By Stan Pethel. For Flute. (SATB). Love, Peace, Contemporary and Sacred. Print Music Single (SATB w/opt. Flute). 12 pages. Published by Hope Publishing Company.

By Mark Hayes, Pamela Martin. (SATB). Daybreak Christmas Choral. Sacred. Size 6.8x10.5 inches. 96 pages. Published by Daybreak Music.

(A Christmas Message of Encouragement and Peace). By Mark Hayes. For SATB choir, performance CD. Christmas, Sacred. Cantata

By Jeffrey Van. (SATB). Choral. Size 6.8x10.5 inches. 8 pages. Published by Hal Leonard.

(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patterson and Peter Blood. For Vocal. Vocal. Softcover. 304 pages. Published by Hal Leonard

(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson and Peter Blood. For Vocal. Vocal. Softcover. 304 pages. Published by Hal Leonard

The Group Singing Songbook. By Various. Vocal. Size 9.5x12 inches. 281 pages. Published by Hal Leonard.

Arranged by Peter Blood, Annie Patterson. Vocal. Size 7.5x10.5 inches. 283 pages. Published by Hal Leonard.

Composed by Michael Lee. H.T. Fitzsimons Co. Anthem, A Cappella, Advent, Sacred. Octavo. 4 pages. H.T. FitzSimons Company #F2378. Published by H.T. FitzSimons Company (HL.145536).

By David Waggoner. Choir Secular. 2-Part Choir. Choral Octavo. Choral Designs. 8 pages. Published by Alfred Music Publishing

By David Waggoner. Choir Secular. This edition: SoundTrax CD. Choral Octavo. Choral Designs. Accompaniment and performance CD. Published by Alfred Music Publishing

Eight 2-Part Chorals of Patriotism and Peace. Composed by Jill and Michael Gallina. Collections. Softcover Audio Online. 40 pages. Published by Hal Leonard

(A Christmas Message of Encouragement and Peace). By Mark Hayes. For SATB choir and piano (with optional orchestra). Christmas, Sacred. Cantata

(A Christmas Message of Encouragement and Peace). By Mark Hayes. For SAB choir and piano (with optional orchestra). Christmas, Sacred. Cantata

TTBB choir

SKU: BP.CU1051

Composed by Elaine Hagenberg. Arranged by Timothy Shaw. Sacred octavos. Sacred. Octavo. Beckenhorst Press #CU1051. Published by Beckenhorst Press (BP.CU1051).

Printed product.

A beautiful arrangement of a traditional Shaker hymn for SATB, SSA or TTBB choir and piano accompaniment, particularly suitable in these times of uncertainty. Perfect as a warm, affirmative call or response to prayer.

Composed by Elaine Hagenberg. Sacred. Octavo. Published by Beckenhorst Press (BP.CU1050).

By Elaine Hagenberg. For SATB choir and piano. Capital University Choral Series. Traditional Shaker Hymn. Sacred. Octavo. 8 pages. Published by Beckenhorst Press

SKU: LO.99-2700L

A Christmas Message of Encouragement and Peace. Composed by Mark Hayes. Choral, cantatas. Christmas, Sacred. Bulk performance CDs. Lorenz Publishing Company #99/2700L. Published by Lorenz Publishing Company (LO.99-2700L).

UPC: 000308125924.

Chris tmas musical, we hear a message of comfort, encouragement, and peace for a people longing for redemption. Inspired by the lyrics and narration of John and Audra Parker, Mark Hayes once again showcases his mastery of diverse styles that gives voice to all of God’s people as they sing praise. In the resource’s eight choruses, familiar carols are magnificently blended with new music to draw your congregation into the themes and mood of Child of Hope. Each chorus is followed by a compelling narrative, which may be complemented by a personal reflection, either in the reading of the included optional monologues or as offered by a choir member or worshipper. Your church won’t soon forget this meaningful Christmas experience as they receive the joy of God’s great gift, the Child of Hope..

(A Christmas Worship Experience of the Christ-Light). By Mary Mcdonald. Arranged by Laura Kathryn Rosser. For full orchestra. Cantatas. Christmas. Orchestral score and parts. Published by Monarch Music

Choral SATB choir

SKU: CF.CM9606

Composed by Paul Salerni. Fold. Performance. 8 pages. Duration 3 minutes, 17 seconds. Carl Fischer Music #CM9606. Published by Carl Fischer Music (CF.CM9606).

ISBN 9781491154281. UPC: 680160912780. 6.875 x 10.5 inches. Key: C major. English. Charles A. Coffin (1844-1926).

Be thlehem Carol was the result of a commission in 2000 from the Cathedral Church of the Nativity in Bethlehem, Pennsylvania. The request came from the Cathedrals music director, Russell Jackson; he had very much liked the Italian Fable cum Violin Concerto (The Big Sword and the Little Broom) I had written in 1997 for the Lehigh Valley Chamber Orchestra. Russell chose the text by Charles Coffin, a French poet and educator whose hymn verses were often translated into English. My approach toward setting the poem was my usual one; that is, to translate literally the words into music (note the dips into the minor mode for the cave of Bethlehem and the child of poverty.) But most of all, I wanted to capture the sense of joy and peace brought by the arrival of the Christ Child.
Bethlehem Carol was the result of a commission in 2000 from the Cathedral Church of the Nativity in Bethlehem, Pennsylvania. The request came from the Cathedralas music director, Russell Jackson; he had very much liked the Italian Fable cum Violin Concerto (The Big Sword and the Little Broom) I had written in 1997 for the Lehigh Valley Chamber Orchestra. Russell chose the text by Charles Coffin, a French poet and educator whose hymn verses were often translated into English. My approach toward setting the poem was my usual one; that is, to translate literally the words into music (note the dips into the minor mode for athe cave of Bethlehema and athe child of poverty.a)A But most of all, I wanted to capture the sense of joy and peace brought by the arrival of the Christ Child.
Bethlehem Carol was the result of a commission in 2000 from the Cathedral Church of the Nativity in Bethlehem, Pennsylvania. The request came from the Cathedral's music director, Russell Jackson; he had very much liked the Italian Fable cum Violin Concerto (The Big Sword and the Little Broom) I had written in 1997 for the Lehigh Valley Chamber Orchestra. Russell chose the text by Charles Coffin, a French poet and educator whose hymn verses were often translated into English. My approach toward setting the poem was my usual one; that is, to translate literally the words into music (note the dips into the minor mode for the cave of Bethlehem and the child of poverty.) But most of all, I wanted to capture the sense of joy and peace brought by the arrival of the Christ Child.
Bethlehem Carol was the result of a commission in 2000 from the Cathedral Church of the Nativity in Bethlehem, Pennsylvania. The request came from the Cathedral's music director, Russell Jackson; he had very much liked the Italian Fable cum Violin Concerto (The Big Sword and the Little Broom) I had written in 1997 for the Lehigh Valley Chamber Orchestra. Russell chose the text by Charles Coffin, a French poet and educator whose hymn verses were often translated into English. My approach toward setting the poem was my usual one; that is, to translate literally the words into music (note the dips into the minor mode for the cave of Bethlehem and the child of poverty.) But most of all, I wanted to capture the sense of joy and peace brought by the arrival of the Christ Child.
Bethlehem Carol was the result of a commission in 2000 from the Cathedral Church of the Nativity in Bethlehem, Pennsylvania. The request came from the Cathedral’s music director, Russell Jackson; he had very much liked the Italian Fable cum Violin Concerto (The Big Sword and the Little Broom) I had written in 1997 for the Lehigh Valley Chamber Orchestra. Russell chose the text by Charles Coffin, a French poet and educator whose hymn verses were often translated into English. My approach toward setting the poem was my usual one; that is, to translate literally the words into music (note the dips into the minor mode for “the cave of Bethlehem” and “the child of poverty.”)  But most of all, I wanted to capture the sense of joy and peace brought by the arrival of the Christ Child.

Violin, Cello and Orchestra - Grade 5

SKU: HL.14043771

Composed by Per Nø, rd, and rgå. Music Sales America. Classical. Softcover. Composed 2015. 54 pages. Edition Wilhelm Hansen #WH32728. Published by Edition Wilhelm Hansen (HL.14043771).

ISBN 9788759836910. 12.0x16.75x0.44 inches. English.

Three Nocturnal Movements - For Violin Solo, Violoncello Solo And Orchestra by Per Norgard (2015). Based on Remembering Child for Viola and Orchestra(1986). Premiered by Peter Herresthal (violin) and Jakob Kullberg (cello) with Bergen Philharmonic June 6th 2015 in Bergen, Norway. The original version was premiered by Pinchas Zukerman and the St. Paul' s Chamber Orchestra, conducted by Arturo di Mecke, on September 12th 1986. Programme Note: The news of the tragic death of Samantha Smith reached me in the early stages of preparation for the commissioned work for viola and chamber orchestra. Already an admirerer of this childworker for peace and nuclear disarmament, I completed mywork strongly inspired by this unique and uniquely symbolic fate of our time. Music from humble sources - including my composition Beach Poppy , a choral work from 1960 - are woven into the texture of the composition. I was guided by the original meaning of the word remembering (making whole, healing) in opposition to dismembering (tearing apart): The healing power of the child. (Per Norgard).

Keyboard

SKU: GI.G-8836

Composed by Marty Haugen. Music Collection. Sacred. Collection. With guitar chord names. GIA Publications #8836. Published by GIA Publications (GI.G-8836).

UPC: 785147883630. English.

Sing for Peace is Marty Haugen’s first collection of liturgical music (apart from mass settings and The Lyric Psalter) in seven years. Sing for Peace is a wide-ranging and eclectic collection, including two settings of texts by Adam M. L. Tice, a setting of a text by Shirley Erena Murray, and a number of original texts and Scripture adaptations. Like much of Marty’s previous music the texts largely focus on Christian peace-making and issues of social justice, including hunger, immigration, and earth-keeping. There is music for baptism, for intercessory prayer, choral music and two children’s choir pieces. The styles range from classical to gospel to pop, with singers of all ages involved.   Contents: I Will Rise, Down in the River to Pray/Baptized into the Death of Christ, For Every Child, Sing with All the Children of Earth, The Steadfast Love of the Lord, Look and See the Face of Christ, An Open Hand, a Willing Heart, Bring Peace, Live Jesus, The Reign of God Is at Hand, Sing for Peace, Bread for the World, I Am a Child of This Planet, Rejoice in God! Again, Rejoice!

SKU: GI.001088

Composed by Michael O'Neill McGrath. Children. Sacred. GIA Publications #001088. Published by GIA Publications (GI.001088).

UPC: 641151010885. English.

This fun poster of the Prince of Peace image from the book At the Name of Jesus will add an instant touch of color and spirituality to any office, home, classroom, or child's room. Makes a great gift, too! Fits a standard 11 x 14 photo frame.

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?