This is a superb collection of Entrance Antiphons for cantor or choir people and accompaniment from the Celtic mists of Ireland.Here is a new way of beginning the celbration of Sunday Mass that is simple biblical prayerful and congregation friendly. These antiphons are appropriate for any year of the Lectionary. John McCann combines mysticism with a thoroughly practical appreciation of vocal writing. His music isprofound yet simple; spiritual yet singable and the short refrains are instantly memorable. This collection speaks to the soul with joy and insight!

Joyful and creative, this new Advent offering features the option of utilizing a vocal quartet (or larger ensemble) to echo the full choir. Or, SATB choirs can perform the piece alone, if desired. Add the optional handbell accompaniment to create a sparkling Advent worship proclamation! / Choeur Mixte (SATB)

for Trombone Ensemble-Tre Volti (Trois Visages) est une commande du prestigieux New Trombone Collective composé des meilleurs trombonistes des orchestres symphoniques néerlandais. La première mondiale assurée par la formation dédicataire a eu lieu le 16 avril 2011 au Doelen de Rotterdam dans le cadre du ?Slide Factory? le festival européen consacré aux trombones.Le compositeur souhaitait illustrer trois aspects de l?instrument en trois mouvements. Effetti e Tecniche (Effets et Techniques) évoque les nombreuses possibilités acrobatiques du trombone ainsi que l?emploi de sourdines pour obtenir différents timbres et couleurs. Ce mouvement développe de nombreux glissandi ainsi quedes mesures avec des demi-tons et quart de tons des effets ?typiques? du trombone. Le Lamento Lirico (Complainte Lyrique) tisse une trame à l?empreinte mélodique et aux motifs plutôt nobles et sérieux mettant en évidence l?une des caractéristiques que l?on n?associe pas toujours avec cet instrument. Le climat général de ce mouvement quelque peu triste et tendu fait référence aux nombreuses oeuvres orchestrales et opératiques où les trombones se voient attribuer des passages sombres et mélancoliques.Le dernier mouvement intitulé Sonata Antica s?inspire directement de deux sonates de Daniel Speer (1636-1707) pour trois et quatre trombones respectivement. Il illustre la dimension historique du trombone qui était d?ailleurs au Moyen Âge le seul cuivre capable de jouer chromatiquement grâce au système de coulisse et ce plusieurs siècles avant les autres cuivres. La forme antiphonale les motifs de dialogue et l?idiome ?ancien néo-baroque? rendent hommage à Daniel Speer. Le compositeur de Tre Volti a emprunté à sa manière plusieurs thèmes des sonates en Ré et en La pour conclure joyeusement cette composition aux multiples facettes.

Morton Gould's Hallelujah Amen from 'Quotations' for Double Chorus of Mixed Voices and Wind Orchestra. Piano reduction.This work was commissioned by L. Anthony Fisher for the New York Choral Society Robert DeComier conductor and first performed by them on January 28 1983 at Carnegie Hall.The composer after thinking over the possible approaches to a choral work found the ide of platitudes common sayings and poetic referenmces challanging and stimulating. As 'Quotations' evolved he found that these sayings evoked nostalgic momories of his own childhood in Richmond Hill New York where he was reared on such aphorisms as 'theearly bird catches the worm ' 'a stitch in time saves nine ' 'a bird in the hand is worth two in the bush.'After setting the scene in Richmond Hill the piece begins with Hallelujah Amen the common shout for joy and closing whisper of all religions. An antiphonal series of platitudes follows and then moves to more complex secular litanies the 'ballads ' or stories of young love and old age and the precariousness of life which have been told and retold through the ages. In the last movement the religious litany resumes with 'ashes to ashes dust to dust' echoing the earlier prosaic motif 'here today gone tomorrow ' or as Gould finally writes 'time's up!'

Morton Gould's A Bird In Hand from 'Quotations' for Double Chorus of Mixed Voices and Wind Orchestra. Piano reduction.This work was commissioned by L. Anthony Fisher for the New York Choral Society Robert DeComier conductor and first performed by them on January 28 1983 at Carnegie Hall.The composer after thinking over the possible approaches to a choral work found the ide of platitudes common sayings and poetic referenmces challanging and stimulating. As 'Quotations' evolved he found that these sayings evoked nostalgic momories of his own childhood in Richmond Hill New York where he was reared on such aphorisms as 'theearly bird catches the worm ' 'a stitch in time saves nine ' 'a bird in the hand is worth two in the bush.'After setting the scene in Richmond Hill the piece begins with Hallelujah Amen the common shout for joy and closing whisper of all religions. An antiphonal series of platitudes follows and then moves to more complex secular litanies the 'ballads ' or stories of young love and old age and the precariousness of life which have been told and retold through the ages. In the last movement the religious litany resumes with 'ashes to ashes dust to dust' echoing the earlier prosaic motif 'here today gone tomorrow ' or as Gould finally writes 'time's up!'

The Many Moods of Christmas: Suite No. 2. The extensive passages for orchestra alone in The Many Moods of Christmas suites represent some of Robert Russell Bennett's most brilliant and attractive writing based on familiar carols. This Mark Rogers Edition for wind band alone is the initial offering in an ongoing series which will bring all four of these suites to the repertory of band conductors in the coming years. Included are Joy to the Worls, with optional antiphonal Salvation Army brass band, the Pastoral Symphony from Handels Messiah, Away in a Manger, concluding with a rousing medley of The March of the Three Kings and Fum, Fum, Fum!

Morton Gould's Postscript from 'Quotations' for Double Chorus of Mixed Voices and Wind Orchestra. Piano reduction.This work was commissioned by L. Anthony Fisher for the New York Choral Society Robert DeComier conductor and first performed by them on January 28 1983 at Carnegie Hall.The composer after thinking over the possible approaches to a choral work found the ide of platitudes common sayings and poetic referenmces challanging and stimulating. As 'Quotations' evolved he found that these sayings evoked nostalgic momories of his own childhood in Richmond Hill New York where he was reared on such aphorisms as 'the earlybird catches the worm ' 'a stitch in time saves nine ' 'a bird in the hand is worth two in the bush.'After setting the scene in Richmond Hill the piece begins with Hallelujah Amen the common shout for joy and closing whisper of all religions. An antiphonal series of platitudes follows and then moves to more complex secular litanies the 'ballads ' or stories of young love and old age and the precariousness of life which have been told and retold through the ages. In the last movement the religious litany resumes with 'ashes to ashes dust to dust' echoing the earlier prosaic motif 'here today gone tomorrow ' or as Gould finally writes 'time's up!'

Uses: GeneralScripture: Isaiah 7:14; Matthew 1:23Lilting with an almost Celtic spirit this general praise anthem is buoyant with the joy of the Spirit. A pianist's dream this anthem is easy to learnand hard to forget. The antiphonal cries of “rejoice” are a festive reminder that we are people of alleluia and children of praise! Available: 2-Part Mixed. Duration: ca. 2:28.

A jubilant main theme in 6/8 sweeps this psalm-like text along with great celebration and power. Antiphonal techniques between the voices provide sonic choreography and the glorious contrapuntal transition into a statement of Joyful Joyful We Adore Thee is truly inspiring. With the general nature of the text this is not only very useful for sanctuaries but there is much to explore here for festival choirs as well. Excellent!

A majestic festival of sound!An ideal choice for your band’s first festival experience Sovereign Pageantry includes tutti scoring as well as call-and-response interchanges between the sections. The fanfare and procession in a stately tempo brings to mind the imperial castle guards and antiphonal brasses from high upon battlements as the noble family promenades on a joyous day of celebration. The music encourages a full sound and smooth tasteful articulations from your young band.Resplendent!

(Hodie Christus Natus Est)-Uses: Christmas Call to WorshipScripture: Luke 2:1-20; Matthew 2:1-12The traditional Latin text “Hodie Christus natus est ” sets the foundation for this charming Christmas introit well suited for any choirof unison or treble voices. The optional second voice part adds the feeling of antiphonal singing while optional finger cymbals enhance the joyful proclamation of Christs birth. Available separately: Unison/opt. 2-Part Treble CelebrationTrax CD.Duration: ca. 1:50

This is a fantastic festival piece. The antiphonal nature of the piece begs for creative use of the performance space. The Latin words taken from the Psalms are joyful and general the parts are easily learned and the piece works as a great opener or closer for high school choirs. Judith Herrington is a seasoned and respected teacher and that is evidenced in this great selection. Easy to Medium.

This Is the Day-Here is a joyful work for any combination of voices and hand drums that makes a great antiphonal opening number. Translated This is the day which the Lord has made this work will be a festive addition to concerts and festivalsyear round. Performance Time: Approx. 1:30

Lodestar Fanfare. Named for the star which is used to guide the course of a ship, this two-minute fanfare for mature players is an exciting way to open any concert. Featuring colorful harmonies, antiphonal passages for the upper woodwinds, and plenty of rhythm energy, your players will enjoy digging into the rewarding technical challenges and the musical pay-off provided by Lodestar Fanfare!