Orchestra Soli STB, Coro SATB, 2 Fl, 2 Ob, 2 Fg, Cfg, 2 Cor, 3 Trb, 2 Vl, Va, Vc, Cb

SKU: CA.7006512

Composed by Franz Schubert. Edited by Stefan Schuck. Stuttgart Urtext Edition: Schubert. Violin 2. Sacred vocal music, Lent and Passiontide, Holy Week, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary. Single Part, Violin 2. D 383. 16 pages. Duration 37 minutes. Carus Verlag #CV 70.065/12. Published by Carus Verlag (CA.7006512).

ISBN 9790007244743. Language: German.

In spring 1816 Franz Schubert, just nineteen years old, completed his second setting of the Stabat Mater in the midst of a highly productive period. In contrast with his first setting written the previous year, just five minutes in length, this time Schubert used the German translation by Klopstock as the basis for his composition. Stefan Schuck's edition is the first one of this work to be based on a critical evaluation of the primary sources, with complete performance material. The work, in a dark F minor, with its text by Klopstock, places Jesus Christ, rather than Mary, at the center of the contemplation. With his fugues, but particularly in the eight-part lamenting chorus Wer wird Zahren sanften Mitleids, Schubert shows himself at the height of his creative output. He composed his 4th Symphony, the Tragic, at almost the same time. The Stabat Mater is a rewarding work for choral societies and choirs to perform, because the choir has the largest portion to sing, and the choral parts are not too demanding. The composition is also a beautiful introduction to the choral-symphonic music of Schubert for less experienced choirs. Score and part available separately - see item CA.7006500.

Mixed choir

SKU: FG.55011-567-5

Composed by Alex Freeman. Fennica Gehrman #55011-567-5. Published by Fennica Gehrman (FG.55011-567-5).

ISBN 9790550115675.

Alex Freeman's (b. 1972) Cathedral of Spring for chamber choir (2019) to poems of e.e. cummings and Robert Frost was commissioned and premiered by Somnium Ensemble. The composer tells: For the celebration of the 10th anniversary of Somnium Ensemble (Finland), I was commissioned to write a piece with spring as a central theme. While contemplating that and perusing appropriate poetry, I was inspired by memories of the night-time sky in early spring--the warm air, the teeming, buzzing energy of life all around, and an expansive dome of stars overhead. I then imagined that moment in time as a kind of sacred space; this is the point where the cathedral notion came to mind. The frenetic and joyous poetry of e.e. cummings, from his Epithalamion, gives an exclamatory introduction to the set, followed by his vision of spring from the point of view of giddy children in his iconic poem, [in Just-]. We then take a moment to contemplate the ephemerality of all this beauty (spring giveth and spring taketh away, i.e. an offertorium of sorts); Robert Frost's Blue-Butterfly Day places us in a moment where, by chance, we find ourselves enveloped by a delicately fluttering swarm of butterflies. Peaceful and still, yet in constant flux, we spend a some time taking that phenomenon in, while also experiencing a twinge of the realisation that this is truly fleeting. The final movement, returning to a later stanza from Epithalamion, cummings's sparkling paean to May is set as a kind of final anthem..

SATB choir, piano

SKU: LO.10-5721L

Composed by John Purifoy. Choral. Sacred Anthem, Holy Communion. Octavo. Lorenz Publishing Company #10/5721L. Published by Lorenz Publishing Company (LO.10-5721L).

ISBN 9780787777579.

This lovely anthem from John Parker and John Purifoy is a beautiful invitation to the sacrament of Communion. Opening with a reverent Alleluia section, the opening verse places us in the Upper Room with the Savior, and the composer's use of unexpected harmonies perfectly highlights the mystery and wonder of the lyric. Your congregation will be moved to adoration every time this meaningful anthem is presented.

Orchestra SB vocal soli, SATB choir, piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, 3 timpani, harp, 2 violin, viola, cello, contrabass, [organ]

SKU: CA.2705512

To words from the Holy Scriptures. Composed by Johannes Brahms. Edited by Gunter Graulich. Carus sheet music series: Vocal scores XL. German title: Ein Deutsches Requiem Kart. Innovative practice aids, Sacred vocal music, Requiem, End of the church year, Mourning, death. Single Part, Violin 2. Op. 45. 24 pages. Duration 70 minutes. Carus Verlag #CV 27.055/12. Published by Carus Verlag (CA.2705512).

ISBN 9790007199647. Language: German.

Since its first complete performance in 1868 in the Cathedral of Bremen, Brahms's Ein deutsches Requiem is, without question, one of the key works in the history of the oratorio. The reputation of the work is based not only on its unusually concentrated musical structure, but also on the original conception of the text: Brahms assembled important passages from both the Old and New Testaments in Luther's translation so that thoughts on sorrow and consolation would obviously refer to one another. In contrast to many other oratorios of the 19th century Brahms places the choir, the voice of the community, in the center of this interdenominational celebration of the dead. Score and part available separately - see item CA.2705500.

SATB chorus - beginner

SKU: XC.HRMG1939

Composed by Michael John Trotta. Michael John Trotta. Sacred. Octavo. 8 pages. Hampton Roads Music Group LLC #HRMG1939. Published by Hampton Roads Music Group LLC (XC.HRMG1939).

UPC: 785147103455. English. Text source: Traditional.

Elegan t in its simplicity, this anthem provides opportunities for artistic performance with limited rehearsal time. The piece utilizes an accessible piano accompaniment and optional handbells, with a few places designated as optional a cappella. The final verse of the work recaps the original theme while the optional descant on the text “Peace be with you” soars. .

SATB choir, cantor, voice solo, assembly, keyboard accompaniment, C instrument, guitar - Beginning

SKU: GI.G-7699

Composed by Edward Eicker. Ordinary Time 15 C, Christ the King A. Celebration Series. Sacred. Octavo. With guitar chord names. 8 pages. GIA Publications #7699. Published by GIA Publications (GI.G-7699).

UPC: 785147769903. English. Text Source: Matthew 25:35-36, 40, adapt.; Translation: Edward Eicker. Scripture: Matthew 25:35–36, 40.

Edward Eicker has given us the perfect song for liturgies using the “What you have done for the least of these” text from Matthew 25. The attractive, immediate congregational refrain allows this piece to be sung many places in the liturgy. For cantor or soloist.

Orchestra Soli STB, Coro SATB, 2 Fl, 2 Ob, 2 Fg, Cfg, 2 Cor, 3 Trb, 2 Vl, Va, Vc, Cb

SKU: CA.7006505

Composed by Franz Schubert. Edited by Stefan Schuck. Stuttgart Urtext Edition: Schubert. Sacred vocal music, Lent and Passiontide, Holy Week, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary. Choral Score. D 383. 24 pages. Duration 37 minutes. Carus Verlag #CV 70.065/05. Published by Carus Verlag (CA.7006505).

ISBN 9790007242916. Language: German.

In spring 1816 Franz Schubert, just nineteen years old, completed his second setting of the Stabat Mater in the midst of a highly productive period. In contrast with his first setting written the previous year, just five minutes in length, this time Schubert used the German translation by Klopstock as the basis for his composition. Stefan Schuck's edition is the first one of this work to be based on a critical evaluation of the primary sources, with complete performance material. The work, in a dark F minor, with its text by Klopstock, places Jesus Christ, rather than Mary, at the center of the contemplation. With his fugues, but particularly in the eight-part lamenting chorus Wer wird Zahren sanften Mitleids, Schubert shows himself at the height of his creative output. He composed his 4th Symphony, the Tragic, at almost the same time. The Stabat Mater is a rewarding work for choral societies and choirs to perform, because the choir has the largest portion to sing, and the choral parts are not too demanding. The composition is also a beautiful introduction to the choral-symphonic music of Schubert for less experienced choirs. Score available separately - see item CA.7006500.

SATB vocal soli, SATB choir, 2 flutes, 2 clarinets, 2 bassoons, 2 horns, timpani, 2 violins, 2 violas, cello/contrabass

SKU: CA.2300815

Composed by Jose Nunes Garcia. Violoncello/double bass. Sacred vocal music, Requiem. Single Part, Cello/Double Bass. 12 pages. Duration 35 minutes. Carus Verlag #CV 23.008/15. Published by Carus Verlag (CA.2300815).

ISBN 9790007037796. Language: Latin.

Garcia, born in 1767 in Rio de Janeiro, and priest and music director at the cathedral there, is still hardly known. Among his spiritual works are four settings of the Mass for the Dead. The present ,,Missa dos Defunktos was commissioned by the Portuguese King Dom Joao VI in the memory of Queen Maria I, who died in 1816. The composition, in the key of D minor, shows parallels in several places to Mozart's Requiem, which Garcia performed two years later (1819) for the first time in Brasil. Score and part available separately - see item CA.2300800.

Coro SMsATBarB - Grade 4

SKU: CA.744800

Arranged for Pop-Up. Composed by Manuel Grunden. Carus digital: Extra digital products. Full Score. Duration 5 minutes. Carus Verlag #744800. Published by Carus Verlag (CA.744800).

ISBN 9790007300043. Latin.

Over its long history, the Advent song Veni, veni, Emmanuel has been adapted time and again to create many different versions with their own unique melodies and textual variants. The melody from the German Protestant hymnal to the text O komm, o komm, du Morgenstern probably dates from the 15th century. Manuel Grunden’s arrangement of this version now places the hymn in a new light. While respecting the sacred majesty of the original, Grunden has created a simple six-part arrangement in which the melody wanders through the different voices, encircled by long, dynamically shaped sustained notes. As the piece progresses, the joyful anticipation of the Savior’s anticipated arrival is expressed in impressive and dramatic climaxes. At the same time, jazz/pop harmonies bring fresh color to the simple melody. Offering a modern take on this very traditional song, Manuel Grunden’s piece can be easily integrated into any Advent concert program.

SATB choir, keyboard accompaniment - Beginning

SKU: GI.G-9001

Composed by Suzanne Toolan. Advent 2 A, Advent 2 B, Advent 2 C. Christmas. Sacred. Octavo. 4 pages. GIA Publications #9001. Published by GIA Publications (GI.G-9001).

UPC: 785147900108. English. Text Source: Based on Zephaniah 3:14, Isaiah 40:3-4. Text by Suzanne Toolan.

From the composer of the timeless “I Am the Bread of Life,” comes this re-released classic for SATB voices. Featuring a rhythmic, two-part a cappella refrain for soprano and alto, this Advent song can be used several places within worship, or even as a call to worship. The verses may be sung with a soloist or in parts, accompanied or a cappella. Try this one with your choir—you’l l be glad you did! The keyboard accompaniment is optional.

SATB choir, reduction, none accompaniment - Beginning

SKU: GI.G-9071

Composed by James Chepponis. Eastertide, Easter 6 B. Choral. Sacred. Octavo. 4 pages. GIA Publications #9071. Published by GIA Publications (GI.G-9071).

UPC: 785147907107. English. Text Source: John 15:14–15, alt. Text by James Chepponis. Scripture: John 15:14–15.

Th is text of this anthem is taken from the Last Supper discourse in John’s gospel. Its brevity makes it suitable for many places in the liturgy. A great companion piece to Chepponis’ setting of John 15:16, “I Have Chosen You” (G-8977).

SAB chorus - beginner

SKU: XC.HRMG1839SAB

Peace Be With You. Composed by Michael John Trotta. Michael John Trotta. Sacred. Octavo. 8 pages. Hampton Roads Music Group LLC #HRMG1839SAB. Published by Hampton Roads Music Group LLC (XC.HRMG1839SAB).

UPC: 785147105350. English. Text source: Traditional. Scripture: Luke 24:29.

Elegant in its simplicity, this anthem provides opportunities for artistic performance with limited rehearsal time. The piece utilizes an accessible piano accompaniment and optional handbells, with a few places designated as optional a cappella. The final verse of the work recaps the original theme while the optional descant on the text “Peace be with you” soars.   .

SSATB Choir

SKU: CA.966500

Composed by Paul Ayres. Edited by Stefan Schuck. Contemporary Choir Music. Sacred vocal music. Full score. Composed 2005. 8 pages. Duration 4 minutes. Carus Verlag #CV 09.665/00. Published by Carus Verlag (CA.966500).

ISBN 9790007167707. Text language: Latin/English.

Inte restingly, Ayres combines the Latin text of the hymn with his translation here: in the style of a free motet-like cantus firmus, he interprets the Latin text impressively in music, making use of glissandi, wide leaps and unison twelve-tone linear construction for the dramatic second verse with its deceptive vision of night. He places the motet sections after the translated text, but quite simply with the Gregorian cantus firmus and in the style of medieval organum, however with interesting, diatonically written dissonant sounds. This rewarding piece is challenging, but well worth singing in a concert or church service.

Concert Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabassoon, English Horn, Euphonium, Flute 1, Flute 2, Flute 3, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3 and more.

SKU: PR.16500092L

For Concert Band. Composed by Dan Welcher. Spiral. Contemporary. Large Full Score. With Standard notation. Composed 1994. 76 pages. Duration 10 minutes. Theodore Presser Company #165-00092L. Published by Theodore Presser Company (PR.16500092L).

UPC: 680160039531. 11 x 17 inches.

Zion is the third and final installment of a series of works for Wind Ensemble inspired by national parks in the western United States, collectively called Three Places in the West. As in the other two works (The Yellowstone Fires and Arches), it is my intention to convey more an impression of the feelings I've had in Zion National Park in Utah than an attempt at pictorial description. Zion is a place with unrivalled natural grandeur, being a sort of huge box canyon in which the traveler is constantly overwhelmed by towering rock walls on every side of him -- but it is also a place with a human history, having been inhabited by several tribes of native Americans before the arrival of the Mormon settlers in the mid-19th century. By the time the Mormons reached Utah, they had been driven all the way from New York State through Ohio and, with tragic losses, through Missouri. They saw Utah in general as a place nobody wanted, but they were nonetheless determined to keep it to themselves. Although Zion Canyon was never a Mormon Stronghold, the people who reached it and claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecuted people that I was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: Zion's Walls (which Aaron Copland adapted to his own purposes in both is Old American Songs and the opera The Tender Land) and Zion's Security, which I found in the same volume in which Copland found Zion's Walls -- that inexhaustible storehouse of 19th-century hymnody called The Sacred Harp. My work opens with a three-verse setting of Zion's Security, a stern tune in F-sharp minor which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful to be firm, and describing the city of our God they hope to establish). This melody alternates with a fanfare tune, whose origins will be revealed in later music, until the second half of the piece begins: a driving rhythmic ostinato based on a 3/4-4/4 alternating meter scheme. This pauses at its height to restate Zion's Security one more time, in a rather obscure setting surrounded by freely shifting patterns in the flutes, clarinets, and percussion -- until the sun warms the ground sufficiently for the second hymn to appear. Zion's Walls is set in 7/8, unlike Copland's 9/8-6/8 meters (the original is quite strange, and doesn't really fit any constant meter), and is introduced by a warm horn solo. The two hymns vie for attention from here to the end of the piece, with the glowingly optimistic Zion's Walls finally achieving prominence. The work ends with a sense of triumph and unbreakable spirit. Zion was commissioned in 1994 by the wind ensembles of the University of Texas at Arlington, the University of Texas at Austin, and the University of Oklahoma. It is dedicated to the memory of Aaron Copland.

Composed by Giuseppe Verdi (1813-1901). Edited by Norbert Bolin. For SMTB vocal soli, SATB choir, piccolo, 2 flutes, 2 oboes, 2 clarinets, 4 bassoon, 4 horns, 4 trumpets, 4 offstage trumpets, 3 trombones, ophicleide, timpani, percussion, 2 violins, viola, cello, contrabass. Stuttgart Urtext Edition. German title: Requiem kartoniert. Requiem, Mourning, death. Full score. Language: Latin. 320 pages. Duration 90 minutes. Published by Carus Verlag

SATB choir, assembly, keyboard accompaniment, guitar, C instrument 1, C instrument 2 - Beginning

SKU: GI.G-8825

Composed by Jan Michael Joncas. Ordinary Time 14 A, Ordinary Time 16 B. Celebration Series. Sacred. Octavo. With guitar chord names. 12 pages. GIA Publications #8825. Published by GIA Publications (GI.G-8825).

UPC: 785147882503. English. Text Source: Matthew 11:28-30, John 6:37, 14:6. Scripture: Matthew 11:28–30, John 6:37, John 14:6.

This Joncas classic has been updated and expanded with two additional verses written specifically for the 2014 NPM National Convention's Eucharistic Liturgy. Also included in this new edition are parts for two C instruments. This replaces G-3432.

Orchestra SATB vocal soli, SATB choir, flute, oboe d'amore, 2 violins, viola, basso continuo

SKU: CA.3115107

Cantata for the 3rd Sunday of Christmas (1st version). Composed by Johann Sebastian Bach. Edited by Klaus Hofmann. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: SUssER TROST, MEIN JESUS KOMMT NEUAUSGABE. Sacred vocal music, Cantatas, Christmas. Study score. Composed 1725. BWV 151. 28 pages. Duration 19 minutes. Carus Verlag #CV 31.151/07. Published by Carus Verlag (CA.3115107).

ISBN 9790007092474. Key: G major. Language: German/English. Text: Lehms, Georg Christian. Text: Georg Christian Lehms.

Bach's cantata BWV 151, whose wonderfully heartfelt opening aria has been rightly numbered among Bach's most inspired ideas (Alfred Durr), was composed for the 3rd day of Christmas 1725. Flute and oboe d'amore lend pastoral coloring to the chamber music sound picture. The oboe d'amore was not originally included in Bach's score; after completing the score he added the part to the orchestra for the first performance. In a later performance about 1728-1731 Bach replaced the flute by a solo violin, adding various performing instructions and ornaments, of which a flautist can make use in his originally rather modest part. This new edition by Klaus Hofmann replaces the 1962 publication by Diethard Hellmann. Score available separately - see item CA.3115100.

SATB vocal soli, SATB choir, flute, oboe d'amore, 2 violins, viola, basso continuo

SKU: CA.3115105

Cantata for the 3rd Sunday of Christmas (1st version). Composed by Johann Sebastian Bach. Edited by Klaus Hofmann. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: SUssER TROST, MEIN JESUS KOMMT NEUAUSGABE. Sacred vocal music, Cantatas, Christmas. Choral Score. Composed 1725. BWV 151. 2 pages. Duration 19 minutes. Carus Verlag #CV 31.151/05. Published by Carus Verlag (CA.3115105).

ISBN 9790007049379. Key: G major. Language: German/English. Text: Lehms, Georg Christian. Text: Georg Christian Lehms.

Bach's cantata BWV 151, whose wonderfully heartfelt opening aria has been rightly numbered among Bach's most inspired ideas (Alfred Durr), was composed for the 3rd day of Christmas 1725. Flute and oboe d'amore lend pastoral coloring to the chamber music sound picture. The oboe d'amore was not originally included in Bach's score; after completing the score he added the part to the orchestra for the first performance. In a later performance about 1728-1731 Bach replaced the flute by a solo violin, adding various performing instructions and ornaments, of which a flautist can make use in his originally rather modest part. This new edition by Klaus Hofmann replaces the 1962 publication by Diethard Hellmann. Score available separately - see item CA.3115100.

SATB vocal soli, SATB choir, flute, oboe d'amore, 2 violins, viola, basso continuo

SKU: CA.3115113

Cantata for the 3rd Sunday of Christmas (1st version). Composed by Johann Sebastian Bach. Edited by Klaus Hofmann. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: SUssER TROST, MEIN JESUS KOMMT NEUAUSGABE. Sacred vocal music, Cantatas, Christmas. Single Part, Viola. Composed 1725. BWV 151. 4 pages. Duration 19 minutes. Carus Verlag #CV 31.151/13. Published by Carus Verlag (CA.3115113).

ISBN 9790007049409. Key: G major. Language: German/English. Text: Lehms, Georg Christian. Text: Georg Christian Lehms.

Bach's cantata BWV 151, whose wonderfully heartfelt opening aria has been rightly numbered among Bach's most inspired ideas (Alfred Durr), was composed for the 3rd day of Christmas 1725. Flute and oboe d'amore lend pastoral coloring to the chamber music sound picture. The oboe d'amore was not originally included in Bach's score; after completing the score he added the part to the orchestra for the first performance. In a later performance about 1728-1731 Bach replaced the flute by a solo violin, adding various performing instructions and ornaments, of which a flautist can make use in his originally rather modest part. This new edition by Klaus Hofmann replaces the 1962 publication by Diethard Hellmann. Score and part available separately - see item CA.3115100.

SATB vocal soli, SATB choir, flute, oboe d'amore, 2 violins, viola, basso continuo

SKU: CA.3115109

Cantata for the 3rd Sunday of Christmas (1st version). Composed by Johann Sebastian Bach. Edited by Klaus Hofmann. This edition: urtext. 1x 31.151/21 flute, 1x 31.151/22 oboe d'amore. Stuttgart Urtext Edition: Bach vocal. German title: SUssER TROST, MEIN JESUS KOMMT NEUAUSGABE. Sacred vocal music, Cantatas, Christmas. Set of Orchestra Parts. Composed 1725. BWV 151. 8 pages. Duration 19 minutes. Carus Verlag #CV 31.151/09. Published by Carus Verlag (CA.3115109).

ISBN 9790007208615. Key: G major. Language: German/English. Text: Lehms, Georg Christian. Text: Georg Christian Lehms.

Bach's cantata BWV 151, whose wonderfully heartfelt opening aria has been rightly numbered among Bach's most inspired ideas (Alfred Durr), was composed for the 3rd day of Christmas 1725. Flute and oboe d'amore lend pastoral coloring to the chamber music sound picture. The oboe d'amore was not originally included in Bach's score; after completing the score he added the part to the orchestra for the first performance. In a later performance about 1728-1731 Bach replaced the flute by a solo violin, adding various performing instructions and ornaments, of which a flautist can make use in his originally rather modest part. This new edition by Klaus Hofmann replaces the 1962 publication by Diethard Hellmann. Score and parts available separately - see item CA.3115100.

SATB vocal soli, SATB choir, flute, oboe d'amore, 2 violins, viola, basso continuo

SKU: CA.3115149

Cantata for the 3rd Sunday of Christmas (1st version). Composed by Johann Sebastian Bach. Edited by Klaus Hofmann. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. German title: SUssER TROST, MEIN JESUS KOMMT NEUAUSGABE. Sacred vocal music, Cantatas, Christmas. Single Part, Organ. Composed 1725. BWV 151. 8 pages. Duration 19 minutes. Carus Verlag #CV 31.151/49. Published by Carus Verlag (CA.3115149).

ISBN 9790007049430. Key: G major. Language: German/English. Text: Lehms, Georg Christian. Text: Georg Christian Lehms.

Bach's cantata BWV 151, whose wonderfully heartfelt opening aria has been rightly numbered among Bach's most inspired ideas (Alfred Durr), was composed for the 3rd day of Christmas 1725. Flute and oboe d'amore lend pastoral coloring to the chamber music sound picture. The oboe d'amore was not originally included in Bach's score; after completing the score he added the part to the orchestra for the first performance. In a later performance about 1728-1731 Bach replaced the flute by a solo violin, adding various performing instructions and ornaments, of which a flautist can make use in his originally rather modest part. This new edition by Klaus Hofmann replaces the 1962 publication by Diethard Hellmann. Score and part available separately - see item CA.3115100.