(From Enchanted). By Carrie Underwood. Arranged by Ed Lojeski. (SATB). Disney Choral. 12 pages. Published by Hal Leonard.

Choral (SATB)

SKU: HL.2050301

Praise Gathering Choral. Easter. Softcover. 96 pages. Duration 2280 seconds. PraiseGathering #A08452. Published by PraiseGathering (HL.2050301).

UPC: 797242269899. 6.75x10.5x0.221 inches.

The haunting words reach to us from antiquity.“The Lord Jesus, on the night He was betrayed, took bread, and when He had given thanks, He broke it and said, 'This is My body, which is for you; do this in remembrance of Me.' In the same way, after supper He took the cup, saying, 'This cup is the new covenant in My blood; do this, whenever you drink it, in remembrance of Me.' For whenever you eat this bread and drink this cup, you proclaim the Lord's death until He comes.” - I Corinthians 11:23-26Remember. Remember. As commanded, the Israelites have retold the story of the faithfulness of their God for centuries. They have recounted how the blood of the lamb protected them from the angel of death. The world is on the brink of eternal change now, because it is Jesus, the Christ who is saying remember. Remember the things I taught you, remember the trials and the triumphs, remember the promises and the prayers, remember the bread and the wine. God will reclaim His people and it will be forever inscribed on their hearts, sealed by the Master, in His own blood. Remember. Once you encounter the Master, how could you ever forget?

((Kyrie) (from Ever After - A Cinderella Story)). By George Fenton. SSATB A Cappella. Choral. 8 pages

Composed by David M. Cherwien. For SATB choir a cappella and solo instrument. Commitment/Discipleship, Lent, General, 21st Century. Moderately Easy. Octavo. Text Language: English. Published by MorningStar Music Publishers

SATB choir, piano

SKU: LO.10-5597L

Composed by Dan Boone. Choral. Sacred Anthem, General. Octavo. Lorenz Publishing Company #10/5597L. Published by Lorenz Publishing Company (LO.10-5597L).

ISBN 9780787774394.

Lore nz is proud to welcome Dan Boone to our catalog with his striking arrangement of I Need Thee Every Hour. Full of well-crafted vocal writing, unexpected harmonies, and creative piano textures, this anthem breathes new life into a treasured hymn. You will want to return to this one again after again!

Composed by Giselle Wyers. For SATB choir, piano. Giselle Wyers Choral Series. Concert. Octavo. Santa Barbara Music Publishing #SBMP1015. Published by Santa Barbara Music Publishing

By Craig Courtney. For SATB choir divisi, Solo, piano. All Saints Day, General, Patriotic, Reformation, Sacred. Sacred Anthem

Composed by Lynne K. Pickett. For SATB choir, a cappella and medium voice solo. Octavo. Published by MorningStar Music Publishers

Choral SATB Choir and Piano

SKU: CF.CM9740

Composed by Mark Burrows. 16 pages. Duration 4 minutes, 22 seconds. Carl Fischer Music #CM9740. Published by Carl Fischer Music (CF.CM9740).

ISBN 9781491161203. UPC: 680160919789. Key: Bb major. English. Siegfried Sasson.

Everyone suddenly burst out singing; And I was filled with such delight As prisoned birds must find in freedom... These opening lines to Everyone Sang by the British war poet Siegfried Sassoon feel as relevant today as they did when the poem was first published in 1919. It was after the end of World War I and these words capture so much of the collective exhilaration, relief, and pure joy about the Great War finally coming to an end. And yet Sassoon himself felt none of that when he wrote this poem. In his own words, he was feeling dull-minded and depressed. Perhaps his time in the trenches was still too recent. One of the reasons the creative arts are so powerful is that a poet like Sassoon (or a painter like Van Gogh or a composer like Mahler) can take their own feelings of deep sadness or pain and transform them into something beautiful, even uplifting. Everyone Sang is a celebration of the promise that things can get better, that there are things worth looking forward to.   The poem itself has so much rhythm and musicality. The appearance of suddenly in the first line of each verse gives those verses a rush of energy. Attention to the crescendo in measure 7, and again in measure 37, from mf to f will help the listener experience that rush. There are expressive opportunities with so many of the poet's bold choices of action words - burst, winging, and shaken. Then there's alliteration - a poetic device that can be overdone, but Sassoon strikes a wonderful balance. Suddenly/singing (measures 6-7 and 10-11) Find/freedom (measure 21-22) Winging/wildly (measure 23) Setting/sun (measures 47-49) Was/wordless (measures 65-75) Give these alliterations just a hint of emphasis (without overdoing) to bring out the natural rhythm of the text.   And just as O is set apart in the poem by punctuation, I wanted the musical setting - in measure 57 - to honor that feeling of wonder - ...O, but Everyone Was a bird; and the song was wordless; the singing will Never be done. Friends, there is so much good ahead, so much to be excited about. May the singing never be done.
Everyone suddenly burst out singingAnd I was filled with such delightAs prisoned birds must find in freedom…These opening lines to Everyone Sang by the British war poet Siegfried Sassoon feel as relevant today as they did when the poem was first published in 1919. It was after the end of World War I and these words capture so much of the collective exhilaration, relief, and pure joy about the “Great War” finally coming to an end. And yet Sassoon himself felt none of that when he wrote this poem. In his own words, he “was feeling dull-minded and depressed.” Perhaps his time in the trenches was still too recent.One of the reasons the creative arts are so powerful is that a poet like Sassoon (or a painter like Van Gogh or a composer like Mahler) can take their own feelings of deep sadness or pain and transform them into something beautiful, even uplifting. Everyone Sang is a celebration of the promise that things can get better, that there are things worth looking forward to. The poem itself has so much rhythm and musicality.The appearance of “suddenly” in the first line of each verse gives those verses a rush of energy. Attention to the crescendo in measure 7, and again in measure 37, from mf to f will help the listener experience that rush.There are expressive opportunities with so many of the poet’s bold choices of action words – burst, winging, and shaken.Then there’s alliteration - a poetic device that can be overdone, but Sassoon strikes a wonderful balance.Suddenly/singing (measures 6-7 and 10-11)Find/freedom (measure 21-22)Winging/wildly (measure 23)Setting/sun (measures 47-49)Was/wordless (measures 65-75)Give these alliterations just a hint of emphasis (without overdoing) to bring out the natural rhythm of the text. And just as “O” is set apart in the poem by punctuation, I wanted the musical setting – in measure 57 - to honor that feeling of wonder –…O, but EveryoneWas a bird; and the song was wordless; the singing willNever be done. Friends, there is so much good ahead, so much to be excited about.May the singing never be done.

By The Afters. By Josh Havens, Matt Fuqua, and Jason Ingram. Arranged by Joseph M. Martin. PraiseSong Choral. General Worship, Memorial, Sacred. Octavo. 16 pages. Published by PraiseSong

SATB Chorus, & Piano

SKU: SU.96010060

For SATB Chorus, & Piano. Composed by Joseph Gianono. Vocal/Choral, Secular Choral. Accompanied by piano. Choral Octavo. Subito Music Corporation #96010060. Published by Subito Music Corporation (SU.96010060).

Instrumentation : SATB Chorus, & Piano
Duration: 3:30'
Composed: 2012
Published by: Subito Music Publishing Minimum order quantity: 8 copies. Perusal copies are available by contacting (include the organization name with your request). To order quantities fewer than 8, please call customer service at (973) 857-3440.
About T.N.TAs a matter of practicality, when I was first asked to write a piece for the New York Theatrical Community Choir in 2005 by its music director, David Wolfson, I immediately decided to write a Kyrie. After all, I thought..., the text is only about four words and eliminated the need for a lyricist. Most appealing, however, was the fact that it would bring me one step closer to finishing the Mass that I was in the process of writing. If ever there was a case to be made for divine inspiration this appeared to be it. David Wolfson liked the idea and casually mentioned that there was another Kyrie and a religious hymn on the program. He also mentioned that the choir consisted predominantly of actors that sing.Like a bolt of lightning, divine intervention interceded whereupon I instantly realized that he needed a piece to wake up the audience, not another Kyrie. I took a breath and spontaneously began to talk through and improvise the concept of a piece that became the basis for Taxi.At that moment I was clueless as to what kind of piece I would write but it appeared to be a good idea at the time. David's reaction to my presentation was something like Okay,...I have no idea what you are talking about but let's try it. After a very successful public performance, he was delighted that I decided not to write a Kyrie and remarked that writ-ing a piece like Taxi for this group was like feeding raw meat to a pack of hungry lions. At that moment, the idea of doing a trilogy of similar pieces was born. For the last two seasons of the choir's existence I was asked to write a new piece and... as a matter of practicality, I happily agreed.-- Joe GianonoNote: Taxi, Noise, and Time may be performed separately.

SATB Chorus, & Piano

SKU: SU.96010061

For SATB Chorus, & Piano. Composed by Joseph Gianono. Vocal/Choral, Secular Choral. Accompanied by piano. Choral Octavo. Subito Music Corporation #96010061. Published by Subito Music Corporation (SU.96010061).

Instrumentation : SATB Chorus, & Piano
Duration: 5'
Composed: 2012
Published by: Subito Music Publishing Minimum order quantity: 8 copies. Perusal copies are available by contacting (include the organization name with your request). To order quantities fewer than 8, please call customer service at (973) 857-3440.
About T.N.T

As a matter of practicality, when I was first asked to write a piece for the New York Theatrical Community Choir in 2005 by its music director, David Wolfson, I immediately decided to write a Kyrie. After all, I thought..., the text is only about four words and eliminated the need for a lyricist. Most appealing, however, was the fact that it would bring me one step closer to finishing the Massthat I was in the process of writing. If ever there was a case to be made for divine inspiration this appeared to be it. David Wolfson liked the idea and casually mentioned that there was another Kyrie and a religious hymn on the program. He also mentioned that the choir consisted predominantly of actors that sing.

Like a bolt of lightning, divine intervention interceded whereupon I instantly realized that he needed a piece to wake up the audience, not another Kyrie. I took a breath and spontaneously began to talk through and improvise the concept of a piece that became the basis for Taxi.

At that moment I was clueless as to what kind of piece I would write but it appeared to be a good idea at the time. David's reaction to my presentation was something like Okay,...I have no idea what you are talking about but let's try it. After a very successful public performance, he was delighted that I decided not to write a Kyrie and remarked that writ-ing a piece like Taxi for this group was like feeding raw meat to a pack of hungry lions. At that moment, the idea of doing a trilogy of similar pieces was born. For the last two seasons of the choir's existence I was asked to write a new piece and ... as a matter of practicality, I happily agreed.

-- Joe Gianono

Note: Taxi, Noise, and Time may be performed separately.

SATB Chorus, & Piano

SKU: SU.96010062

For SATB Chorus, & Piano. Composed by Joseph Gianono. Vocal/Choral, Secular Choral. Accompanied by piano. Choral Octavo. Subito Music Corporation #96010062. Published by Subito Music Corporation (SU.96010062).

Instrumentation : SATB Chorus, & Piano
Duration: 4'
Composed: 2012
Published by: Subito Music Publishing Minimum order quantity: 8 copies. Perusal copies are available by contacting (include the organization name with your request). To order quantities fewer than 8, please call customer service at (973) 857-3440.
About T.N.TAs a matter of practicality, when I was first asked to write a piece for the New York Theatrical Community Choir in 2005 by its music director, David Wolfson, I immediately decided to write a Kyrie. After all, I thought..., the text is only about four words and eliminated the need for a lyricist. Most appealing, however, was the fact that it would bring me one step closer to finishing the Mass that I was in the process of writing. If ever there was a case to be made for divine inspiration this appeared to be it. David Wolfson liked the idea and casually mentioned that there was another Kyrie and a religious hymn on the program. He also mentioned that the choir consisted predominantly of actors that sing.Like a bolt of lightning, divine intervention interceded whereupon I instantly realized that he needed a piece to wake up the audience, not another Kyrie. I took a breath and spontaneously began to talk through and improvise the concept of a piece that became the basis for Taxi.At that moment I was clueless as to what kind of piece I would write but it appeared to be a good idea at the time. David's reaction to my presentation was something like Okay,...I have no idea what you are talking about but let's try it. After a very successful public performance, he was delighted that I decided not to write a Kyrie and remarked that writ-ing a piece like Taxi for this group was like feeding raw meat to a pack of hungry lions. At that moment, the idea of doing a trilogy of similar pieces was born. For the last two seasons of the choir's existence I was asked to write a new piece and... as a matter of practicality, I happily agreed.-- Joe GianonoNote: Taxi, Noise, and Time may be performed separately.

By Francis Poulenc. (SATB). Choral. Size 7x10.75 inches. 10 pages. Published by Salabert - Old.

Mixed choir (SATB), 2 flutes, 2 oboes, 2 clarinets, 2 bassoons - 2 horns, 2 trumpets, 3 trombones, timpani and strings (P+KRB)

SKU: HL.49042434

Composed by Carl Maria von Weber. Edited by Frank Ziegler and Johannes Kepper. This edition: Full-cloth binding. Sheet music. Edition Schott. Score and critical commentary, complete edition. 306 pages. Schott Music #WGA1021. Published by Schott Music (HL.49042434).

ISBN 9783795794491. 10.25x13.5x1.141 inches. German.

Carl Maria von Weber's fame rests mainly on 'Der Freischutz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as 'Preciosa', 'Oberon', and 'Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music; cantatas, odes and other occasional works; stage works; lieder and vocal works; orchestral works; chamber music; music for piano; piano reductions; miscellanea, arrangements and orchestrations; works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references.

SATB and Organ. By Benjamin Britten. (SATB). Boosey and Hawkes Sacred Choral. Size 7x10.5 inches. 14 pages. Published by Boosey and Hawkes.

Choral SATB choir, piano

SKU: PR.342402070

Composed by Steven Stucky. -. Ars Nova Chamber Singers, Boulder CO. Performance Score. With Standard notation. Composed 7-Feb. 8 pages. Duration 3 minutes. Theodore Presser Company #342-40207. Published by Theodore Presser Company (PR.342402070).

ISBN 9781491111253. UPC: 680160643226. Octavo inches. Text: Archibald R. Ammons. Archibald Ammons. Text by A.R. Ammons.

To benefit Chorus America, Stucky allowed himself to be auctioned off as a prize - the high bidder would receive a new work from the composer. After a few years and not really hearing anything, Stucky suddenly found himself up against a deadline. He reached back to a favorite poem by A.R. Ammons, Eyesight, which, he says, Won't let...his reader rest till the very last word...one of those sudden insights that leave us breathless..
This piece has an odd history. A few years ago, I agreed to be one of the“prizes” in an auction to benefit Chorus America: the highest bidder wouldget a new piece from me, while their money went to the organization. Thewinning bid came from a collection of several professional choruses anddirectors. But I was always a little vague about the details, and, hearingnothing more about it for a few years, forgot the whole thing.One day I received a message from Thomas Edward Morgan, directorof the Ars Nova Chamber Singers in Boulder: they had scheduled thepremiere of my new piece for a few weeks later, and could they have themusic, please? I needed a text, quickly, and (as usual) I was in a Los Angeleshotel room, not at home with my books. So I turned to the internet andsoon tracked down my favorite poet, A.R. Ammons (1926-2001).Once I stumbled on “Eyesight,” I remembered having loved the poemyears before. Archie must have loved it, too, because he included it bothin his Collected Poems 1951-1971 and in the later Selected Poems. It haseverything you want in an Archie Ammons poem: what Edward Hirschcalled his “offbeat, sideways, unpredictable radiance,” his “homespunglory.â� � It has one of his trademark conversations with a mountain (perhapsfrom his native North Carolina), it has the fluid motion from one line tothe next (enjambment, if you want to get technical) that won’t let him orhis reader rest till the very last word of the very last line, and it has in thatlast line one of those sudden insights that leave us breathless: “some thingsthat go are gone.”I miss Archie, but he’s not gone. I’m grateful for the wonderful poems heleft us, and I’m grateful that he was always generous and kind when I hadthe chutzpah to add my music to his.