SKU: MN.60-9009
UPC: 688670690099. Scripture: Psalms 23.
Lovely Irish folk-tune ST. COLUMBA is melodic basis for pastoral setting of Psalm 23. Congregtion sings stanzas 1, 4, 6. Adaptable for use by almost any age group or combination of children and adult choirs. Oboe part within abilities of competent young player. Accompaniment to stanza 5 is reminiscent of well-known organ work from bygone era.
SKU: ST.EM24
ISBN 9790220209888.
CONTENTS Ah, cruel, hateful fortune (SSA(orT)A(orT)T(orB)B) Ah, sweet, alas, when first I saw (SSATB) Alas, what hope of speeding (SST(orA)B) Bright Phoebus greets most clearly (SSAT (or A) T (or A) B) Farewell, my love (SSAT) If pity reign with beauty (SSATB) I love, alas, yet am I not beloved (SSAA (or T) TB) Lo, here my heart I leave (SSTB) Mourn now, my soul (SSATB) Must I part, O my jewel? (SSAATB) O heavens, what shall I do? (SSATB) See what a maze of error (SSATB) She that my plaints (SSAT (or A) B) Sleep now, my Muse (SSAATB) Sleep now, my Muse (SSAT) Sorrow consumes me (SSATB) Sound out, my voice (SSATB) Sweet love, 0 cease thy flying (SSA (or T) TB) That Muse which sung (SSATB) Up then, Melpomene (SSAT (or A) T (or B) B) What can I do, my dearest? (SSAB) What, shall I part thus? (SSAT (or A) B) Why should I love? (SSATB) Why wail we thus? (SSAT (or A) TB) With Angel's face and brightness (SSAT (or A) T (or A) B) Woe am I, my heart dies (SSAB).
SKU: PR.362034230
ISBN 9781598069556. UPC: 680160624225. Letter inches. English.
When the Texas Choral Consort asked Welcher to write a short prologue to Haydn's The Creation, his first reaction was that Haydn already presents Chaos in his introductory movement. As he thought about it, Welcher began envisioning a truer void to precede Haydn's depiction of Chaos within the scope of 18th-century classical style - quoting some of Haydn's themes and showing human voices and inhuman sounds in a kind of pre-creation melange of color, mood, and atmosphere. Welcher accepted this challenge with the proviso that his prologue would lead directly into Haydn's masterpiece without stopping, and certainly without applause in between. Scored for mixed chorus and Haydn's instrumentation, Without Form and Void is a dramatically fresh yet pragmatic enhancement to deepen any performance of Haydn's The Creation. Orchestral score and parts are available on rental.When Brent Baldwin asked me to consider writing a short prologue to THE CREATION, my first response was “Why?â€Â THE CREATION already contains a prologue; it’s called “Representation of Chaosâ€, and it’s Haydn’s way of showing the formless universe. How could a new piece do anything but get in the way? But the more I thought about it, the more it made sense. The Age of Enlightenment’s idea of “Chaos†was just extended chromaticism, no more than Bach used (in fact, Bach went further).Perhaps there might be a way to use the full resources of the modern orchestra (or at least, a Haydn-sized orchestra) and the modern chorus to really present a cosmic soup of unborn musical atoms, just waiting for Haydn’s sure touch to animate them. Perhaps it could even quote some of Haydn’s themes before he knew them himself, and also show human voices and inhuman sounds in a kind of pre-creation mélange of color, mood, and atmosphere. So I accepted the challenge, with the proviso that my new piece not be treated as some kind of “overtureâ€, but would instead be allowed to lead directly into Haydn’s masterpiece without stopping, and certainly without applause. I crafted this five minute piece to begin with a kind of “music of the spheres†universe-hum, created by tuned wine glasses and violin harmonics. The chorus enters very soon after, with the opening words of Genesis whispered simultaneously in as many languages as can be found in a chorus. The first two minutes of my work are all about unborn human voices and unfocused planetary sounds, gradually becoming more and more “coherent†until we finally hear actual pitches, melodies, and words. Three of Haydn’s melodies will be heard, to be specific, but not in the way he will present them an hour from now. It’s almost as if we are listening inside the womb of the universe, looking for a faint heartbeat of worlds, animals, and people to come. At the end of the piece, the chorus finally finds its voice with a single word: “God!â€, and the orchestra finally finds its own pulse as well. The unstoppable desire for birth must now be answered, and it is----by Haydn’s marvelous oratorio. I am not a religious man in any traditional sense. Neither was Haydn, nor Mozart, nor Beethoven. But all of them, as well as I, share in what is now called a humanistic view of how things came to be, how life in its many forms developed on this planet, and how Man became the recorder of history. The gospel according to John begins with a parody of Genesis: “In the beginning was the Word, and the Word was with God, and the Word was God.â€Â  I love that phrase, and it’s in that spirit that I offer my humble “opener†to the finest work of one of the greatest composers Western music has ever known. My piece is not supposed to sound like Haydn. It’s supposed to sound like a giant palette, on which a composer in 1798 might find more outrageous colors than his era would permit…but which, I hope, he would have been delighted to hear.
SKU: HL.1361690
UPC: 196288193005. 6.75x10.5x0.019 inches.
Cult favorite film Donnie Darko is perhaps most famous for its moody, introspective cover of Tears for Fears' “Mad World” by Michael Andrews and Gary Jules. “Stripped down” from its pop/rock roots, this arrangement captures the melancholy and pensive feel of this iconic tune masterfully, with the wistful cello part included in the score.
SKU: ST.B874
ISBN 9780852498743.
The 135 hymns and songs in Whatever Name or Creed are texts for today, reflections by Andrew Pratt on a variety of contemporary topics, illuminated in the searchlight of his insistent and uncompromising questioning. A major theme, regarded from the author's own Christian viewpoint, is the relationship between faiths, especially as witnessed in their heritage of shared insights. The introduction is by Geoffrey Duncan. New musical settings by composers including Peter Cutts, Hal H. Hopson, John R. Kleinheksel Sr and Ian Sharp complement many of the texts, while others are indexed with tunes suggested from a number of standard British and American hymnals.
SKU: ST.B934
ISBN 9780852499344.
This, the ninth of a series of books begun in 1983, contains Brian Wren's 36 most recent hymns (2009 to 2012). It is nicely presented and laid out in a user-friendly way. The hymns are divided into five thematic sections: Jesus from Cradle to Cross; Easter Hymns; Church and Mission; Praise; and Metrical Psalms. This last section, rooted in (though not bound by) the Old Testament, is often influenced by Isaac Watts and will be of more use to some than others; it concludes with a tremendous rendering of Psalm 8; a paean of praise which all will love, set to a stirring tune. Each section is prefaced with a single page introduction listing the contents and, in some instances, giving an interesting insight into Brian Wren's theology and thinking which provides food for contemplation. Each hymn is printed in words format with all the necessary information for inclusion in an order of worship. Every hymn is also printed with full score music for accompaniment interlined with the words. The book is slightly larger than A5, and there are various useful indexes. The tunes range from ancient to modern, some very familiar, including Candler (better known as Ye Banks and Braes). A number are of a metre where alternative tunes are available. Those tunes which are new vary in ease of use; some will be readily picked up, others would prove challenging for occasional use in a small congregation but could be used as music group items. These are hymns which need to be read as a whole and require thought. The words are chosen with care and notable as much for those not used as those included e.g.: 'Christ, untameably alive,/ breathe your life upon us - / Compass, Governor and Guide, / with us and beyond us,/ Sky and Sunlight, / spreading Vine./ Spring of Living Water,/ Truth and Wisdom, Way and Word,/ here, and then hereafter.' These hymns will be useful in worship as either sung or read pieces, and will also prove an invaluable resource for private devotion.
Robert Canham, Reform
SKU: LO.15-1100
UPC: 000308024364.
At long last, the burning issue of where to find a good pig song has been sensitively addressed with this season's pig masterpiece. A tuneful setting of the Three Little Pigs story, which will leave your audience, not to mention the wolf...howling! Memorable melodies and clever lyrics. Plenty of unison. Ample opportunity for solos. Choice of two different story endings. Naturally lends itself to costuming and staging. Creative and hilarious. Also available for Unison Chorus 15/1101.
SKU: MN.50-7031
UPC: 688670570315.
Double-text (Easter and General). Traditional Easter text with LLANFAIR tune. Four-part madrigal style sections for hymn tune interspersed with rhythmic Unison interludes. Practical, joyful, fun to sing. Void of technical difficulties.
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