SKU: WD.080689670237
UPC: 080689670237.
Made popular by Bethel Music comes this uplifting new anthem from arranger Luke Gambill and orchestrator Cliff Duren, Ain’t No Grave. Jesus rose up like a lion and set all captives free. We are no longer bound by death, no longer held down by the grave! Your choir and congregation will shout praises for the victory over the grave!
SKU: LP.765762194601
UPC: 765762194601.
Refreshing and satisfying No Grave is perfect for Easter or the season between Easter and Pentecost. A lively celebration in song reminding one and all that No grave could hold the King...He is alive again! Arranged for choral unison and SATB.
SKU: WD.080689724237
UPC: 080689724237.
In an irresistible blues style, Empty Grave features strong choral backgrounds that support a soulful tenor solo. Consider this anthem as an exciting and engaging opener to your Easter service.
SKU: CA.3115605
ISBN 9790007186791. Language: German/English.
Ich steh mit einem Fuss im Grabe (I stand with my open grave before me) BWV 156 is one of the few surviving cantatas of Johann Sebastian Bach that is based on texts from the so-called Picander cycle. As in several other cantatas that use texts from this poet, Bach opens the work with a sinfonia, most likely taken from an earlier concerto that didn't survive and is later reused as the slow movement of the famous harpsichord concerto in F minor BWV 1056. In the first aria, the poet combines his text with a well-known chorale, a technique that is often found in Bach's cantatas, particularly those from the pre-Leipzig period. The cantata is comprised of six short movements; the choir is used only in the final chorale. Score available separately - see item CA.3115600.
SKU: CA.3115600
ISBN 9790007186777. Language: German/English.
Ich steh mit einem Fuss im Grabe (I stand with my open grave before me) BWV 156 is one of the few surviving cantatas of Johann Sebastian Bach that is based on texts from the so-called Picander cycle. As in several other cantatas that use texts from this poet, Bach opens the work with a sinfonia, most likely taken from an earlier concerto that didn't survive and is later reused as the slow movement of the famous harpsichord concerto in F minor BWV 1056. In the first aria, the poet combines his text with a well-known chorale, a technique that is often found in Bach's cantatas, particularly those from the pre-Leipzig period. The cantata is comprised of six short movements; the choir is used only in the final chorale.
SKU: CA.3115619
ISBN 9790007208813. Language: German/English.
Ich steh mit einem Fuss im Grabe (I stand with my open grave before me) BWV 156 is one of the few surviving cantatas of Johann Sebastian Bach that is based on texts from the so-called Picander cycle. As in several other cantatas that use texts from this poet, Bach opens the work with a sinfonia, most likely taken from an earlier concerto that didn't survive and is later reused as the slow movement of the famous harpsichord concerto in F minor BWV 1056. In the first aria, the poet combines his text with a well-known chorale, a technique that is often found in Bach's cantatas, particularly those from the pre-Leipzig period. The cantata is comprised of six short movements; the choir is used only in the final chorale. Score and parts available separately - see item CA.3115600.
SKU: CA.3115603
ISBN 9790007186784. Language: German/English.
SKU: CA.3115649
ISBN 9790007208820. Language: German/English.
Ich steh mit einem Fuss im Grabe (I stand with my open grave before me) BWV 156 is one of the few surviving cantatas of Johann Sebastian Bach that is based on texts from the so-called Picander cycle. As in several other cantatas that use texts from this poet, Bach opens the work with a sinfonia, most likely taken from an earlier concerto that didn't survive and is later reused as the slow movement of the famous harpsichord concerto in F minor BWV 1056. In the first aria, the poet combines his text with a well-known chorale, a technique that is often found in Bach's cantatas, particularly those from the pre-Leipzig period. The cantata is comprised of six short movements; the choir is used only in the final chorale. Score and part available separately - see item CA.3115600.
SKU: CA.3115611
ISBN 9790007208776. Text language: German/English.
SKU: CA.3115614
ISBN 9790007208806. Text language: German/English.
SKU: CA.3115621
Text language: German/English.
SKU: CA.3115612
ISBN 9790007208783. Text language: German/English.
SKU: CA.3115613
ISBN 9790007208790. Text language: German/English.
SKU: HL.14022243
6.75x9.75x0.013 inches.
Part-song for SATB Choir A Cappella by the award-winning Scottish composer.
SKU: SU.26180030
These Last Gifts, for a cappella chorus, is a setting of Robert Fitzgerald’s translation of an elegiac poem by the Latin poet Gaius Valerius Catullus (84-54 BC). The poem spoke powerfully to me as it addresses the premature death of a brother, something I experienced myself. It was on a journey to Bithynia, what is today a part of northwestern Turkey, that Catullus visited the grave of his brother and wrote this lament. The work was premiered by the Harmonium Choral Society of Morristown, New Jersey, Anne Matlack, Artistic Director. SATB Chorus, a cappella Duration: 5'30 Composed: 2015 Published by: Distributed Composer Minimum order quantity: 8 copies. To order quantities fewer than 8.
SKU: HL.1197758
UPC: 196288134886. 6.75x10.5x0.045 inches.
Here's a choral fantasy on the traditional African American spiritual, “Soon I Will Be Done.†The grave Wagnerian opening sets the stage for the fiery main theme of the piece–a triplet feeling motif in the lower piano that continues under each chorus statement of the melody. The choir re-enters in the role of the “orchestra†in the second chorus with a haunting legato counter melody that leads up to the first verse. Each verse should have a Gospel/Stride feel with the choir, particularly the upper voices, switching to a more Gospel sound and rhythmic feel. The A sections should be performed with aggression and angst to contrast the calm legato middle section. That middle section is our musical prayer of hope that, like the sentiment of this Spiritual, will continue to live in our hearts despite the sometimes difficult realities of life.
SKU: PR.312413710
UPC: 680160047482. Key: Eb major.
SKU: PR.312419020
ISBN 9781491131862. UPC: 680160680474. 6.875 x 10.5 inches. English.
Commissioned by the San Francisco Choral Society and the Piedmont East Bay Children’s Choir, Terra Nostra is a 70-minute oratorio on the relationship between our planet and humankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. Part I: Creation of the World explores various creation myths from different cultures, culminating in a joyous celebration of the beauty of our planet. Part II: The Rise of Humanity examines human achievements, particularly since the dawn of our Industrial Age, and how these achievements have impacted the planet. Part III: Searching for Balance questions how to create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. In addition to the complete oratorio, stand-alone movements for mixed chorus, and for solo voice with piano, are also available separately.Terra Nostra focuses on the relationship between our planet and mankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. The oratorio is divided into three parts:Part I: Creation of the World celebrates the birth and beauty of our planet. The oratorio begins with creation myths from India, North America, and Egypt that are integrated into the opening lines of Genesis from the Old Testament. The music surges forth from these creation stories into “God’s World†by Edna St. Vincent Millay, which describes the world in exuberant and vivid detail. Percy Bysshe Shelley’s “On thine own child†praises Mother Earth for her role bringing forth all life, while Walt Whitman sings a love song to the planet in “Smile O voluptuous cool-breathed earth!†Part I ends with “A Blade of Grass†in which Whitman muses how our planet has been spinning in the heavens for a very long time.Part II: The Rise of Humanity examines the achievements of mankind, particularly since the dawn of the Industrial Age. Lord Alfred Tennyson’s “Locksley Hall†sets an auspicious tone that mankind is on the verge of great discoveries. This is followed in short order by Charles Mackay’s “Railways 1846,†William Ernest Henley’s “A Song of Speed,†and John Gillespie Magee, Jr.’s “High Flight,†each of which celebrates a new milestone in technological achievement. In “Binsey Poplars,†Gerard Manley Hopkins takes note of the effect that these advances are having on the planet, with trees being brought down and landscapes forever changed. Percy Bysshe Shelley’s “A Dirge†concludes Part II with a warning that the planet is beginning to sound a grave alarm.Part III: Searching for Balance questions how we can create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. Three texts continue the earth’s plea that ended the previous section: Lord Byron’s “Darkness†speaks of a natural disaster (a volcano) that has blotted out the sun from humanity and the panic that ensues; contemporary poet Esther Iverem’s “Earth Screaming†gives voice to the modern issues of our changing climate; and William Wordsworth’s “The World Is Too Much With Us†warns us that we are almost out of time to change our course. Contemporary/agrarian poet Wendell Berry’s “The Want of Peace†speaks to us at the climax of the oratorio, reminding us that we can find harmony with the planet if we choose to live more simply, and to recall that we ourselves came from the earth. Two Walt Whitman texts (“A Child said, What is the grass?†and “There was a child went forth every dayâ€) echo Berry’s thoughts, reminding us that we are of the earth, as is everything that we see on our planet. The oratorio concludes with a reprise of Whitman’s “A Blade of Grass†from Part I, this time interspersed with an additional Whitman text that sublimely states, “I bequeath myself to the dirt to grow from the grass I love…â€My hope in writing this oratorio is to invite audience members to consider how we interact with our planet, and what we can each personally do to keep the planet going for future generations. We are the only stewards Earth has; what can we each do to leave her in better shape than we found her?
SKU: PR.312417030
UPC: 680160050604.
SKU: WD.080689641176
UPC: 080689641176.
Introducing the new Simply Word Series Easter Musical, JESUS The Undefeated One, created by Lee Black and Jason Cox, and arranged and orchestrated by Daniel Semsen, this musical presents a prayerfully considered list of great songs, each showcased in Semsen’s brilliantly conceived, yet readily accessible, SATB part writing for choirs of all sizes. Abundantly rich with songs of jubilant praise, intimately worshipful ballads, and powerfully impacting songs of testimony and faith, JESUS The Undefeated One is guaranteed to help foster an atmosphere of worship and praise in your next Easter celebration. With songs such as Shout Hosanna, and Phil Wickham’s This Is Amazing Grace, to fresh, new songs from Jason Cox and Lee Black, plus David Crowder’s, My Victory, combined with the iconic Nicole C. Mullen song, Redeemer, this musical is jam-packed with worship-inspiring songs to lead your congregation in praise of the Risen King! He is alive, and there’s an empty grave…JESUS The Undefeated One!
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