Full orchestra

SKU: LO.30-3832MD

Composed by Mary McDonald. Arranged by Ed Hogan. Choral. Sacred Anthem, Christmas. Orchestral score and parts. Medallion Music #30/3832MD. Published by Medallion Music (LO.30-3832MD).

UPC: 000308157536.

Orche stral Score and Parts for Sing Out Our Savior's Birth (10/5499MD) Featured in the musical Love Made a Way (SATB—65/2104MD), this exciting opener weaves through the carol JOY TO THE WORLD and the beloved hymn OLD 100TH while incorporating original words and music by Mary McDonald!

Choral (SATB)

SKU: HL.1189848

Arranged by Sean Paul. Brookfield Choral Series. General Worship. Octavo. Duration 140 seconds. Published by Brookfield Press (HL.1189848).

UPC: 196288131533. 6.75x10.5x0.019 inches. Jude 25, Psalm 100.

With a joyful flourish, this majestic rendering of the iconic OLD 100th will be an unforgettable moment in your worship gathering. The colorful orchestration is the perfect addition to this brief and powerful offering. Score and Parts (fl 1-2, cl 1-2, hn 1-2, tpt 1-3, tbn 1-2, tba, tmp, perc, vn 1-2, va, vc) available as a digital download.

SATB choir, piano

SKU: LO.10-5615L

Composed by Bryan Sharpe. Choral. Sacred Anthem, General, Thanksgiving. Octavo. Lorenz Publishing Company #10/5615L. Published by Lorenz Publishing Company (LO.10-5615L).

ISBN 9780787775230.

Inco rporating the themes of familiar hymn tune and text with new words and music, this energetic anthem of thankfulness and praise influenced by Old 100th features call and response choral parts that share in the melody and text in a singable and uplifting setting. Suitable as a Thanksgiving or general praise anthem.

Choral (Single, SATB)

SKU: HP.C6370

Piano Accompaniment. Quick Study Chorals. Original, Thanksgiving, General Worship, Gratefulness. Octavo. 8 pages. Hope Publishing Company #C6370. Published by Hope Publishing Company (HP.C6370).

UPC: 763628163709. Pepper Choplin.

Original anthem This Quick Study Choral is an original composition with limited 4-part writing, suitable for smaller ensembles, that can be easily learned in a few rehearsals. Well crafted, and briefly quoting OLD 100th, this charming original urges us to embrace the blessings of the Lord, all the things we're thankful for..

By Robert Lau. For Organ. Hymn, General. Sheet music. Published by Paraclete Press

For voice and keyboard. Format: easy piano/vocal/chords songbook. With vocal melody, chord names, lyrics and big note notation. Gospel and hymn. Series: Hal Leonard E-Z Play Today. 48 pages. 9x12 inches. Published by Hal Leonard.

Composed by Britton Theurer. Full score. With Standard notation. 44 pages. Carl Fischer #BQ99. Published by Carl Fischer

SKU: LO.99-4220MD

Composed by Mary McDonald. Choral. Sacred Anthem, Christmas. Performance/accompaniment CD (split-track). Medallion Music #99/4220MD. Published by Medallion Music (LO.99-4220MD).

UPC: 000308157543.

Perfo rmance/Accompaniment CD plus Split-track for Sing Out Our Savior's Birth Featured in the musical Love Made a Way, this exciting opener weaves through the carol JOY TO THE WORLD and the beloved hymn OLD 100TH while incorporating original words and music by Mary McDonald!

SATB choir, organ; optional brass quartet, timpani

SKU: AU.9780806697208

Composed by Walter L. Pelz. Augsburg Choral Library. Sacred. Octavo. Published by Augsburg Fortress (AU.9780806697208).

ISBN 9780806697208.

This anthem is a true celebration for any joyful occasion. Brass quartet crowns the piece in style. This arrangement weaves in the hymn tune Old 100th, creating an unforgettable doxology of praise.

For French Horn. Classical (orchestral). Includes a high-quality printed music score and a compact disc containing a complete performance with soloist; then a second version with the accompaniment, minus the soloist. Published by Music Minus One.

By Robert Lau. For SATB choir and congregation, Organ. Parish. Choral, General. Easy. Choral octavo. Published by Paraclete Press

By D Willcocks. For Mixed Choir, Congregation, Organ or Orchestra. Published by Oxford University Press.

Composed by Joseph M. Martin. For SATB choir. Text: Psalm 69:34|Psalm 104:1-5|Psalm 104:14-20|Psalm 104:24-27|Psalm 104:31-33|Genesis 1:25-27|Acts 4:24. Choral octavo. Published by Hope Publishing Company

For piano and voice. Format: Vocal/piano songbook. With vocal melody, vocal text, piano accompaniment and table of contents (organized by standard wedding ceremony categories). Wedding. 96 pages. 9x12 inches. Published by Cherry Lane Music

Composed by Mary McDonald. Choral. Sacred Anthem, Christmas. Octavo. Medallion Music #10/5499MD. Published by Medallion Music

Trumpet. Classical (chamber). Includes a high-quality printed music score and a compact disc containing a complete performance with soloist; then a second version with the accompaniment, minus the soloist. Published by Music Minus One

(2.2+1.3+1.2+1/ 4.3.3.1,timp,str)

SKU: TM.02923SET

Composed by Derek Bourgeois. Arranged by Luck. Set Type: C. Set of parts. Published by Lucks Music Library (TM.02923SET).

P/C in set.

For Trombone. Classical (orchestral). Includes a high-quality printed music score and a compact disc containing a complete performance with soloist; then a second version with the accompaniment, minus the soloist. Published by Music Minus One.

Orchestra

SKU: PR.416415760

For Really Big Orchestra. Composed by PDQ Bach. Edited by Prof. Peter Schickele. Study Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576. Published by Theodore Presser Company (PR.416415760).

UPC: 680160636532. 9 x 12 inches.

The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.

Orchestra

SKU: PR.41641576L

For Really Big Orchestra. Composed by PDQ Bach. Edited by Peter Schickele. Large Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576L. Published by Theodore Presser Company (PR.41641576L).

UPC: 680160636549. 11 x 17 inches.

The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.

Composed by Wilbur Held (1914-). For Organ. Moderately Easy. Published by MorningStar Music Publishers