SKU: MN.CH-1380

UPC: 765844006396.

The melody for The Wonders of Dawn comes from a tune called Kedron, attributed to Elkanah Kelsay Dare (1782-1826). The Wonders of Dawn highlights the celebration of the joy of our Savior during Holy Week. The performance approach for this piece should be one of reverence and restraint. Both vocal parts and piano accompaniment should be performed legato throughtout. Singers should take care as not to sing with an overly heavy tone but not at the expense of vocal support. The dynamics in m. 29-30 should be carefully observed to insure the maximum expression of the final declaration of faith of the text.

SKU: GI.G-CD-952

UPC: 785147095224.

Welcome to the revival! Come on in and leave your troubles at the door. “Worthy God” is a moving declaration of faith and devotion by a true emerging voice on the contemporary gospel scene. Part of the full-length CD Building Up the Kingdom, “Worthy God” is sure to ignite the fire of the Holy Spirit in the hearts of all the assembled, and our raised voices will set the rafters ablaze. About M. Roger Holland II: What do you get when you mix a musician who is a pianist, organist, singer, composer, arranger and symphony maestro together? M. Roger Holland, II!! A man who knows Jesus and thanks him with every note he sings, plays, or writes. When you listen to Roger, you will know that God has touched His servant and in that touch, there will be a blessing for you! Roger has always had a passion for music. It started with him tinkering on his toy piano as a child and grew to him being accepted to the High School of Performing Arts in New York City. Roger's falsetto has opened many doors for him. He was a member of the All City High School Choir. Hearing his vocal abilities, he was recruited by the internationally known Boys Choir of Harlem. His musical talents garnered him a position playing keys on two Broadway plays in New York, The Color Purple and Memphis. When you witness the musicianship of M. Roger Holland II you will recognize the influences of some of the people he has worked with like Walter J. Turnbull, James Williams, Joseph Joubert, and Bettye Forbes. When you hear his writing, you may notice the stylings of Stevie Wonder. There is no denying the influences of Marvin Gaye, Peabo Bryson, and Luther Vandross when it comes to his vocals. The gospel inflections are representative of Richard Smallwood, Thomas Whitfield, and Kirk Franklin. The compositional techniques of classical composers such as Wolfgang Amadeus Mozart and the arranging styles of Negro Spirituals by Roland Carter, Jester Hairston, and Moses Hogan are prominent as well. Leading the Gospel Choir of Union Theological Seminary fueled Roger's fire and drew him into seminary. His passion for music led him on a spiritual journey from Westminster Choir College to Manhattan School of Music where he received his graduate degree and ultimately the very same Union Theological Seminary where he received a Master of Divinity degree. Roger is the Minister of Worship & Christian Arts at Calvary Baptist Church in Jamaica, NY, where weekly he ushers in the Holy Spirit through praise and worship. He also serves as Liturgical Consultant for the Office of Black Ministry in the Archdiocese of New York. God is truly using Roger as an instrument to share His message!   For Bookings Contact: Cortney Wright Thomas 646-269-4055 cwthomas406@gmail.com.

SKU: WD.080689496172

UPC: 080689496172.

HYMNS OF WORSHIP takes a bold, fresh look into the heart of today’s original songs of worship; foundational songs of faith... the hymns of the Church. Hymns are an expression of our adoration of the only true God. Through hymns we praise Him for His mighty acts, exalt Him in worship, give thanks for His love and mercy, and declare His wisdom, power and majesty. In hymns we contrast the sinful nature of man with the redeeming nature of a loving God. And with hymns we sing; with loftiness of concept and language rich in reverence and dignity, we sing! Hymns give voice to our beliefs, causing our spirits to rise, soaring on wings of faith.

WORD Music Publications is honored to introduce this hallmark new book for choir, soloists and orchestra, arranged by the creative team of David Wise and David Shipps. We believe in these powerful songs of the Church. We believe in the tradition of singing Hymns. We are committed to keeping these songs active in the musical repertoire of
today’s Church. We believe in their relevance. We believe in the truth of the doctrine and theology taught through the lyrics of these timeless songs. It is our hope that the compelling new arrangements found in Hymns of Worship will instill in you a new vision for these songs. And we pray that they will inspire you and your choir to sing them with a new voice and a fervent and renewed passion for declaring the greatness of our God!

SKU: GI.G-CD-938

Welcome to the revival! Come on in and leave your troubles at the door. This exciting collection from a true talent and vibrant voice in sacred music takes you to church. The eclectic fusion of styles like gospel, R & B, jazz, and traditional organ-based hymnody ensures that there is something in this collection to please absolutely everyone.  “Lord, Make Me an Instrument,” a setting of the classic Prayer of St. Francis text, builds to a powerful and stirring climax. “Worthy God” is a moving declaration of faith and devotion, and the infectious and inspiring title track, “Building Up the Kingdom,” encourages God’s call to action. Rhythmic drive, a singable melody, and an impassioned text will make “Daily Bread” a congregation favorite that begs to be sung. The songs of Building Up the Kingdom are sure to ignite the fire of the Holy Spirit in the hearts of all the assembled, and their raised voices will set the rafters ablaze.

SKU: GI.G-7573

UPC: 785147757337. English.

Chris de Silva’s welcoming composition style has a contemporary feel that is easy to grasp and facilitates the full and active participation of the congregation. Many of the songs in this collection are part of GIA’s growing LeavenSong series, which contains quality music with a contemporary sound for today’s choirs and ensembles. Many of de Silva’s songs are also included in the Cross Generation songbook, a compilation of the very best songs currently in use in contemporary worship settings. The recording is exciting to listen to and can help ensembles learn the music for their own presentations. “This Is the Day” and “Love beyond All Telling” both express our delight in knowing God. “Come to Me and Rest” is a beautiful song of comfort and consolation. “Make Us Your Own” is a carefree declaration of faithfulness. The poignant words of Christ, “Eli lema sabachthani,” echo throughout the text of “My Savior, My Friend.” CONTENTS: This Is the Day (G-7307) - Love beyond All Telling (G-7609)- Come to Me and Rest (G-7611) - Make Us Your Own (G-7679) - Don’t Turn Away (G- 7574) - My Savior, My Friend (G-7575) - To Follow You (G-7610) - Walk with You (G-7680) - Holy Spirit (G-7678) - Live in Love (G-7682) - Words of Everlasting Life (G-7681).

SKU: BR.PB-5581

ISBN 9790004213919. 10 x 12.5 inches.

A Programmatic Declaration of BeliefFelix Mendelssohn Bartholdy composed his Reformation Symphony for the celebrations marking the 300th anniversary of the Confessio Augustana, the Protestant declaration of faith. Owing to various and only partially explained reasons, there was no performance in 1830, the year in question; it was only two years later that the composer conducted the premiere of his work, now heavily revised, in Berlin. There was only one more performance in Mendelssohn's lifetime, this one conducted by Julius Rietz in Dusseldorf; the composer had since distanced himself from his opus.Conceived for the concert hall, the symphony formulates its theological references through the integration of various motives. This occurs in the finale, for example, in which Mendelssohn quotes the Luther chorale Ein feste Burg in the flute, from where it builds up to a triumphant principal theme. The strong extra-musical aspect must have been one of the reasons for the composer's later avoidance of this score, especially since Mendelssohn was becoming increasingly skeptical about explicitly programmatic music in the instrumental domain. Next to the Dusseldorf performance material of 1837, two scribal copies have been examined for the first time; they transmit the main stages of the version of 1830.

SKU: BR.OB-5581-23

ISBN 9790004343234. 10 x 12.5 inches.

A Programmatic Declaration of BeliefFelix Mendelssohn Bartholdy composed his Reformation Symphony for the celebrations marking the 300th anniversary of the Confessio Augustana, the Protestant declaration of faith. Owing to various and only partially explained reasons, there was no performance in 1830, the year in question; it was only two years later that the composer conducted the premiere of his work, now heavily revised, in Berlin. There was only one more performance in Mendelssohn's lifetime, this one conducted by Julius Rietz in Dusseldorf; the composer had since distanced himself from his opus.Conceived for the concert hall, the symphony formulates its theological references through the integration of various motives. This occurs in the finale, for example, in which Mendelssohn quotes the Luther chorale Ein feste Burg in the flute, from where it builds up to a triumphant principal theme. The strong extra-musical aspect must have been one of the reasons for the composer's later avoidance of this score, especially since Mendelssohn was becoming increasingly skeptical about explicitly programmatic music in the instrumental domain. Next to the Dusseldorf performance material of 1837, two scribal copies have been examined for the first time; they transmit the main stages of the version of 1830.

SKU: BR.OB-5581-27

ISBN 9790004343241. 10 x 12.5 inches.

A Programmatic Declaration of BeliefFelix Mendelssohn Bartholdy composed his Reformation Symphony for the celebrations marking the 300th anniversary of the Confessio Augustana, the Protestant declaration of faith. Owing to various and only partially explained reasons, there was no performance in 1830, the year in question; it was only two years later that the composer conducted the premiere of his work, now heavily revised, in Berlin. There was only one more performance in Mendelssohn's lifetime, this one conducted by Julius Rietz in Dusseldorf; the composer had since distanced himself from his opus.Conceived for the concert hall, the symphony formulates its theological references through the integration of various motives. This occurs in the finale, for example, in which Mendelssohn quotes the Luther chorale Ein feste Burg in the flute, from where it builds up to a triumphant principal theme. The strong extra-musical aspect must have been one of the reasons for the composer's later avoidance of this score, especially since Mendelssohn was becoming increasingly skeptical about explicitly programmatic music in the instrumental domain. Next to the Dusseldorf performance material of 1837, two scribal copies have been examined for the first time; they transmit the main stages of the version of 1830.