ISBN 9780854022472.

Thy Kingdom Come, Thy Will be Done is a Festival Service Book on the tehme of social justice, commemorating the 800th Anniversary of the signing of the Magna Carta. The service has been devised by Michael Hampel (Precentor of St. Paul's Cathedral), Andrew Reid (Director of the RSCM) and Tim Ruffer (Head of Publishing at the RSCM). The book includes works by William Byrd, Bernadette Farrell, William Harris, James MacMillan, Margaret Rizza, Herbert Sumsion and Philip Wilby, as well as an anthem specially written for this service by Malcolm Archer. Thy Kingdom Come, Thy Will be Done includes a wide selection of hymns and worship songs, and a choice of choral items suitable for full SATB choirs as well as those with more limited resources or with instrumental groups. Equally suitable for Area Festivals performed by hundreds and for smaller local services, the book in invaluable for churches of all sizes.

SKU: BA.BA11043

ISBN 9790006543229. 33.5 x 25.5 cm inches.

Manfred Trojahn on the origin and title of his impressive virtuoso solo work:
Admittedly I do not know if he had seagulls, but since Mendelssohn was born in Hamburg, he will not have gone through life without at least the impression of the cry of seagulls. Nor do I know if seagulls played any part in his life in Rome. I myself was astonished when, one or two years ago in the Villa Massimo, I was, not exactly annoyed but disturbed by the strong rhythmical cry of seagulls. I was just about to write a bassoon solo when the seagulls started.
Then the idea came to me that precisely this sequence of notes could serve as the basis of the work. And the sequence for the bassoon solo is, in turn, the basis of the piece for violoncello - this is how titles are born... Of course the violoncello meanders with virtuosic ease from the seagull motif to the 'elf-like' skittering brought to music by Mendelssohn and used time and again in his compositions, finally becoming a cabaletta. Now, cabalettas are not very representative of Mendelssohn, but as I was composing I definitely wanted to put a cabaletta in this passage.
I am sure Mendelssohn and I will easily agree on this, especially since later justice is done to him in the rapid passages and, of course in the tonal cadenza at the very end, which is more indicative of his time than of mine ... isn't it?