Preview Pak (Book/CD)-Celebrate our legacy of liberty and the foundations of our faith with this thoughtful new choral collection from the pen of Joseph Martin. Newly composed chorals and arrangements mingle with bestsellers to create a work ofuncommon power and emotion. Included in this inspiring compilation are optional religious and civil service suggestions to make your presentation a meaningful and affirming declaration of our treasured values. Titles include: Songfor the Unsung Hero • God of Our Fathers • Faith of Our Fathers • Prayer for our Time • Once to Every Man and Nation • and more. Consider this collection essential repertoire for God and countrycelebrations.

Duets for Sanctuary Singers-Quality compilations of sacred duet materials are not easy to find. This useful “potpourri of praise” is filled with duet material for a variety of vocal combinations. Musical diversity abounds with selections for almost every season of the church year. A lushly orchestrated accompaniment CD is available to add to the singers' performance options and the beautifully crafted piano writing will make live presentations an equally expressive worship experience. From gospel hymn arrangements to more traditional choices this will be the most used collection in your cabinet. A listening CD featuring Sue Martin is also available.Songs include: Ask of Me;Declaration of Faith; He Shall Feed His Flock; Immortal Invisible; Jesus Is My Song of Grace; Just Beyond the Manger; Lullaby to a Rose; Of Tears and Sorrows; Shepherd of the Stars; Songs of the Promise; Songs of the Wayfarer;

Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part of an ensemble composition, which for centuries had been intoned in plainsong by the priest, had become liturgically acceptable. It was only a small and syntactically logical step for the word 'Credo' to be repeated before the individual articles of belief, thus strengthening the declaration of faith. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet

Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part of an ensemble composition, which for centuries had been intoned in plainsong by the priest, had become liturgically acceptable. It was only a small and syntactically logical step for the word 'Credo' to be repeated before the individual articles of belief, thus strengthening the declaration of faith. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet

Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part of an ensemble composition, which for centuries had been intoned in plainsong by the priest, had become liturgically acceptable. It was only a small and syntactically logical step for the word 'Credo' to be repeated before the individual articles of belief, thus strengthening the declaration of faith. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarines

Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part of an ensemble composition, which for centuries had been intoned in plainsong by the priest, had become liturgically acceptable. It was only a small and syntactically logical step for the word 'Credo' to be repeated before the individual articles of belief, thus strengthening the declaration of faith. / Messe / Répertoire / Solistes SATB, Choeur SATB, 2 Hautbois, 2 Clarinet

I Will Rejoice!-There is an unrelenting confidence in this anthem which affirms the faithfulness of God in the life of the believer. This joyful declaration of hope is set to a vigorous musical concept with a rhythmic ground that sets the stage establishing a sturdy gait before the melody joins in. A contrasting chorale-like moment provides a respite from the energy of the opening before handing the anthem back to the forces of power and praise and the final Coda is truly spectacular!

Set in England during the 1180s this light-hearted rock-orientated music tells the story of Blondel troubadour at the court of Richard the Lionheart.Richard leaves for the Crusades and in his absence Prince John tries to usurp the throne. Blondel leaves England in search of Richard and rescues him from his imprisonment by the Duke of Austria. meanwhile at home in England John ahs declared Richard dead. Richard Blondel and his long-suffering partner Fiona return just in time to prevent the coronation. Richard is restored to the throne and Blondel his faithful troubadour is pronounced the country’s foremost composer.