SKU: AP.49521S

ISBN 9781470649432. UPC: 038081570211. English.

Spirit of the Dauntless by Adrian B. Sims, is an anthem of power and courage. The ideas develop as our hero moves through different challenges and landscapes---some foreboding, and some treacherous. Some moments depict challenges and struggles while others are filled with triumph. Powerful musical statements bring the work to a rousing finish, concluding our hero's fearless journey. (4:24) This title is available in MakeMusic Cloud.

SKU: AP.49521

ISBN 9781470649425. UPC: 038081570204. English.

Spirit of the Dauntless by Adrian B. Sims, is an anthem of power and courage. The ideas develop as our hero moves through different challenges and landscapes---some foreboding, and some treacherous. Some moments depict challenges and struggles while others are filled with triumph. Powerful musical statements bring the work to a rousing finish, concluding our hero's fearless journey. (4:24) This title is available in MakeMusic Cloud.

SKU: LO.30-3729L

UPC: 000308154481.

Rhyth m Score and Parts for 10/5240L Based on scripture from Matthew 7:24–27, this anthem from Pepper Choplin has a fun, swing-style quality that’s amplified with the optional rhythm accompaniment. Your choir won’t want to stop singing this catchy tune, and your congregation will want to hear it again and again. Reiterate the powerful words of Christ with this spirit-filled anthem!

SKU: LO.99-4059L

UPC: 000308154498.

Perfo rmance/accompaniment CD plus Split-track for 10/5240L Based on scripture from Matthew 7:24–27, this anthem from Pepper Choplin has a fun, swing-style quality that’s amplified with the optional rhythm accompaniment. Your choir won’t want to stop singing this catchy tune, and your congregation will want to hear it again and again. Reiterate the powerful words of Christ with this spirit-filled anthem!

SKU: PR.114422950

ISBN 9781491134870. UPC: 680160685370.

HALL OF GHOSTS was composed in 2020 during the Covidlockdown period. Evocative of imagined spirits in an empty concert hall, the music pits dramatic silences, amid searching and plaintive phrases of the clarinet, against a lively middle section — a dialogue between the ticking of time and an instrument striving to make itself heard. The work was inspired by piccoloist Gudrun Hinze’s video for Harberg’s Prayer Project, filmed in the hauntingly empty Gewandhaus Chamber Music Hall.
Hall of Ghosts was composed in April 2020 as a “thank you” gift dedicated to the wonderful community of flutists who participated in my Prayer Project – a virtual flute orchestra project that I produced during the Covid-19 lockdown period. In July 2021, I arranged Hall of Ghosts for clarinetist Christopher Pell, who premiered the new version at the Interlochen Center for the Arts.Hall of Ghosts was inspired by piccoloist Gudrun Hinze, who recorded her part for the Prayer Project in the empty Gewandhaus Chamber Music Hall. This hall would normally be full of musicians rehearsing and performing, but now, due to Covid-19, the hall lay empty and filled only with echoes and memories. The image of Gudrun’s solitary piccolo inspired in me a musical invocation, imploring the spirits to let the music return.In the first section, the silence of rests and pauses creates an expressive background for the searching and plaintive phrases of the solo piccolo. The lively middle section is a contrapuntal dialogue between the ticking of time and an instrument striving to make itself heard. These materials trade off throughout the piece. You can decide through your interpretation on who wins. The music? Or the ghosts?

SKU: CN.19880

As a young composition student at the Curtis Institute of Music, my teacher, Gian Carlo Menotti, suggested that I write some music for children. He believed that, when writing for children, a composer would soon discover what was true and honest and what was shallow artifice. I was soon to discover that he was right. One of my first published works was a children's ballet entitled The Enchanted Lake. In 1966, I published my first series of piano pieces for children, A Lexicon of Beasties. They were dedicated to my daughters. I now have a 12-year-old son. It seemed fitting that I now write some pieces for him. He plays and enjoys these. It is my hope that they will give pleasure to many others.

(1) SHADOW RIDGE RAG - A spirited dance with infectious syncopation and some charming harmonic surprises.
(2) THE RIVER - An elegant new setting of a lovely English folk song.
(3) FLASH and DASH - A showy, extroverted piece filled with energy and unexpected glissandi.

SKU: HL.35032467

UPC: 888680868505. 6.75x10.5 inches.

This reassuring anthem composed in a gospel vernacular is filled with good-natured hopefulness. Swinging the eighths, the writers lift spirits with a lilting piano part, complete with some bent note patterns and nice full chords for the choir. The text is an invitation to celebrate the life we have in God's love, using scripture passages from both Old and New Testaments. Quickly learned but enduring in its positive impact!

SKU: HL.365676

UPC: 840126961805. 6.75x10.5x0.029 inches. Isaiah 40:9-11, Isaiah 9:2-5, John 1:9.

This set of two familiar seasonal tunes is arranged for quick success. Intended to be used throughout all of Advent, the music is both approachable and filled with anticipation, with a different text for each week. The addition of handbells and an option for congregational participation will enhance and heighten the season's spirit of joy. This will be your opening, closing and theme for a light-filled Advent observance. Distinctive!

SKU: LO.99-2469L

SKU: HL.49018099

ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.

On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.

SKU: GI.G-9822

UPC: 785147982203. English, Greek. Text Source: Revised Order of Mass 2010, Lectionary for Mass

“We are, inescapably, filled with Ruah, the Holy Spirit, from our first breath to our last. As Paul reminds the early church in Romans 8:9 ‘you are not controlled by your sinful nature. You are controlled by the Spirit if you have the Spirit of God living in you.’ Paul is reminding us that we are filled with the Ruah of God and so should choose to live accordingly.”                                                                   – Ian Callanan (from the Introduction)   Drawing on the rich tradition of composer Ian Callanan’s musical background Ruah: Ma ss of the Breath of God is filled with Celtic themes and motifs. With the exception of the Our Father, the entire Mass is composed in the key of D, the key in which traditional Irish instruments are tuned, making the setting as accessible as possible. The recording models the sound of full Celtic instrumentation, though the setting is just as effective when simple accompaniment is used.    Ruah utilizes the Eucharistic Prayer for Children, yet the choice is by no means meant to be limiting. This is a setting composed with the entire assembly in mind, encouraging all to take a deep breath, then sing with the Ruah of God.

SKU: GI.G-9822FS

UPC: 785147982296.

†œWe are, inescapably, filled with Ruah, the Holy Spirit, from our first breath to our last. As Paul reminds the early church in Romans 8:9 ‘you are not controlled by your sinful nature. You are controlled by the Spirit if you have the Spirit of God living in you.’ Paul is reminding us that we are filled with the Ruah of God and so should choose to live accordingly.”                                                                   – Ian Callanan (from the Introduction)   Drawing on the rich tradition of composer Ian Callanan’s musical background Ruah: Ma ss of the Breath of God is filled with Celtic themes and motifs. With the exception of the Our Father, the entire Mass is composed in the key of D, the key in which traditional Irish instruments are tuned, making the setting as accessible as possible. The recording models the sound of full Celtic instrumentation, though the setting is just as effective when simple accompaniment is used.    Ruah utilizes the Eucharistic Prayer for Children, yet the choice is by no means meant to be limiting. This is a setting composed with the entire assembly in mind, encouraging all to take a deep breath, then sing with the Ruah of God.   The keyboard accompaniment is printed in the full score.

SKU: HP.C6195

UPC: 763628161958. By Marty Haugen. Psalm 104:30, John 11:25, I John 2:27.

Spiritual by Marty Haugen Filled with vivacious energy, this spirited anthem is ideal for Pentecost Sunday. Mark Hayes captures the rhythmic emotion of this song with skillful choral parts and his signature keyboard style. Useful for many occasions, including confirmation and baptism, with the poetic plea for God to 'call us, teach us, give us, make us? Keep us shining bright. . . with the presence of Christ. '.

SKU: GI.G-001294

English. Scripture: Psalm 126.

This stirring setting faithfully captures the spirit of Psalm 126. Your assembly will sing their part with joyful enthusiasm to the choir's melody and harmonies. This is a wonderful piece for your soloist(s) to utilize or develop their improvisational skills.

SKU: SU.91480570

Text: Angier Brock.

SATB Chorus, Organ Duration: 7' Text: Angier Brock Composed: 2010 Published by: Subito Music Publishing YouTube: Ms. Brock’s moving poem is lyrical throughout. Even in its beautiful originality, the poem invokes The Book of Common Prayer and biblical scripture (the latter through references to dust and breath from Genesis 2 to the final line of the poem invoking the opening of Psalm 62). Ms. Brock’s poetry is also filled with wonderful twists on traditional texts (such as in the creative and reverse naming of the Trinity in speaking of Inventing Wind, Generous Christ, and Luminous God). Musically, the main melodic material of the piece is immediately heard on a solo organ color accompanied by organ strings over a recurring pedal pulse on the pitch C. The chorus soon enters with the first stanza of the text. As this stanza unfolds, the harmony starts to gradually change as the pulsing pedal rhythm begins to move upward by step. An organ interlude, reflective of the opening introduction, soon emerges (though now over a C-sharp recurring pedal pulse), and leads to a similar choral setting as found in stanza one. As the poem’s second stanza moves forward, it eventually folds into the more harmonically rich stanza three. A fast, dance-like section evolves at Inventing Wind, what a lively dance your energy creates! eventually bringing the work to its climax point. The spirit of dance soon subsides and leads to a quiet and gentle close on the words …for you alone my soul in silence waits.


Minimum order quantity: 8 copies. To order quantities fewer than 8, please email customer service at sales@subitomusic.com.

SKU: HP.2902

UPC: 763628129026.

Tradi tional Spiritual Audiences, congregations, and students are sure to catch the spirit from this upbeat arrangement filled with energy and excitement. Ringers will love the shakes, mallets, and ring touches that masterfully capture the vibrant energy of this gospel flavored spiritual.

SKU: CN.R10302

Carrying on the fine tradition of British military band marches, The Spirit of Pageantry is filled with fanfare, grace and honor. If you like the military band music of Gustav Holst, try this lovely work by Percy Fletcher.

SKU: CN.S11302

Carrying on the fine tradition of British military band marches, The Spirit of Pageantry is filled with fanfare, grace and honor. If you like the military band music of Gustav Holst, try this lovely work by Percy Fletcher.

SKU: HL.49047509

UPC: 842819113997.

Jörg Widmann, an internationally sought-after soloist and professor of clarinet at the Freiburg Musikhochschule, displays the exquisite refinement of contemporary clarinet sound in 'Fünf Bruchstücke' (already published) for clarinet and piano (KLB 54) and in the present 'Fantasie' for solo clarinet. While noise, as a means of expression, is given much attention in 'Fünf Bruchstücke','Fantasie' is largely based on the usual Romantic melodious sound, though this time with ironic side trips into dance, klezmer and jazz music, the clarinet's equivalent of light music. “'Fantasie' for solo clarinet is my first real piece for my own instrument, the clarinet. With its eccentric virtuosity and its cheerful, ironic fundamental character, it reflects the experience with Stravinsky's 3 Pieces for solo clarinet of 1919 and the tonal innovations which did not appear in music before Carl Maria von Weber's notation for the clarinet, and takes them further in anew way. It is a little imaginary scene uniting the dialogues of different people in close proximity in the spirit of the commedia dell'arte.” - Jörg Widmann ...on the interpretation: “It would be important to take the title completely literally – which is why the performer should of course play the piece with imagination. The most important information on the structure: the complete absence of bar lines – whenever the piece is played to me by students or other persons, I am always pleased about the player's own ideas and about the fact that the musical text is taken literally and seriously, with all its dynamic and articulation marks, and yet filled with life and imagination. What I always notice, however, is that the rhythmic fast pulse part is often played like an étude, rather than with imagination. What is most important to me, personally, is to take pleasure in making tonal distinctions, even despite the strict timing. Use your imagination and enjoy playing my 'Fantasie'!” - Jörg Widmann.

SKU: HP.9116

UPC: 763628191160.

Eight Contempory Christian Songs This collection of eight flute solos is filled with popular contemporary songs that cover many Sundays of the church year including, Christmas, Lent, Pentecost, and general worship occasions. Featuring well-developed piano accompaniments and creative flute writing for intermediate to advanced players these settings are sure to enhance your worship.

SKU: HP.9083

UPC: 763628190835.

Colle ction of violin solos with piano accompaniments This collection of violin solos with piano accompaniments comes from Michael Tyree who also has string quartet collections in the Hope catalog. This volume is filled with music for the Christmas season, and will be a wonderful addition to your solo violin library.

SKU: HP.C6195R

UPC: 763628261955. Marty Haugen. Psalm 104:30, John 11:25, I John 2:27.

Spiritual by Marty Haugen Filled with vivacious energy, this spirited anthem is ideal for Pentecost Sunday. Mark Hayes captures the rhythmic emotion of this song with skillful choral parts and his signature keyboard style. Useful for many occasions, including confirmation and baptism, with the poetic plea for God to 'call us, teach us, give us, make us? Keep us shining bright. . . with the presence of Christ. '.

SKU: HP.9123

UPC: 763628191238. Michael Tyree.

Collection of six Christmas tunes This collection of string quartets is ideal for the Christmas season and offers a wealth of material for worship and concerts. The arrangements are of moderate difficulty and filled with holiday spirit and charm.