting technology and tradition, the pastoral with the urban, the musical with the extra-musical and the abstract with the concrete. For example, the choir does not always sing in the traditional sense, but the singers imitate various natural sounds, such as water, air, crickets or birds, to create a vivid visual impression for the work. Scandinavian herding calls blend with field recordings from the seas of Cyprus and the lakes of Upstate New York, communicated within clearly defined, singular acoustic sources and spaces through wireless speakers. The text used is both onomatopoeic, articulating an imaginary language, but also literal, with a setting of the poem, “To make a prairie” by the iconic American poet Emily Dickinson and a tiny fragment from Callimachus’ “Hymn to Demeter.” Technology is used sparsely and very intentionally to articulate the expressive qualities of pastoral imagery, creating one unified synthetic timbre with the choristers’ sounds. This piece is dedicated to the wonderful singers of the Georgia Institute of Technology Chamber Choir with special thanks to Professors Hsu and Ulrich, without whose support this composition would not have been possible. Practical notes: A choir of no less than 24 singers is sought with 4 additional soloists (2 Sopranos and 2 Altos). Each singer must have their own wireless speaker, secured either in the music folder or as a strap inside their shirts. All sounds must match in volume the sound from the speakers, creating one unified timbre. The speakers should not be noticeable to the public. The four soloists are placed offstage at the beginning of the work. From 1:35’ onwards they enter the hall and take their positions, ideally at the four corners of the hall. If the hall is too large, the singers can find alternate positions, but these should always be antiphonal. The four soloists sing predominantly in the “kulning” style and the antiphonal aspect is very important to the work. There are two sound files for each section (SATB) that are triggered by each singer’s mobile device. The first occurs at the start of the piece, and the second, about a minute before the end. The sound files are able to be purchased separately, on CD, or are available directly from UYMP.

Composed by Nathaniel Adams. Gentry Publications. Concert. Octavo. 12 pages. Gentry Publications #JG2538. Published by Gentry Publications

ATB vocal soli, SATB choir, bass flute f1,violin, 2 viola, cello, basso continuo

SKU: CA.3118255

First Leipzig version. Cantata for Palm Sunday and the feast of the Annunciation Cantata for Palm Sunday and the feast of the Annunciation. Composed by Johann Sebastian Bach. Edited by Klaus Hofmann. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Himmelskonig, Sei Willkommen G-Dur. Sacred vocal music, Cantatas, Lent and Passiontide. Choral Score. BWV 182. 12 pages. Duration 30 minutes. Carus Verlag #CV 31.182/55. Published by Carus Verlag (CA.3118255).

ISBN 9790007209865. Key: G major. Text language: German/English.

Version in G major (A major = Carus 31.182/00) The cantata Himmelskonig, sei willkommen BWV 182 holds a special place in Johann Sebastian Bach's biography. He had been employed as organist and chamber musician at the court of Weimar since 1708; on 2 March 1714, he was appointed concert master of the court, and his inauguration music for this occasion was Himmelskonig, sei willkommen. The cantata was first performed on Palm Sunday of that year, 25 March 1714. Bach performed this cantata several times - always revising and amending it - both in Weimar and in Leipzig. Of the altogether four versions, the first Leipzig version has been selected for the present new edition. Unlike the Weimar versions, it can be realized effectively using modern performance means. In his debut composition of 1714, the newly appointed concert master demonstrated his abilities: the eight movements contain a multitude of beautiful and rewarding challenges for choir and vocal soloists alike, and in addition there is the unusual attraction of a virtuoso solo part for the recorder. Score available separately - see item CA.3118200.

Orchestra Soli ATB, SATB Choir, Recorder, Violin solo, Violin, 2 Viola, Cello, Basso Continuo - Level 3

SKU: CA.3118207

Cantata for Palm Sunday or for the feast of the Annunciation. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Paul Horn. This edition: paperbound. BWV 182. Sacred vocal music, Cantatas, Lent and Passiontide, Holy Week, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary. Study score. Composed 1714. BWV 182. Duration 30 minutes. Carus Verlag #CV 31.182/07. Published by Carus Verlag (CA.3118207).

ISBN 9790007050276. Key: A major. Language: German/English. Text: Franck, Salomo.

Version in A major (version in G major: Carus 31.182/50) The cantata Himmelskonig, sei willkommen BWV 182 holds a special place in Johann Sebastian Bach's biography. He had been employed as organist and chamber musician at the court of Weimar since 1708; on 2 March 1714, he was appointed concert master of the court, and his inauguration music for this occasion was Himmelskonig, sei willkommen. The cantata was first performed on Palm Sunday of that year, 25 March 1714. Bach performed this cantata several times - always revising and amending it - both in Weimar and in Leipzig. Of the altogether four versions, the first Leipzig version has been selected for the present new edition. Unlike the Weimar versions, it can be realized effectively using modern performance means. In his debut composition of 1714, the newly appointed concert master demonstrated his abilities: the eight movements contain a multitude of beautiful and rewarding challenges for choir and vocal soloists alike, and in addition there is the unusual attraction of a virtuoso solo part for the recorder. Score available separately - see item CA.3118200.

SATB choir

SKU: BP.1209

Composed by Jon Lokensgard. Arranged by Jeff Lokensgard. Sacred octavos. Sacred. Octavo. Beckenhorst Press #1209. Published by Beckenhorst Press (BP.1209).

This SATB anthem features a gentle melodic line and a very comforting text reminding us we are always in the care of the Lord. Featuring optional children's or unison choir in addition to the SATB part-writing.

SATB choir (optional congregation) and organ, with optional soprano descant, brass quartet, and handbells (3 octaves) (Instrumental parts include: Trumpet I and II in B-flat and C, Horn in F (substitute for Trombone I), Trombone I and II, Handbells (3 octaves)) - Early Intermediate

SKU: MN.50-6194

Composed by Michael Burkhardt. Instrument parts. MorningStar Music Publishers #50-6194. Published by MorningStar Music Publishers (MN.50-6194).

UPC: 688670561948. English.

Burkhardt's settings always have a sense of fun and are certainly not boring for the organist! This version of the hymn tune MARION is no exception. Seven full stanzas, two choral stanzas, a verse for men's voices, a verse for women's voices. Final verse unison with descant. Effective with organ alone, there are optional brass and handbell parts.

SATB choir, piano

SKU: CA.965600

Composed by Daniel Elder. Edited by Stefan Schuck. CARUS CONTEMPORARY. Full score. 20 pages. Carus Verlag #CV 09.656/00. Published by Carus Verlag (CA.965600).

ISBN 9790007165062. Text language: English.

In A Dream Within a Dream Edgar Allan Poe writes of a traumatic grief that shakes him to the core, affecting his perception of reality itself. Through this setting, his exploration continues into the musical realm. The piano textures here represent something that is not quite real, and fading mercilessly in and out between whimsical fantasy and crushing reality. This aids the tone of Poe's words and provides a backdrop for the voices to speak his emotions in a more solid context, albeit not always quite rationally. There is such a two-sided nature to the emotions at play that it is almost laughable to compare them musically, except when placing oneself into the mindset of a desperate mind. Poe needs no help in expressing his feelings - the power of his words carries an inherent statement without calling for musical aid. However, in Dreamscape we will attempt to explore them in the context of the modern psyche and hopefully one may see Poe's struggle arise within oneself in sensory ways not often accessible through poetry alone. (Daniel Elder).