For solo marimba. Composed by Robert Clayson. Solos: Marimba and Xylophone. With optional percussion accompaniment. Folio and Downloadable Parts. Tapspace Publications #TSPCS20-017. Published by Tapspace Publications

A Festival of Carols (A Medley including "Hark! The Herald Angels Sing," "While by My Sheep," "God Rest Ye Merry, Gentlemen," "Still, Still, Still," and "Angels We Have Heard on High")

Choral (Studiotrax CD)

SKU: HL.35027937

Composed by Joseph M. Martin. Harold Flammer Cathedral. Advent, Christmas Eve, Christmas Sacred, Communion. Published by Shawnee Press (HL.35027937).

UPC: 884088570606. 5x5 inches. J. Paul Williams/Joseph M. Martin.

Uses: Christmas Eve, Christmas, Communion

Scrip ture: Luke 2:1-7

In this tender lullaby to the newborn Christ, J. Paul Williams at his poetic best joins with Joseph Martin in a simply scored anthem that is profoundly effective for candlelight Christmas observances. The quoting of the beloved German carol Still, Still, Still, adds to the charm of this simple, beautiful, and moving anthem.

StudioTrax CD Choral (Studiotrax CD)

SKU: HL.35031977

By Elton John. By Bernie Taupin and Elton John. Arranged by Pete Schmutte. Shawnee Press. Pop. CD. Published by Shawnee Press (HL.35031977).

ISBN 9781540015563. UPC: 888680724078. 5.0x5.0x0.115 inches.

British rocker Elton John made this famous in 1983 and stated that it was “my reaction to still being relevant and successful in the early 1980s.” The message rings just as clear today with rock and roll still ruling the music scene, generation after generation. Instrumental parts available for a powerhouse performance.

SATB Choir

SKU: HL.14020264

Composed by Elizabeth Maconchy. Music Sales America. Classical. Book [Softcover]. Composed 2002. Chester Music #CH55688. Published by Chester Music (HL.14020264).

8.25x11.75 inches.

'Still Falls the Rain' is perhaps Edith Sitwell's greatest poem. Maconchy set the poem for double choir, unaccompanied, with some antiphonal writing. The recurrence of the phrase 'still falls the rain' throughout the poem is echoed in the music and helps to give shape and coherence to it. After the impassioned and tragic character of the main part of the poem, it ends on a calmer, even hopeful note (the Dawn after the Night raids perhaps). It was commissioned by the Chelmsford Festival and first performed there on 22 May 1985 by the BBC singers, conducted by John Poole, in Chelmsford Cathedral.

Composed by Audrey Snyder. Contemporary Choral. Concert, Festival. Octavo. 8 pages. Published by Hal Leonard

Composed by Audrey Snyder. Contemporary Choral. Concert, Festival. Octavo. 8 pages. Published by Hal Leonard

Violin and piano

SKU: LM.26851

Composed by Jean Marc Allerme. Pop, jazz. Score and CD. Editions Henry Lemoine #26851. Published by Editions Henry Lemoine (LM.26851).

ISBN 9790230968515.

Two Days - Travel in winter - Here comes the jazz show - My friend Gabriel - Maria's memories - Never in September - When Charley meets Dan - For a moment of stillness - Time to rag - Somewhere in my heart - White and Blue song - Call me - Fleeting moment - She is gone - Like in a dream.

Flute and guitar - Level 2

SKU: LM.27164

Composed by Jean Marc Allerme. Pop, jazz. Score and CD. Editions Henry Lemoine #27164. Published by Editions Henry Lemoine (LM.27164).

ISBN 9790230971645.

Here Comes the Jazz Show - Never in September - Two Days - Call me - When Charley meets Dan - Travel in Winter - My Friend Gabriel - White and Blue song - Maria's Memories - Somewhere in my Heart - Time to Rag - Fleeting Moment - For a Moment of Stillness - Like in a Dream - She is Gone.

SATB choir, piano

SKU: LO.10-5550L

Composed by Tracey Craig McKibben. Choral. Sacred Anthem. Octavo. Lorenz Publishing Company #10/5550L. Published by Lorenz Publishing Company (LO.10-5550L).

ISBN 9780787773724.

Orig inally a piano piece by Tracey McKibben, Psalm of Stillness seemed to call out for just the right lyric, and Gwyn Williams filled that need with great sensitivity. Ideal as a response to the events of this past year, or anytime your congregation needs assurance, this anthem brings the reminder that You promise peace in tomorrow's sunrise..

Choral (Listening CD)

SKU: HL.35032529

A Service for Holy Week. Composed by Douglas Nolan. Shawnee Sacred. Cantata, Easter, General Worship, Holy Week, Sacred. CD. Duration 2220 seconds. Published by Shawnee Press (HL.35032529).

ISBN 9781540040183. UPC: 888680896898. 5x5 inches.

Written to commemorate the Passion of Christ, this cantata is a moving tribute to His life and ministry. Composed for maximum flexibility and scored for SA(T)B voices, the optional cued notes make it possible for the cantata to grow with your choir. Smaller choirs will enjoy the rich textures and larger ensembles will be able to engage their full resources. For churches that desire an instrumental component, a very modest consort instrumentation creates a reverent accompaniment. The narration contains scriptures and prayers to convey the graceful theme of Christ's sacrificial love. Ending with the crucifixion, A Gathering of Grace will set the stage for Easter morning. Songs include: Prelude of Shadows; In the Stillness of This Moment; Ask of Me; Palm Branches; A Light in the Upper Room; Jesus, in Gethsemane; The Day the Cross Held Up the Sky; A Green Hill Far Away; Recessional. Score and Parts (fl, cl, hn, perc, pno, hp, vn, vc) available as a Printed Edition and as a digital download.

Composed by Audrey Snyder. For Choral (3-Part Mixed). Contemporary Choral. 8 pages. Published by Hal Leonard

Composed by Elaine Hagenberg. Vocal score. 16 pages. Duration 3.5'. Oxford University Press #9780193517929. Published by Oxford University Press (OU.9780193517929).

By David Angerman and Joseph M. Martin. SATB. Harold Flammer. 12 pages. Published by Harold Flammer Music

Violin and piano - Advanced

SKU: DY.DO-1525

Composed by David Braid. Score and part. Les Editions Doberman-Yppan #DO 1525. Published by Les Editions Doberman-Yppan (DY.DO-1525).

ISBN 9782897963057.

J'ai me les formes musicales concises telles que le Prélude et la Fugue, où il y a une idée claire et directe, suivie d'une autre plus complexe et développée.

Conformément à cette idée, cette œuvre se compose de deux pièces distinctes, la première - Transfigured Life - vise à attirer l'auditeur avec son rythme rapide et dansant et sa partie de violon simple et mélodique. Il se «transfigure» via quelques courts intermèdes au piano solo en seulement deux notes alternées pour terminer - qui sont le cœur de l'idée originale, maintenant clarifiée en effaçant tout le reste.

Le deuxième morceau - Still Life - conserve son sentiment de quiétude grâce à une ligne de piano simple qui laisse beaucoup d'espace à la partie contrastée (mais encore une fois simple) du violon. En tant que pièce absolue et non programmatique, le titre fait référence uniquement à la couleur et au rythme atmosphériques ; c'est à l'auditeur de voir la « nature morte » de son choix dans son esprit.

Une note sur les performances :
Malgré ma référence à des lignes « simples » et l'évitement déterminé par l'œuvre des grincements modernistes traditionnels, l'œuvre présente certains défis d'exécution en termes de phrasé et d'ensemble qui nécessitent des compétences et une musicalité considérables. L'œuvre a eu le privilège d'être récemment enregistrée par le violoniste Ezgi Sarıkcıoğlu et la pianiste Rossitza Stoycheva, et est disponible sur toutes les principales plateformes :

https://open.spo tify.com/album/6p5YIe17ci 0UMuo2RqZgjR
https://m usic.apple.com/gb/album/t ransfigured-life-still-li fe-world-premiere-recordi ng/1738035953
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Trans figured Life - Still Life, Op. 165 (violin and piano) - David Braid

I am keen on concise musical forms such as Prelude and Fugue, where there is one clear straightforward idea, followed by another that is more involved and developed.

In keeping with that idea, this work consists of two distinct pieces, the first - Transfigured Life - aims to draw in the listener with its quick, dancing rhythm and simple, melodic violin part. It 'transfigures' via a few short solo piano interludes into just two alternating notes to end - which are the core of the original idea, now made clear by clearing everything else out of the way.

The second piece - Still Life - retains its sense of stillness through an uncomplicated piano line that gives lots of space for the violin's contrasting (but again simple) part. As an absolute, not programmatic, piece the title refers to the atmospheric colour and pacing only; it's up to the listener to see 'Still life' of their choosing in their own mind.

A note on performance:
Despite my reference to 'simple' lines, and the work's determined avoidance of mainstream modernist squeak - the work has certain performance challenges of phrasing and ensemble that requires considerable skill and musicianship. The work has had the privilege of being recently recorded by violinist Ezgi Sarıkcıoğlu and pianist Rossitza Stoycheva, and is available on all major platforms:

https:/ /open.spotify.com/album/6 p5YIe17ci0UMuo2RqZgjR
https://music.apple.com/g b/album/transfigured-life -still-life-world-premier e-recording/1738035953.

Composed by Frederic Hand. Score and part(s). Handwerks Music #494-03163. Published by Handwerks Music

By Gramann, Fred. Choral. For Medium voice solo, SATB choir, flute, and organ. General. Published by E.C. Schirmer Publishing.

Composed by Greg Bartholomew. For "trumpet, timpani & string orchestra". Pathways Series. Level 4. Score and set of parts. Duration "3 minutes, 40 seconds". Published by Imagine Music

By Jean Sibelius (1865-1957). Arranged by Molly Ijames. For SATB choir and piano. Octavo. Published by SoundForth

SAB choir and piano - Beginning

SKU: MN.50-6175

Composed by Karen Marrolli. MorningStar Music Publishers #50-6175. Published by MorningStar Music Publishers (MN.50-6175).

UPC: 688670561757. English. Psalm 46:10.

A piece based on the calming text found in Psalm 46:10. The stillness of the text is matched with a lovely original melody.

Chamber Music Clarinet, Flute, Guitar, Horn, Viola, Violin, Violoncello

SKU: PR.114420410

Chamber Concerto for Guitar and Ensemble. Composed by George Rochberg. Set of Score and Parts. 30+10+8+10+12+10+10+10 pages. Duration 20 minutes. Theodore Presser Company #114-42041. Published by Theodore Presser Company (PR.114420410).

UPC: 680160687015.

In one of the dedicatory poems to his verse play The Shadowy Waters (1906), William Butler Yeats asks: Is Eden far away...? Do our woods and winds and verponds cover more quiet woods, More shining winds, more star-glimmering ponds? Is Eden out of time and out of space? How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And - what is most painful to admit - that it is closed to us in the form in which we live and breathe, even if at times we do have intimations..., Yeats is telling us that this paradise, this Eden we yearn for is here - present even if invisible, palpable even if intangible. In his Second Symphony, Mahler meets an angel who tells him he can't get into heaven, he's locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden. Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes -because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs. I have turned Yeats' question Is Eden out of time and out of space? into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us. I wrote this music the way I did to shut out -with quietness and otherworldliness - the clamor and clang of the raucous Garish Day, to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.
In one of the dedicatory poems to his verse play “The Shadowy Waters” (1906), William Butler Yeats asks:“Is Eden far away…?Do our woods and windsand verponds cover morequiet woods,More shining winds,more star-glimmeringponds?Is Eden out of timeand out of space?”How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And – what is most painful to admit – that it is closed to us in the form in which we live and breathe, even if at times we do have intimations…, Yeats is telling us that this paradise, this Eden we yearn for is here – present even if invisible, palpable even if intangible.In his Second Symphony, Mahler meets an angel who tells him he can’t get into heaven, he’s locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden.Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes –because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs.I have turned Yeats’ question “Is Eden out of time and out of space?” into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us.I wrote this music the way I did to shut out –with quietness and otherworldliness – the clamor and clang of the raucous “Garish Day,” to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.