By Jonathan Crutchfield. For SATB choir, medium voice solo and organ, with optio...(+)
By Jonathan Crutchfield.
For SATB choir, medium
voice solo and organ,
with optional solo horn
or brass quartet.
Presbyterian Association
of Musicians Choral
Series. Parts included:
trumpets I and II in
B-flat and C, horn,
trombone and optional
trombone (sub. for horn).
Faith, Good Shepherd
Sunday. Moderately easy.
Instrumental parts. 12
pages. Published by
MorningStar Music
Publishers
SATB choir SKU: WD.080689862120 The Promise Of Easter. Composed by...(+)
SATB choir
SKU:
WD.080689862120
The Promise Of
Easter. Composed by
Allan Douglas, Deborah
Craig-Claar, and Phillip
Keveren. Arranged by
Phillip Keveren. Choral,
cantatas. Christmas.
Accompaniment CD (split).
Word Music #080689862120.
Published by Word Music
(WD.080689862120).
UPC:
080689862120.
The
life-changing story of
Jesus' death and
resurrection is told from
the unique perspective of
the Samaritan woman at
the well as she is
transformed by the
sacrificial love of
Christ in this passionate
new work from Deborah
Craig-Claar, Allan
Douglas and Phillip
Keveren. Two actresses
portray the woman called
Anna - an older woman who
looks back at the Passion
events from a
post-resurrection
perspective, and her
younger counterpart who
encounters Jesus at the
well and joins His
followers in Jerusalem
during Passion Week. The
extraordinary score
includes songs written or
made popular by today's
most accomplished
artists, including
Michael W. Smith, Keith
Getty, Stuart Townend,
Matt Maher, and Natalie
Grant. Phillip Keveren's
breathtaking chamber
ensemble instrumentation
creates an intimate and
compelling experience. At
only 40 minutes in length
and with only two female
characters, one male
character, and purely
optional
sets/lights/costumes,
Never Thirst Again can be
offered by churches of
any size or production
capability.
Includ
es songs written or made
popular by Michael W.
Smith, Keith Getty,
Stuart Townend, Matt
Maher, Natalie Grant,
Tony Wood, Michael
Farren, Audrey Assad, and
Shelley Johnson. Chamber
ensemble instrumentation
creates an intimate and
compelling experience.
Accessible cast
requirements: two female
characters, one male
character - costumes,
props, and sets are
purely optional. Reader's
Theatre script available
at www.wordmusic.com.
Features early American
classics There Is a
Fountain and My Song in
the Night. Thoughtful
benediction, Peace Be
with You, or an exuberant
and congregational
Finale.
Chorale SATB SATB, Piano [Octavo] Alfred Publishing
Arranged by , edited by Bob Dingley, composed by Greg Gilpin. Collection for SAT...(+)
Arranged by , edited by
Bob Dingley, composed by
Greg Gilpin. Collection
for SATB chorus and piano
accompaniment. Series:
Pop choral octavo (SATB).
172 pages. Published by
Alfred Publishing.
High Flight Chorale SATB SATB, Piano Theodore Presser Co.
Choral SATB Choir and Piano SKU: PR.312419020 From Terra Nostra. C...(+)
Choral SATB Choir and
Piano
SKU:
PR.312419020
From
Terra Nostra.
Composed by Stacy Garrop.
Sws. Performance Score.
12 pages. Duration 3:15.
Theodore Presser Company
#312-41902. Published by
Theodore Presser Company
(PR.312419020).
ISBN
9781491131862. UPC:
680160680474. 6.875 x
10.5 inches.
English.
Commission
ed by the San Francisco
Choral Society and the
Piedmont East Bay
Children’s Choir,
Terra Nostra is a
70-minute oratorio on the
relationship between our
planet and humankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. Part
I: Creation of the World
explores various creation
myths from different
cultures, culminating in
a joyous celebration of
the beauty of our planet.
Part II: The Rise of
Humanity examines human
achievements,
particularly since the
dawn of our Industrial
Age, and how these
achievements have
impacted the planet. Part
III: Searching for
Balance questions how to
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. In addition to
the complete oratorio,
stand-alone movements for
mixed chorus, and for
solo voice with piano,
are also available
separately. Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s
World†by Edna St.
Vincent Millay, which
describes the world in
exuberant and vivid
detail. Percy Bysshe
Shelley’s
“On thine own
child†praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O
voluptuous cool-breathed
earth!†Part I ends
with “A Blade of
Grass†in which
Whitman muses how our
planet has been spinning
in the heavens for a very
long time.Part II: The
Rise of Humanity examines
the achievements of
mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley
Hall†sets an
auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s
“Railways
1846,†William
Ernest Henley’s
“A Song of
Speed,†and John
Gillespie Magee,
Jr.’s “High
Flight,†each of
which celebrates a new
milestone in
technological
achievement. In
“Binsey
Poplars,†Gerard
Manley Hopkins takes note
of the effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A
Dirge†concludes
Part II with a warning
that the planet is
beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s
plight, re-establish a
deeper connection to it,
and find a balance for
living within our
planet’s
resources. Three texts
continue the
earth’s plea that
ended the previous
section: Lord
Byron’s
“Darknessâ€
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s
“Earth
Screaming†gives
voice to the modern
issues of our changing
climate; and William
Wordsworth’s
“The World Is Too
Much With Us†warns
us that we are almost out
of time to change our
course.
Contemporary/agrarian
poet Wendell
Berry’s “The
Want of Peaceâ€
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts
(“A Child said,
What is the grass?â€
and “There was a
child went forth every
dayâ€) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s
“A Blade of
Grass†from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states,
“I bequeath myself
to the dirt to grow from
the grass I
love…â€My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
Composed by Jessica
Curry.
Choral Octavo. Faber
Edition:
Choral Signature Series.
Contemporary; Secular.
Choral
Octavo. Faber Music #12-
0571542352. Published by
Faber
Music
Choral SATB choir, piano SKU: PR.312419280 From Terra Nostra. Comp...(+)
Choral SATB choir, piano
SKU: PR.312419280
From Terra Nostra.
Composed by Stacy Garrop.
Performance Score. 12
pages. Duration 5:30.
Theodore Presser Company
#312-41928. Published by
Theodore Presser Company
(PR.312419280).
ISBN
9781491137925. UPC:
680160692613.
Terra
Nostra focuses on the
relationship between our
planet and mankind, how
this relationship has
shifted over time, and
how we can re-establish a
harmonious balance. The
oratorio is divided into
three parts:Part I:
Creation of the World
celebrates the birth and
beauty of our planet. The
oratorio begins with
creation myths from
India, North America, and
Egypt that are integrated
into the opening lines of
Genesis from the Old
Testament. The music
surges forth from these
creation stories into
“God’s World” by
Edna St. Vincent Millay,
which describes the world
in exuberant and vivid
detail. Percy Bysshe
Shelley’s “On thine
own child” praises
Mother Earth for her role
bringing forth all life,
while Walt Whitman sings
a love song to the planet
in “Smile O voluptuous
cool-breathed earth!”
Part I ends with “A
Blade of Grass” in
which Whitman muses how
our planet has been
spinning in the heavens
for a very long time.Part
II: The Rise of Humanity
examines the achievements
of mankind, particularly
since the dawn of the
Industrial Age. Lord
Alfred Tennyson’s
“Locksley Hall” sets
an auspicious tone that
mankind is on the verge
of great discoveries.
This is followed in short
order by Charles
Mackay’s “Railways
1846,” William Ernest
Henley’s “A Song of
Speed,” and John
Gillespie Magee, Jr.’s
“High Flight,” each
of which celebrates a new
milestone in
technological
achievement. In “Binsey
Poplars,” Gerard Manley
Hopkins takes note of the
effect that these
advances are having on
the planet, with trees
being brought down and
landscapes forever
changed. Percy Bysshe
Shelley’s “A Dirge”
concludes Part II with a
warning that the planet
is beginning to sound a
grave alarm.Part III:
Searching for Balance
questions how we can
create more awareness for
our planet’s plight,
re-establish a deeper
connection to it, and
find a balance for living
within our planet’s
resources. Three texts
continue the earth’s
plea that ended the
previous section: Lord
Byron’s “Darkness”
speaks of a natural
disaster (a volcano) that
has blotted out the sun
from humanity and the
panic that ensues;
contemporary poet Esther
Iverem’s “Earth
Screaming” gives voice
to the modern issues of
our changing climate; and
William Wordsworth’s
“The World Is Too Much
With Us” warns us that
we are almost out of time
to change our course.
Contemporary/agrarian
poet Wendell Berry’s
“The Want of Peace”
speaks to us at the
climax of the oratorio,
reminding us that we can
find harmony with the
planet if we choose to
live more simply, and to
recall that we ourselves
came from the earth. Two
Walt Whitman texts (“A
Child said, What is the
grass?” and “There
was a child went forth
every day”) echo
Berry’s thoughts,
reminding us that we are
of the earth, as is
everything that we see on
our planet. The oratorio
concludes with a reprise
of Whitman’s “A Blade
of Grass” from Part I,
this time interspersed
with an additional
Whitman text that
sublimely states, “I
bequeath myself to the
dirt to grow from the
grass I love…”My hope
in writing this oratorio
is to invite audience
members to consider how
we interact with our
planet, and what we can
each personally do to
keep the planet going for
future generations. We
are the only stewards
Earth has; what can we
each do to leave her in
better shape than we
found her?
Composed by Lloyd Larson. Arranged by Ed Hogan. Choral, cantatas. Christmas. S...(+)
Composed by Lloyd Larson.
Arranged by Ed Hogan.
Choral,
cantatas. Christmas. SATB
with
performance CD. Lorenz
Publishing Company
#65/2121L.
Published by Lorenz
Publishing
Company
SATB choir - Moderate SKU: WD.080689964121 A Dramatic Musical for Chri...(+)
SATB choir - Moderate
SKU:
WD.080689964121
A
Dramatic Musical for
Christmas. Composed
by Heidi Petak & Daniel
Semsen, Jeff Bumgardner,
and Joel Lindsey.
Arranged by Daniel
Semsen. Choral, cantatas.
Eastertide. Accompaniment
CD (split). Duration 55
minutes. Word Music
#080689964121. Published
by Word Music
(WD.080689964121).
UPC:
080689964121.
For
many of us, Christmas is
a time of joy and
celebration, a time to be
spent with family and
friends...a festive,
happy time. But for
others, the same holiday
season only serves to
underscore the
loneliness,pain, and
hopelessness of their own
lives. In our story,
Susanna King's bright
spirit and love for life
overrides her
circumstances; you see,
Susanna has been recently
diagnosed with cancer.
But in spite of bad news
and challenging times,
she lives with the joy of
Christmas in her
heart. This is an
emotion-filled story,
rich with heart. It comes
alive with great new
songs that are sometimes
powerful, sometimes
celebratory, sometimes
poignant; sometimes
happy, sometimes sad;
songs that propel the
story along while
speaking to our hearts
with the love language of
God's Christmas
story...the birth of our
Savior,
Jesus. Designed to
bring your music and
drama ministries
together, Shepherds and
Kings proclaims a strong,
vibrant message about the
power of love--our love
for one another, our love
for God, and most
importantly, God's desire
that ALL would come to
know of His great love
for us. Share the hope
and good news of
Christmas with your
church and community this
year, through your
presentation of Shepherds
and Kings.
Song
Titles: Christmas All
Over the World (Opener) *
Underscore 1 (Susanna
Arrives) * Underscore 2
(Mattiello's) * We All
Need Christmas * Hopes
and Fears (Duet) * Mercy
for Me * Everlasting
Light * Underscore 3
(Accusations) * Prince of
Peace * Underscore 4
(Realization) * Winter
White * Shepherds and
Kings * Christmas Makes
Us One (with We All Need
Christmas; Christmas
Makes Us One; O Come, All
Ye Faithful and Shepherds
and Kings).
Choral SATB choir, piano accompaniment SKU: CF.CM9607 Composed by Z. Rand...(+)
Choral SATB choir, piano
accompaniment
SKU:
CF.CM9607
Composed by
Z. Randall Stroope. Sws.
Performance Score. 16
pages. Duration 4
minutes, 3 seconds. Carl
Fischer Music #CM9607.
Published by Carl Fischer
Music (CF.CM9607).
ISBN 9781491154298.
UPC: 680160912797. 6.875
x 10.5 inches. Key: Db
major. English. Lord
George Gordon Byron
(1788-1824).
Lord
George Gordon Byron,
described as mad, bad and
dangerous to know, is one
of the greatest British
poets. He was known for
his brilliant use of the
English language, as well
as his flamboyant
lifestyle and romantic
escapades. Scholars
believe that Byron wrote
She Walks in
Beauty in 1814 when
he met his cousin, Mrs.
John Wilmont. It is an
innocent poem, with
seemingly only admiration
of the subjects outer
physical beauty and inner
peace. Byron feels that
the persons beauty is a
perfect union of dark and
light. The cloudless
night is filled with soft
starlight. She exudes a
captivating purity,
almost an expression of
the divine. This is
arguably Lord Byrons best
known poem.
 . Lord George
Gordon Byron, described
as amad, bad and
dangerous to know,a is
one of the greatest
British poets. He was
known for his brilliant
use of the English
language, as well as his
flamboyant lifestyle and
romantic escapades.
Scholars believe that
Byron wrote She Walks
in Beauty in 1814
when he met his cousin,
Mrs. John Wilmont. It is
an innocent poem, with
seemingly only admiration
of the subjectas outer
physical beauty and inner
peace. Byron feels that
the personas beauty is a
perfect union of dark and
light. The cloudless
night is filled with soft
starlight. She exudes a
captivating purity,
almost an expression of
the divine. This is
arguably Lord Byronas
best known poem.
 . Lord George
Gordon Byron, described
as mad, bad and dangerous
to know, is one of the
greatest British poets.
He was known for his
brilliant use of the
English language, as well
as his flamboyant
lifestyle and romantic
escapades. Scholars
believe that Byron wrote
She Walks in
Beauty in 1814 when
he met his cousin, Mrs.
John Wilmont. It is an
innocent poem, with
seemingly only admiration
of the subject's outer
physical beauty and inner
peace. Byron feels that
the person's beauty is a
perfect union of dark and
light. The cloudless
night is filled with soft
starlight. She exudes a
captivating purity,
almost an expression of
the divine. This is
arguably Lord Byron's
best known poem.
 . Lord George
Gordon Byron, described
as mad, bad and dangerous
to know, is one of the
greatest British poets.
He was known for his
brilliant use of the
English language, as well
as his flamboyant
lifestyle and romantic
escapades. Scholars
believe that Byron wrote
She Walks in Beauty in
1814 when he met his
cousin, Mrs. John
Wilmont. It is an
innocent poem, with
seemingly only admiration
of the subject's outer
physical beauty and inner
peace. Byron feels that
the person's beauty is a
perfect union of dark and
light. The cloudless
night is filled with soft
starlight. She exudes a
captivating purity,
almost an expression of
the divine. This is
arguably Lord Byron's
best known poem.
 . Lord George
Gordon Byron, described
as “mad, bad and
dangerous to know,â€
is one of the greatest
British poets. He was
known for his brilliant
use of the English
language, as well as his
flamboyant lifestyle and
romantic
escapades.Scholars
believe that Byron wrote
She Walks in Beauty in
1814 when he met his
cousin, Mrs. John
Wilmont. It is an
innocent poem, with
seemingly only admiration
of the subject’s
outer physical beauty and
inner peace. Byron feels
that the person’s
beauty is a perfect union
of dark and light. The
cloudless night is filled
with soft starlight. She
exudes a captivating
purity, almost an
expression of the divine.
This is arguably Lord
Byron’s best known
poem. .
Ave Maria Chorale SATB SATB A Cappella [Octavo] CanticaNOVA Publications
Composed by Tomas Luis de Victoria (1548-1611). Edited by Andrea Angelini. Text:...(+)
Composed by Tomas Luis de
Victoria (1548-1611).
Edited by Andrea
Angelini. Text: Hail
Mary. Renaissance
treasure. Marian. Octavo.
Published by CanticaNOVA
Publications (C5.7019).
SATB choir - Easy SKU: WD.080689916120 An Easter Musical for Senior Ad...(+)
SATB choir - Easy
SKU:
WD.080689916120
An
Easter Musical for Senior
Adult Choir. Composed
by Marty Parks. Choral,
cantatas. Simply Word.
Accompaniment CD (split).
Duration 30 minutes. Word
Music #080689916120.
Published by Word Music
(WD.080689916120).
UPC:
080689916120.
Theme
s are an important part
of our lives. They give
us connectivity and
consistency. They provide
focus. They offer common
ground with like-minded
people. Good themes are
recurring
themes...especially in
regard to redeeming
love!
Word Music
Church Resources is proud
to be a part of a theme
which we share with many
of you...Senior Adult
Choirs! And as a
theme-within-a-theme,
Senior Adult Choirs are
synonymous with veteran
church musician and
arranger Marty Parks! On
the heels of his
best-selling Christmas
release, When Earth
Received Her King, Marty
brings us another
well-crafted, heartfelt,
joy-filled musical for
Easter Redeeming Love Has
Been My Theme.In
addition to the
Large-Print-No-Repeats
format, Marty Parks has
thoughtfully crafted this
newest inspired gem that
begs to be sung and is
guaranteed to make your
Senior Adults eager to
minister at your next
Easter service! Filled
with great songs,
Redeeming Love Has Been
My Theme features
singable arrangements
easily mastered by your
volunteer choir. Not only
will you meet your
group's easy
accessibility
requirements, this work
will make your volunteer
choir sound bigger than
life! It will leave them
with a feeling of great
accomplishment at having
delivered an inspired
performance while being a
part of such an important
ministry opportunity. And
while created for Senior
Adult Choirs, Redeeming
Love Has Been My Theme is
perfect for any SATB
choir with limited
rehearsal time or
ease-of-performance
needs.New with this
release are Stem Mixes
and a dynamic DVD
Accompaniment Track,
designed to revolutionize
your performance and take
your presentation to new
heights. Your Senior
Adult Choir will stand
out from the rest with
the use of this high
definition, specialized
asset - a
visually-engaging new
product enhancement!
Isthmus Chorale SATB [Conducteur] University Of York Music Press
SATB Choir SKU: BT.MUSM570368679 For choir and fixed media. Compos...(+)
SATB Choir
SKU:
BT.MUSM570368679
For choir and fixed
media. Composed by
Evis Sammoutis. Score
Only. Composed 2019. 14
pages. University of York
Music Press
#MUSM570368679. Published
by University of York
Music Press
(BT.MUSM570368679).
Isthmus denotes
a narrow strip of land
with sea on either side,
forming a link between
two larger ars of land.
The title is a metaphor
for an effort to bond
artistically my
experiences of living in
Cyprus, my birthplace,
and in the USA, my
recently adopted
homeland. Having lived in
a small, partitioned
island for my formative
years and in England for
eleven years, water has
always had a double
meaning: it has at once
served as a gateway to
other cultures but also
as a border, a violent
and absolute interruption
of a continuum. While in
the USA, or indeed in a
now connected Europe, it
is possible to travel on
land for days without
having to encounter a
border, in the countries
where I lived for most of
my life, that was not
possible. As an artist,
this notion of
establishing boundaries
and consciously trying to
break them is very close
to me, as my music deals
both with modernity but
also with tradition and,
similarly, with metaphor
and reality. As a
Cypriot, the sea, the
world of antiquity, the
mysteries of the oracles,
the notion of borders and
the pastoral are all very
central to my way of
thinking. In Cyprus,
different layers of
history are frequently
superimposed on a single
building that might still
preserve its Roman,
Byzantine, Venetian and
Ottoman features in its
layers of stone and
architecture. Similarly,
ancient ruins or the
barbed wire of modern
conflict often interrupt
placid fields. An
isthmus, therefore, can
be seen to symbolize my
artistic struggle to join
strikingly different
experiences and notions
in a cohesive way.
Similar to an isthmus, in
this short piece, I
connect these experiences
with the purpose of
creating a distinct and
unique sonic context,
connecting technology and
tradition, the pastoral
with the urban, the
musical with the
extra-musical and the
abstract with the
concrete. For example,
the choir does not always
sing in the traditional
sense, but the singers
imitate various natural
sounds, such as water,
air, crickets or birds,
to create a vivid visual
impression for the work.
Scandinavian herding
calls blend with field
recordings from the seas
of Cyprus and the lakes
of Upstate New York,
communicated within
clearly defined, singular
acoustic sources and
spaces through wireless
speakers. The text used
is both onomatopoeic,
articulating an imaginary
language, but also
literal, with a setting
of the poem, “To make a
prairie” by the iconic
American poet Emily
Dickinson and a tiny
fragment from
Callimachus’ “Hymn to
Demeter.” Technology is
used sparsely and very
intentionally to
articulate the expressive
qualities of pastoral
imagery, creating one
unified synthetic timbre
with the choristers’
sounds. This piece is
dedicated to the
wonderful singers of the
Georgia Institute of
Technology Chamber Choir
with special thanks to
Professors Hsu and
Ulrich, without whose
support this composition
would not have been
possible. Practical
notes: A choir of no
less than 24 singers is
sought with 4 additional
soloists (2 Sopranos and
2 Altos). Each singer
must have their own
wireless speaker, secured
either in the music
folder or as a strap
inside their shirts. All
sounds must match in
volume the sound from the
speakers, creating one
unified timbre. The
speakers should not be
noticeable to the public.
The four soloists are
placed offstage at the
beginning of the work.
From 1:35’ onwards they
enter the hall and take
their positions, ideally
at the four corners of
the hall. If the hall is
too large, the singers
can find alternate
positions, but these
should always be
antiphonal. The four
soloists sing
predominantly in the
“kulning” style and
the antiphonal aspect is
very important to the
work. There are two sound
files for each section
(SATB) that are triggered
by each singer’s mobile
device. The first occurs
at the start of the
piece, and the second,
about a minute before the
end. The sound files are
able to be purchased
separately, on CD, or are
available directly from
UYMP.
SATB choir SKU: WD.080689752728 The Promise Of Easter. Composed by...(+)
SATB choir
SKU:
WD.080689752728
The Promise Of
Easter. Composed by
Allan Douglas, Deborah
Craig-Claar, and Phillip
Keveren. Arranged by
Phillip Keveren. Choral,
cantatas. Easter,
Musical. Bulk CD
(10-pak). Word Music
#080689752728. Published
by Word Music
(WD.080689752728).
UPC:
080689752728.
The
life-changing story of
Jesus' death and
resurrection is told from
the unique perspective of
the Samaritan woman at
the well as she is
transformed by the
sacrificial love of
Christ in this passionate
new work from Deborah
Craig-Claar, Allan
Douglas and Phillip
Keveren. Two actresses
portray the woman called
Anna - an older woman who
looks back at the Passion
events from a
post-resurrection
perspective, and her
younger counterpart who
encounters Jesus at the
well and joins His
followers in Jerusalem
during Passion Week. The
extraordinary score
includes songs written or
made popular by today's
most accomplished
artists, including
Michael W. Smith, Keith
Getty, Stuart Townend,
Matt Maher, and Natalie
Grant. Phillip Keveren's
breathtaking chamber
ensemble instrumentation
creates an intimate and
compelling experience. At
only 40 minutes in length
and with only two female
characters, one male
character, and purely
optional
sets/lights/costumes,
Never Thirst Again can be
offered by churches of
any size or production
capability.
Includ
es songs written or made
popular by Michael W.
Smith, Keith Getty,
Stuart Townend, Matt
Maher, Natalie Grant,
Tony Wood, Michael
Farren, Audrey Assad, and
Shelley Johnson. Chamber
ensemble instrumentation
creates an intimate and
compelling experience.
Accessible cast
requirements: two female
characters, one male
character - costumes,
props, and sets are
purely optional. Reader's
Theatre script available
at www.wordmusic.com.
Features early American
classics There Is a
Fountain and My Song in
the Night. Thoughtful
benediction, Peace Be
with You, or an exuberant
and congregational
Finale.
Composed by Johann Sebastian Bach (1685-1750), edited by Albert Riemenschneider,...(+)
Composed by Johann
Sebastian Bach
(1685-1750), edited by
Albert Riemenschneider,
Charles Boyd. Vocal score
book for SATB choir. With
vocal score notation
(open score in German;
closed score in English),
introductory text and .
Text language English;
lyrics in German and
English. 127 pages.
Published by G. Schirmer,
Inc.
SATB choir with vocal solo SKU: LP.OR-2660 Arranged by Richard Kingsmore....(+)
SATB choir with vocal
solo
SKU:
LP.OR-2660
Arranged
by Richard Kingsmore.
This edition: Loose-Leaf.
Anthems. Sacred. Score
and parts. Published by
Lillenas Publishing
Company (LP.OR-2660).
UPC:
765762086005.
Compl
ete parts for
accompaniment by live
orchestra. Includes full,
transposed conductor's
score and parts for
instruments which you may
photocopy (for your
church's use only).
Fussreise Chorale SATB SATB, Piano [Conducteur] - Intermédiaire Carus Verlag
SATB Choir, Piano - Level 3 SKU: CA.925600 Composed by Hugo Wolf. Arrange...(+)
SATB Choir, Piano - Level
3
SKU: CA.925600
Composed by Hugo Wolf.
Arranged by Denis Rouger.
Separate edition to the
CD. Lieder, Secular
choral music. Full Score.
Duration 3 minutes. Carus
Verlag #CV 09.256/00.
Published by Carus Verlag
(CA.925600).
ISBN
M-007-24918-2. Key: D
major. German. Text:
Morike,
Eduard.
Hugo Wolf
set a total of 53 songs
by Eduard Morike, all in
the year 1888. The
composer wrote in a
letter: Once you have
heard this song, it can
only inspire one wish -
to die. In the
artistic-metaphysical
milieu of the late 19th
century this was regarded
as the highest ideal,
especially for Hugo Wolf,
who believed in the body
as a wretched piano case
from which the soul can
only break free like
harmonies dying away. And
yet Fussreise (Journey on
Foot) begins as a simple,
happy, elated song of
travel, revolving around
the key of D major over
an ostinato piano rhythm.
Old Adam believes he
senses the bliss of
paradise in this, but he
continues to be caught in
the tension between
earthly suffering and
eternal longing, as the
rest of Hugo Wolf's
setting clearly shows: it
remains a pious hope that
a whole life would be
such a morning journey
bathed in gentle
perspiration. These art
songs were originally
composed not for chamber
choir, but for solo voice
and piano. Denis Rouger
has carefully adapted
them to suit the
requirements and
expressive possibilities
offered by a larger
ensemble, without losing
the any of the qualities
of the original in the
process. Each part in the
choir has a melodic line
drawn from the harmonic
and rhythmic framework.
In the process, the
variety and refinement of
the choral language
combines with an enormous
flexibility in form and
expression, as French
melodies or German art
song demand from a
soloist and pianist. The
songs have been recorded
by the figure humaine
chamber choir on the CD
Kennst du das Land ...
(Carus 83.495).
Mass of Creation - Vocal Edition. (SATB Vocal Edition). By Marty Haugen. For SAT...(+)
Mass of Creation - Vocal
Edition. (SATB Vocal
Edition). By Marty
Haugen. For SATB Choir
and Keyboard
accompaniment. Mass.
Sacred. Choral parts
only. Text language:
English. 20 pages.
Published by GIA
Publications
(Rejoice in the Light of Easter's Day). Composed by Tony Wood. Arranged by Danie...(+)
(Rejoice in the Light of
Easter's Day). Composed
by Tony Wood. Arranged by
Daniel Semsen. For SATB
choir. Easter Musical.
Difficulty: Moderate.
Choral book. Duration 34
minutes. Published by
Word Music
SATB choir SKU: ST.EM33 Composed by Richard Alison. Edited by Edmund H Fe...(+)
SATB choir
SKU:
ST.EM33
Composed by
Richard Alison. Edited by
Edmund H Fellowes.
Library Volumes. Edited
Edmund Fellowes. Revised
Thurston Dart. Paperback.
Madrigals. Choral Score.
Stainer & Bell Ltd.
#EM33. Published by
Stainer & Bell Ltd.
(ST.EM33).
ISBN
9790220200076.
This
interesting collection
looks back to the
'Winter' of Byrd and
Mundy in the conservative
settings of such verse as
My prime of
youth (see EM35B);
but it is also a
contemporary record, with
two madrigals celebrating
the failure of Guy
Fawkes' Gunpowder Plot
against James I.
CONTENTS Behold now
praise the Lord (S (or A)
S (or A) TBB) But yet
it seems (SSAB) Can I
abide this prancing?
(SSATB) Earth's but a
point (SSATB) For
Lust is frail (SSATB)
He only can behold
(SSAB) Her eyes like
angels (SSATB) I can
no more but hope
(SSAB) In hope a King
(SSAB) My prime of
youth (SSAB) O heavy
heart (SSAB) O Lord
bow down thine ear
(SATTB) Rest with
yourselves (SSATB)
Shall I abide this
jesting (SSATB) The
man upright of life
(SSAB) The sacred
choir of angels
(SATBB) The Spring is
past (SSAB) The
stately stag (SSATB)
The sturdy rock
(SSATB) There is a
garden in her face
(SSATB) Those
cherries fairly do
enclose (SSATB)
Though Wit bids Will
(SSAB) What if a day
(SSATB) Who loves
this life (SSAB).
SATB choir, piano SKU: LO.55-1195L Composed by Lloyd Larson. Arranged by ...(+)
SATB choir, piano
SKU:
LO.55-1195L
Composed
by Lloyd Larson. Arranged
by Jay Rouse. Choral,
cantatas. Eastertide,
Holy Week. SATB with
performance CD. Lorenz
Publishing Company
#55/1195L. Published by
Lorenz Publishing Company
(LO.55-1195L).
ISBN
9780787764326.
In
“Calvary’s
Love,†Lloyd Larson
and Jay Rouse offer an
inspiring reminder of the
gifts of love and life
that are ours because of
the price Jesus paid at
Calvary. Flexibly
conceived for Lent, Holy
Week, or Eastertide
programming, it may be
performed as a whole, or
each individual anthem
may be presented during
the weeks leading up to
Easter, depending on your
programming needs. Small
and large choirs alike
will find the choral
writing appealing and
versatile, and
accompaniment options
range from piano only to
Ed Hogan’s
powerful orchestration.
Choirs and congregations
will be encouraged by
this musical telling of
the timeless message of
God’s sacrifice
and love through Jesus.
“Greater love has
no one than this: that
one lay down His life for
His friends.â€.
SATB choir, cantor, assembly, keyboard accompaniment, violin - Early intermediat...(+)
SATB choir, cantor,
assembly, keyboard
accompaniment, violin -
Early intermediate
SKU: GI.G-9630
Composed by Ephrem
Feeley. Ordinary Time 18
B. Choral. Sacred.
Octavo. 8 pages. GIA
Publications #9630.
Published by GIA
Publications (GI.G-9630).
UPC: 785147963004.
English. Text Source:
Vv.: James Quinn, SJ,
1919–2010, Ref.:
Ephrem Feeley. Text by
James Quinn.
In the
Gospel of John, there are
a number of times when
Jesus uses the statement
“I Am,†which
his followers would have
automatically linked to
the divine Name. Some of
these
statements—Christ
as the Bread of Life, the
Gateway, the Light of the
World—are
referenced in
Quinn’s text, as
well as the Alpha and
Omega, which is found
three times in
Revelation. A few of
these statements also
appear in the refrain.
The verses may be sung by
a cantor or the choir.
There are a number of
musically effective ways
to use this piece in
liturgy: with the full
choir, as written,
simply, with cantor and
assembly, or with a
two-part refrain, using
only the soprano and
tenor lines.
Requiem in C minor Chorale SATB satb (soli), SATB (chœur), Orchestre - Intermédiaire Carus Verlag
Soli SATB, Coro SATB, 2 Ctr, 2 Tr, (3 Trb), Timp, 2 Vl, Bc - Level 3 SKU: CA....(+)
Soli SATB, Coro SATB, 2
Ctr, 2 Tr, (3 Trb), Timp,
2 Vl, Bc - Level 3
SKU: CA.5032104
Composed by Michael
Haydn. Edited by Charles
H. Sherman. Stuttgart
Urtext Edition: Johann
Michael Haydn. XL in
large print. Sacred vocal
music, Requiem, Mourning,
death. Vocal score.
Composed 1771. MH 155. 72
pages. Duration 35
minutes. Carus Verlag #CV
50.321/04. Published by
Carus Verlag
(CA.5032104).
ISBN
9790007244613. Key: C
minor. Language:
Latin.
Johann
Michael Haydn's Requiem
in C minor heavily
influenced W. A. Mozart's
Requiem. In just two
weeks Michael Haydn
composed his work in
December 1771, on the
occasion of the death of
his employer, Prince
Bishop Sigismund Count
Schrattenbach, who was
beloved among the people
and was a great patron of
the arts. The work was
written under the
impression of personal
tragedy: Haydn's only
child, Aloisia Josepha,
died in January 1771,
before completing her
first year of life. Parts
of the
Schrattenbach-Requiem
were played together with
the completed movements
from his second,
unfinished Requiem during
his own furneral service.
During the funeral
service in Vienna for
Joseph Haydn, parts of
his younger brother's
C-minor Requiem were also
performed. Score
available separately -
see item CA.5032100.
Composed by Lloyd Larson. Arranged by Jay Rouse. Choral, cantatas. Eastertid...(+)
Composed by Lloyd Larson.
Arranged by Jay Rouse.
Choral, cantatas.
Eastertide,
Holy Week. Choral score.
Lorenz Publishing Company
#55/1196L. Published by
Lorenz Publishing Company
Calvary's Love Chorale SATB SATB, Piano Lorenz Publishing Company
Composed by Lloyd Larson. Arranged by Jay Rouse. Choral, cantatas. Eastertide,...(+)
Composed by Lloyd Larson.
Arranged by Jay Rouse.
Choral, cantatas.
Eastertide,
Holy Week. Choral score.
Lorenz Publishing Company
#55/1194L. Published by
Lorenz Publishing Company
Choral (SATB) SKU: HL.1428506 Composed by Adrian Dunn. Gentry Publication...(+)
Choral (SATB)
SKU:
HL.1428506
Composed
by Adrian Dunn. Gentry
Publications. Octavo.
Gentry Publications
#JG2725. Published by
Gentry Publications
(HL.1428506).
UPC:
196288202721.
Adria
n Dunn's “You
Promised” is a
soul-stirring piece for
piano, choir, and solo
that resonates with the
unwavering promise of
divine presence. Crafted
as a slow gospel ballad,
this composition
encapsulates the
assurance that, amidst
life's trials, God
remains steadfast by our
side. With room for
emotive ad libs, it's a
moving piece that not
only leaves choirs and
audiences captivated but
also instills a profound
sense of faith, reminding
us that God's promise of
unwavering support
endures through every
challenge.
Mixed choir SKU: FG.55011-857-7 Composed by ŽibuoklÄ— MartinaitytÄ...(+)
Mixed choir
SKU:
FG.55011-857-7
Composed by
Žibuoklė
MartinaitytÄ—.
Classical, contemporary.
Book. Fennica Gehrman
#55011-857-7. Published
by Fennica Gehrman
(FG.55011-857-7).
Žibuoklė
MartinaitytÄ— tells
about the background of
Aletheia (2022) for mixed
choir (SSSSAAAATTTTBBBB):
Aletheia is variously
translated from Greek as
unconcealedness,
revealing or
unclosedness. It is
uncovering of the Truth -
the one we are afraid to
face, the truth that can
only be expressed
directly through the
pre-verbal communication.
How do you find words for
the horrors of the war,
for all unimaginable
global atrocities? How do
you even allow yourself
to feel it out? Solely
through art, through
music that offer a safe
space and a formalized
framework for processing
these accumulated complex
emotions and sharing them
with others in a moment.
This piece has no verbal
text and it is based on
various combinations of
vowels and consonants,
thus connecting us on a
deeper level through the
immediate emotional
experience.
The
war in Ukraine in spring
of 2022 had an impact on
all of us and shattered
my deeply rooted
Lithuanian identity. When
the freedom is threatened
and innocent people are
dying, it is hard to make
sense out of the reality.
Yet there is poetry even
in the worst nightmares.
I was imagining that the
only instrument people
have even in situations
of destruction, in the
midst of the war, is
their VOICE. It brought
back memories of my youth
when Singing revolution
was taking place in the
Baltic countries. Human
voice was the only weapon
that people used to
express their
determination for freedom
and independence. Voice
is our first and the very
last instrument we have
in our lifetime. Thinking
in these terms brings
almost a sacred dimension
to the voice as an
expression of the life
itself - from the very
first baby's scream until
the last breath and
whisper.
Duration
c. 15'
The works
of New York -based
Lithuanian composer
Žibuoklė
MartinaitytÄ— (b.
1973) have been lauded as
breathtaking and
profoundly moving. Her
stimulating music
bristles with energy and
tension and revolves
often around the subject
of beauty, which she
calls both a guiding
principle and an
aesthetic measure for
sonic quality.