Opera in 3 acts-Like few other theatre works—The Magic Flute A Midsummer Night’s Dream—Tippett’s first opera creates a wholly other place one where human actions can be seen as in a tilted mirror. Since this is indeed an opera the place or dreamspace is conjured by music: by luminescent music that in its flowing abundance radiant harmonies and evocative wind colourings represents the natural world within which the characters have to integrate themselves.The central couple those whose marriage is at first subverted and then gloriously celebrated are Mark and Jenifer: he a young man of the earth and the senses she a young woman of lofty spirituality. Each is only half a person andbefore they can be united they have to be made whole have to find within themselves an understanding of the other. Overseeing their mythic initiation and psychic healing are two Ancients votaries of a temple on a wooded hilltop.As in the Mozart precedent which the composer certainly had in mind there is also a more workaday couple Jack and Bella. The other principals are Jenifer’s businessman father King Fisher who wants to stop the wedding for reasons of his own and an Erda-like seer. There is also a dancer Strephon leading the exuberant ballet in which the orchestra completes the story of enlightenment and passion. It is ultimately a victory of love and before love self-knowledge.(Paul Griffiths)

Par BAY WILLIAM. This collection contains 100 favorite Gospel songs and hymns for trumpet and guitar. Inside you will find rousing camp meeting songs, sentimental expressions from a deep-rooted faith, and Gospel oriented hymns with an old-time music flavor. In preparing this collection I felt the sincere and solid faith of America's 'revivalist era”, staunchly embedded in the rural and Southern regions of America, but also in the dedicated inner city missions founded in sprawling urban centers. These solos will bring joy, exuberance, nostalgia and a renewed sense of commitment to any worship celebration. They serve as a vehicle for and witness to the Christian faith. / Gospel / Recueil / Trompette et Guitare

for four male voices. Par BRYARS GAVIN. Glorious Hill may be performed by a male choir. Text by Pico della Mirandola (1463-1497) from De Hominis Dignitate. Glorious Hill was commissioned by the Hilliard Ensemble and first performed by them at its summer Festival of Voices in Lewes, Sussex, in August 1988. It was the first piece I wrote for the ensemble and I focused on the singers' unique ability to move with ease from early music to tonal music of the present day. There were techniques which I asked for which I hardly needed to notate - the staggered breathing of the two tenors to supply a continuous unbroken held note for example - and the piece moves between passages for solo voices and sections of highly chromatic homophony, almost as if the music were switching between the 12th century of Perotin and the 16th century of Gesualdo. Each of the four voices is given its own solo passage, sometimes accompanied, sometimes quietly supported by the other voices. The title, Glorious Hill comes from the name of the small-town Mississippi setting of Tennessee Williams' Summer and Smoke. I wrote the music for the 1987 production of this play at the Leicester Haymarket Theatre, the first time I had written any incidental music for the stage. Williams makes very specific demands in terms of music and there is one particularly powerful scene, the penultimate one, throughout which music and atmospheric sound effects are continuous. The principle character Alma argues passionately about the vital importance of human choice with the man to whom she has, too late, admitted her love. I watched this section every night throughout the 4 week run of the play watching the different ways in which the actress, Frances Barber, played the scene. There is a powerful emotional and philosophical connection between the imagery of this scene and a passage from the Renaissance philosopher Pico della Mirandola's Oration on the Dignity of Man which forms the text of Glorious Hill. This passage has been described as one of the few passages in Renaissance philosophy to treat human freedom in a modern way. The text, which is sung in Latin, is addressed by God to Adam before the fall from grace. / Répertoire / 4 Voix d'Hommes [Attbar], 2 Altos, Violoncelle et

Matching folio to the 2009 release featuring 11 songs from this Christian pop group: Until the World Hears * If We've Ever Needed You * Always Enough * Joyful Joyful * At Your Feet * Glorious Day (Living He Loved Me) * Holy One *To Know You * Mercy * Jesus Hold Me Now * Blessed Redeemer.

This rhythmic upbeat anthem is a change of pace for Advent or Christ the King Sunday quoting the passage from Isaiah 12 as the basis for the text. With joy and assurance we sing of His promised salvation. Much unison andtwo-part singing and the repetitious nature of this piece make it easy to learn and remember. Changes in voicing and dynamic add interest and propel it forward to the victorious climax. “In That Day”...weproclaim that the Lord has done glorious things!

Ron Mallory has done a wonderful job setting this well-loved hymn tune for male voices. Excellent for Mother's Day or any time a men's choir sings in church this rousing anthem starts with a glorious fanfare. A quick learn thisis an anthem of strength and praise to bring glory to any service.

Acclaimed French composer Albert Roussel is known today for his famous pupils Erik Satie and Edgar Varèse as well as for his own marvelous works. Composed specifically for the famed Goldman Band and premiered in 1933 inNew York City A Glorious Day is an invigorating work written in a modified overture format of fast-slow-fast. Mark Fonder's faithful transcription is an important addition to the literature for contemporary wind bands.(6:10)

This festive and celebratory proclamation of Christ's resurrection is a perfect choice for an introit or anthem for Easter Sunday. Accessible and easy to learn in 2-part mixed voicing it features handbells and optional children'sdescant. Optional alternate lyrics make this suitable for use throughout the year. For 2-Part Mixed with Optional Children's Choir. Handbell part included. Alternate lyrics included for general worship. BonusTrax CD available.Performance Time: Approx. 2:00

Uses: EasterScripture: John 20:1-8; I Corinthians 15:4A rousing opener for Easter celebrations this festive anthem captures a robust “Americana” feel both in its melodic content and itsjoyful abandon. A rhythmically vital approach punctuates the main theme while contrasting solo passages provide an oasis of expressivity as it unfolds the story of Christ's crucifixion and victory over the grave. Brief yetpowerful this delightful offering will be a surprising change of pace for church choirs. Duration: ca. 2:56.

This expansive overture for band takes the listener and performer on a varied path of moods and styles. The opening portrays the start of a new day full of wonder and promise. The second section represents curiosity in the world and paraphrases the hymn On Eagle's Wings. A lyric section follows featuring a solo for trumpet. The next section (The Glorious) is dynamic and powerful in nature before the piece winds down to a quiet closing section with a setting of Bach's Sleepers Wake. Dur: c. 7:40 (MusicWorks)

Uses: Christ the King General Hymn Scripture: Exodus 15:1-21 I Kings 22:19 Nahum 1:3 Revelation 5:9 A glorious joining of two noble hymntunes is found in this sturdy octavo. Ideal for Christ the King Sunday this praiseworthy text is filled with acclamations of worship and adoration. This festive setting offers brass timpani and handbell options and stylistically it conjures visions of cathedrals and stained glass. Consider including the congregation on the last verse for a festive finale! Score and Parts (tpt 1-2 tbn 1-2 timp) and Part for Handbells (3 oct.) available as a digital download.