By Mary Kay Beall. For 2-part mixed choir (2-part). Communion, Good Friday, Grace, Lord's Supper, Maundy Thursday, General, Lent, Sacred. Print Music Single (2-part Mixed). Published by Hope Publishing Company

Edited by Patrick Sky. For fiddle. All styles. Level: Multiple Levels. Book. Songbook. Size 8.75x11.75. 176 pages. Published by Mel Bay Pub., Inc.

By Allen Pote. For SATB choir, Piano. Communion. Holy Week/Three Days, Lent. Moderately Easy. Octavo. Published by MorningStar Music Publishers

(preview CD). Daybreak Choral Series. Sacred. CD only. Published by Daybreak Music.

SATB choir

SKU: ST.W229

Composed by Harold Darke. Short cantata for Soprano Solo, SATB Chorus and Organ (or Small Orchestra). SATB Vocal Score. Octavo. Stainer & Bell Ltd. #W229. Published by Stainer & Bell Ltd. (ST.W229).

ISBN 9790220223891.

Pete r Davis's arangement of Harold Darke's forgotten masterpiece As the Leaves Fall brings this moving elegy for the fallen of 1914-18 within the scope of choral societies and church and cathedral choirs in search of fresh and effective repertoire to mark the centenary of the Great War or the annual commemorations of Remembrance Sunday. Singers and audiences will be delighted to discover the work of little-known soldier-poet Lieutenant Joseph Courtney RAMC, whose verse drew from the composer a 14-minute setting in which Elgarian melancholy and passionate denunciation are transformed into a message of hope. This score is the complete choral performing material for soprano solo and SATB choir, either in performances with organ or, as vocal score, if given with the original accompaniment for small orchestra which is available for rental.

Chorus (with soloists) and orchestra (solos: ATB - choir: SATB - 1.0.2ob d'am.0.0. - 0.1.0.0. - str - bc)

SKU: BR.PB-4567

Quasimodogeniti [1st Sunday after Easter]. Composed by Johann Sebastian Bach. Choir; Softcover. Partitur-Bibliothek (Score Library). Cantata; Baroque. Full score. 32 pages. Duration 15'. Breitkopf and Haertel #PB 4567. Published by Breitkopf and Haertel (BR.PB-4567).

ISBN 9790004204535. 9 x 12 inches.

Woodwinds (solos: ATB - choir: SATB - 1.0.2ob d'am.0.0. - 0.1.0.0. - str - bc)

SKU: BR.OB-4567-30

Quasimodogeniti [1st Sunday after Easter]. Composed by Johann Sebastian Bach. Folder. Orchester-Bibliothek (Orchestral Library). Cantata; Baroque. Set of parts. 20 pages. Duration 15'. Breitkopf and Haertel #OB 4567-30. Published by Breitkopf and Haertel (BR.OB-4567-30).

ISBN 9790004315224. 9 x 12 inches.

Chorus (with soloists) and piano (solos: ATB - choir: SATB - 1.0.2ob d'am.0.0. - 0.1.0.0. - str - bc)

SKU: BR.EB-7067

Quasimodogeniti [1st Sunday after Easter]. Composed by Johann Sebastian Bach. Edited by Gunter Raphael. Arranged by Gunter (KA) Raphael. Choir; stapled. Edition Breitkopf. Cantata; Baroque. Piano/Vocal Score. 36 pages. Duration 15'. Breitkopf and Haertel #EB 7067. Published by Breitkopf and Haertel (BR.EB-7067).

ISBN 9790004172216. 7.5 x 10.5 inches. German / English / French.

Basso (cello/double bass) (solos: ATB - choir: SATB - 1.0.2ob d'am.0.0. - 0.1.0.0. - str - bc)

SKU: BR.OB-4567-26

Quasimodogeniti [1st Sunday after Easter]. Composed by Johann Sebastian Bach. Stapled. Orchester-Bibliothek (Orchestral Library). Cantata; Baroque. Part. 8 pages. Duration 15'. Breitkopf and Haertel #OB 4567-26. Published by Breitkopf and Haertel (BR.OB-4567-26).

ISBN 9790004315217. 9 x 12 inches.

Viola (solos: ATB - choir: SATB - 1.0.2ob d'am.0.0. - 0.1.0.0. - str - bc)

SKU: BR.OB-4567-19

Quasimodogeniti [1st Sunday after Easter]. Composed by Johann Sebastian Bach. Stapled. Orchester-Bibliothek (Orchestral Library). Cantata; Baroque. Part. 8 pages. Duration 15'. Breitkopf and Haertel #OB 4567-19. Published by Breitkopf and Haertel (BR.OB-4567-19).

ISBN 9790004315200. 9 x 12 inches.

SATB choir and organ

SKU: ST.W200

Composed by William Mathias. SATB and organ. Choral. Octavo. Stainer & Bell Ltd. #W200. Published by Stainer & Bell Ltd. (ST.W200).

ISBN 9790220218903.

Writ ten for the choirs of Chichester, Winchester and Salisbury Cathedrals, An Admonition to Rulers was composed shortly before Mathias's choral masterpiece, This Worlde's Joie, but has remained unpublished until now. Its powerful text from Wisdom 6 and 7, clothed in the composer's colouful , dramatic music, make it an ideal choice of anthem for Remembrance Sunday, or any occasion when justice, order, and the role of those who govern are the focus of worship.

Organ (solos: ATB - choir: SATB - 1.0.2ob d'am.0.0. - 0.1.0.0. - str - bc)

SKU: BR.OB-4567-11

Quasimodogeniti [1st Sunday after Easter]. Composed by Johann Sebastian Bach. Arranged by Dietrich Kruger (Cont.). Stapled. Orchester-Bibliothek (Orchestral Library). Cantata; Baroque. Part. 20 pages. Duration 15'. Breitkopf and Haertel #OB 4567-11. Published by Breitkopf and Haertel (BR.OB-4567-11).

ISBN 9790004315170. 12 x 9 inches.

SKU: GI.G-10149

Hymns and Songs of Remembrance and Hope. Composed by Carlton R. Young. Sacred. 64 pages. GIA Publications #10149. Published by GIA Publications (GI.G-10149).

UPC: 785147014911.

This volume of twenty-five music items will be useful to the living, the dying, and the grieving and will help family members and friends to accept and honor death, in the light of faith, as an inevitable part of the cycle of life. Funeral or resurrection choirs will welcome this largely new repertoire suitable for choir alone or with the congregation. Compiled by the venerable Carlton (Sam) Young, this edition features a number of his tunes in addition to selections ranging from chant to spirituals. Texts by significant contemporary writers are also included, Delores Dufner, OSB, has written the foreword. An important and useful pastoral resource. .

By Mendelssohn Grieg. For Piano. (Piano Solo). CD Sheet Music (Version 2.0). PDF file on CD. 1600 pages. Published by Subito Music.

Orchestra Piano

SKU: PR.11641861SP

Composed by William Kraft. Part. 35 pages. Duration 21 minutes. Theodore Presser Company #116-41861SP. Published by Theodore Presser Company (PR.11641861SP).

UPC: 680160685202.

What? ! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement.

By Edvard Grieg. Keyboard. Size 9 3/8 x 12 1/4. 224 pages. Published by Dover Publications.

By James Southbridge. Organ. Level: 2-staff. Sacred organ. Published by Lorenz Publishing Company.

Composed by Edvard Hagerup Grieg (1843-1907). For piano. Format: piano solo book. Romantic period. 216 pages. 9x12 inches. Published by Schirmer.

Over 400 Songs. Fake Book (Includes melody line and chords). Size 9x12 inches. 583 pages. Published by Hal Leonard.

Choral (Performance/Accompanimen t CD)

SKU: HL.35004459

Composed by Joseph M. Martin. Shawnee Press. Holy Week. CD only. Shawnee Press #MD5172. Published by Shawnee Press (HL.35004459).

UPC: 747510057871. 5.5x5 inches.

This mournful, contemplative anthem from Joseph and Pamela Martin's cantata Song of the Shadows sets the stage for the last days of Jesus's time on earth. Come to the Shadows is a solemn remembrance of Christ's final days, from the waving of the palms through the agony of Calvary. Written for a service of darkness during Holy Week, this moving octavo is especially effective for Maundy Thursday or Good Friday services.

By Keith Snell. (Master Composer Library). Piano. Collections. Level: Book A,1. Music Books. Published by Neil A. Kjos Music Company.

Composed by Larry Shackley. Sacred, Eastertide, Holy Week, Lent. Lorenz Publishing Company #70/2027L. Published by Lorenz Publishing Company (LO.70-2027L).

Unison/2-part choir - Easy

SKU: WD.080689662171

Composed by Dale Mathews. Choral, cantatas. Eastertide. Choral score and book. Word Music #080689662171. Published by Word Music (WD.080689662171).

UPC: 080689662171.

Freed om bought; Salvation given; and the Lamb who was slain… He. Is. Alive! Exploding with passionate lyrics and energetic dynamics in celebration of Christ’s victory over death is this new unison/2-part Easter musical from the Very Simply Word Series, He Arose, Hallelujah! “Low in the grave He lay, Jesus, my Savior; waiting the coming day, Jesus, my Lord!” Death had no power, no sway; the tomb could not hold Him. In just 3 days… He Arose, Hallelujah! Lift your voices in triumphant praise of our Redeemer King with this reverent remembrance of Christ’s ultimate sacrifice and powerful declaration of His mighty resurrection, from Word Music & Church Resources.

Composed by Johannes Brahms (1833-1897). Collection for low voice and piano. 208 pages. Published by G. Schirmer, Inc.

By Dakers. For Choral Collection: Mixed Choir Paper. Published by Oxford University Press.