SKU: WD.080689744020

UPC: 080689744020.

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).

SKU: CA.180600

ISBN 9790007037550. Language: German/English.

Joh ann Hermann Schein's Israelsbrunnlein, published in Leipzig in 1623, is a supreme achievement not only among the works of this composer, who had been Thomaskantor in Leipzig since 1616, but also for the entire body of German music written during the first half of the 17th century. Among the 26 motets written in the Italian madrigal manner 23 are settings of Old Testament texts, a fact to which the collection owes its title. The source for the text of this collection is the inexhaustible fountain of the Psalms, the books of Moses, the Prophets, the Songs of Solomon, and other books of the Old Testament.

SKU: LP.765762102521

UPC: 765762102521.

This deeply moving and compelling musical is a beautiful response to God's loving, sacrificial and powerful act of redemption. Sacred and cherished hymns, popular worship songs, and new, expressive compositions combine in arrangements that are both poignant and moving, while retaining a level of difficulty that even the smallest choir can master. The emotive narrations are derived directly from the scriptures and perfectly frame the musical settings. In addition, the work includes several solo and congregational opportunities for participation. Echoing the song of heaven's eternity, this 47-minute presentation is assembled in 4 main sections: I. Worthy of Praise II. Worthy of Our Love III. A Worthy Sacrifice IV. Worthy of Exaltation

These arrangements are easy to sing and easy to learn! Stereo accompaniment CD trax for use on performance. Note - does not include rehearsal (internal) CD points.

Heart-touching presentation of the Easter story with practical modern-day relevance. Professional quality recording useful as an aid for choir members learning the music, or for personal enjoyment and meditation times. (Performance demo - NOT an accompani.

SKU: CA.3116400

ISBN 9790007187170. Language: German/English.

Thi s six-movement cantata was performed for the first time on 26 August 1725 in Leipzig. The text was written by Bach's Weimar cantata poet Salomon Franck and had been published earlier in 1715 in his collection Evangelisches Andachts-Opffer. Here, Bach bases his work around the form of the Weimar cantatas which take their texts from Franck's printed collection (BWV 132, 152, 161-163, 165): movements 1-5 are performed by vocal soloists, whilst only the final chorus is given to the chorus. The key concepts of the text are Barmherzigkeit [compassion], Erbarmen [mercy] and wahre Christenliebe [true Christian love]; the chamber music arrangement of the cantata corresponds with this. The two arias for tenor and alto, and the duet for soprano and bass do not contain da capo sections, but repeat the entire text in a condensed form. The instruments do not contrast as a rule, but are treated as a string group (movements 1, 4), duetting (movement 3), and as full unison (movement 5). What is remarkable in all three movements is the thematic linking of the instrumental ritornello parts with the vocal parts through which Bach achieves a kind of unity of form.

SKU: CA.3116449

ISBN 9790007209070. Language: German/English.

Thi s six-movement cantata was performed for the first time on 26 August 1725 in Leipzig. The text was written by Bach's Weimar cantata poet Salomon Franck and had been published earlier in 1715 in his collection Evangelisches Andachts-Opffer. Here, Bach bases his work around the form of the Weimar cantatas which take their texts from Franck's printed collection (BWV 132, 152, 161-163, 165): movements 1-5 are performed by vocal soloists, whilst only the final chorus is given to the chorus. The key concepts of the text are Barmherzigkeit [compassion], Erbarmen [mercy] and wahre Christenliebe [true Christian love]; the chamber music arrangement of the cantata corresponds with this. The two arias for tenor and alto, and the duet for soprano and bass do not contain da capo sections, but repeat the entire text in a condensed form. The instruments do not contrast as a rule, but are treated as a string group (movements 1, 4), duetting (movement 3), and as full unison (movement 5). What is remarkable in all three movements is the thematic linking of the instrumental ritornello parts with the vocal parts through which Bach achieves a kind of unity of form. Score and part available separately - see item CA.3116400.

SKU: CA.3116405

ISBN 9790007187194. Language: German/English.

Thi s six-movement cantata was performed for the first time on 26 August 1725 in Leipzig. The text was written by Bach's Weimar cantata poet Salomon Franck and had been published earlier in 1715 in his collection Evangelisches Andachts-Opffer. Here, Bach bases his work around the form of the Weimar cantatas which take their texts from Franck's printed collection (BWV 132, 152, 161-163, 165): movements 1-5 are performed by vocal soloists, whilst only the final chorus is given to the chorus. The key concepts of the text are Barmherzigkeit [compassion], Erbarmen [mercy] and wahre Christenliebe [true Christian love]; the chamber music arrangement of the cantata corresponds with this. The two arias for tenor and alto, and the duet for soprano and bass do not contain da capo sections, but repeat the entire text in a condensed form. The instruments do not contrast as a rule, but are treated as a string group (movements 1, 4), duetting (movement 3), and as full unison (movement 5). What is remarkable in all three movements is the thematic linking of the instrumental ritornello parts with the vocal parts through which Bach achieves a kind of unity of form. Score available separately - see item CA.3116400.

SKU: CA.3116409

ISBN 9790007209018. Language: German/English.

Thi s six-movement cantata was performed for the first time on 26 August 1725 in Leipzig. The text was written by Bach's Weimar cantata poet Salomon Franck and had been published earlier in 1715 in his collection Evangelisches Andachts-Opffer. Here, Bach bases his work around the form of the Weimar cantatas which take their texts from Franck's printed collection (BWV 132, 152, 161-163, 165): movements 1-5 are performed by vocal soloists, whilst only the final chorus is given to the chorus. The key concepts of the text are Barmherzigkeit [compassion], Erbarmen [mercy] and wahre Christenliebe [true Christian love]; the chamber music arrangement of the cantata corresponds with this. The two arias for tenor and alto, and the duet for soprano and bass do not contain da capo sections, but repeat the entire text in a condensed form. The instruments do not contrast as a rule, but are treated as a string group (movements 1, 4), duetting (movement 3), and as full unison (movement 5). What is remarkable in all three movements is the thematic linking of the instrumental ritornello parts with the vocal parts through which Bach achieves a kind of unity of form. Score and parts available separately - see item CA.3116400.

SKU: CA.3116419

ISBN 9790007209063. Language: German/English.

Thi s six-movement cantata was performed for the first time on 26 August 1725 in Leipzig. The text was written by Bach's Weimar cantata poet Salomon Franck and had been published earlier in 1715 in his collection Evangelisches Andachts-Opffer. Here, Bach bases his work around the form of the Weimar cantatas which take their texts from Franck's printed collection (BWV 132, 152, 161-163, 165): movements 1-5 are performed by vocal soloists, whilst only the final chorus is given to the chorus. The key concepts of the text are Barmherzigkeit [compassion], Erbarmen [mercy] and wahre Christenliebe [true Christian love]; the chamber music arrangement of the cantata corresponds with this. The two arias for tenor and alto, and the duet for soprano and bass do not contain da capo sections, but repeat the entire text in a condensed form. The instruments do not contrast as a rule, but are treated as a string group (movements 1, 4), duetting (movement 3), and as full unison (movement 5). What is remarkable in all three movements is the thematic linking of the instrumental ritornello parts with the vocal parts through which Bach achieves a kind of unity of form. Score and parts available separately - see item CA.3116400.

SKU: CA.3116403

ISBN 9790007187187. Language: German/English.

Thi s six-movement cantata was performed for the first time on 26 August 1725 in Leipzig. The text was written by Bach's Weimar cantata poet Salomon Franck and had been published earlier in 1715 in his collection Evangelisches Andachts-Opffer. Here, Bach bases his work around the form of the Weimar cantatas which take their texts from Franck's printed collection (BWV 132, 152, 161-163, 165): movements 1-5 are performed by vocal soloists, whilst only the final chorus is given to the chorus. The key concepts of the text are Barmherzigkeit [compassion], Erbarmen [mercy] and wahre Christenliebe [true Christian love]; the chamber music arrangement of the cantata corresponds with this. The two arias for tenor and alto, and the duet for soprano and bass do not contain da capo sections, but repeat the entire text in a condensed form. The instruments do not contrast as a rule, but are treated as a string group (movements 1, 4), duetting (movement 3), and as full unison (movement 5). What is remarkable in all three movements is the thematic linking of the instrumental ritornello parts with the vocal parts through which Bach achieves a kind of unity of form. Score available separately - see item CA.3116400.