SKU: LP.765762083103

UPC: 765762083103.

South ern gospel enthusiasts rejoice! Here is an outstanding collection of your gospel favorites. These are songs of testimony fellowship and the hope of heaven - vital components for each of us in our walk of faith. Features Easy 2 Excel Flexible choral format for choirs of all sizes; Includes a complete Keyboard Accompaniment Edition; Pieces from today's most trusted (and revered) gospel arrangers. Choirs will find this book to be a staple in their choral diet and a refreshing addition to their customary worship collection. Southern Gospel Favorites is an ideal resource for summer choirs revivals camp meetings or any gathering place where southern gospel music is loved!

SKU: HL.49006279

ISBN 9790001068147. Old English.

The first known canon of European art music, now in the British Museum in London, is preserved in a thirteenth-century manusript from the English abbey in Reading: This is the so-called summer canon, whose verses greet the advent of summer. An accompanying note elucidates the artistic layer-like construction of the sound structure: a two-voice foundation of bell-like, swinging pendulum tones supports an upper structure of four voices which enter at equal time intervals. The note terms the canon rota * round -, which makes reference to the turning, circling movement of the constantly pulsating sound. The circular figure originates in a vital, ages-old moving force in music-making, and it demands a dance-like execution. But the canon is also, through the interaction of the strictly ordered voice entries, convivially bound musical form. Carl Orff was able to choose no better fitting musical form for the Greetings to Youth at the Olympic Games 1972 in Munich than the medieval rota. In the connexion of the singing voices with the Orff instruments, today in world-wide use, a testimony of European tradition sounds in a living present.

SKU: HL.14008404

UPC: 884088435356. 8.75x11.75x0.406 inches.

Chamber opera in a prologue and one act. A ghost story telling of the mysterious disappearance of three lighthouse keepers in the Hebrides. This is a mystery story in the form of a chamber opera. The prologue is set as a court of enquiry into the unexplained disappearance of the three keepers from a lighthouse. Questions are posed by a solo horn, which may sound from among the audience, and three officers give answer. Gradually, they move from straight testimony into fantastical imaginings of evil during a 'flashback' to the lighthouse; but then we snap back to the courtroom. In the main act the three singers become the vanished keepers. They have been together for months, long enough to be fully aware of each other's weaknesses; petty bickerings suggest a relationship which is stable, but liable to become highly unstable at any moment. They sing songs to reduce the tension, Blazes beginning with a rough ballad of street violence, accompanied by violin and banjo. Sandy's song, with cello and out-of-tune upright piano, is a thinly disguised description of sexual bliss, and Arthur's with brass and clarinet, is a tub-thumping hymn. But the songs serve only to resurrect in their minds ghosts from the past, and as the fog descends each of the keepers becomes convinced that he is being claimed by the Beast. They prepare to meet its dazzling eyes, which become the lights of the relief vessel, and the three men reappear as officers, met at the lighthouse only by an infestation of rats. They leave, and at the end the last hours of Blazes, Sandy and Arthur begin to play over again. Study Score. Duration c. 1h 25mins.

SKU: WD.080689619175

UPC: 080689619175.

What better way to share Easter Sunday with your choir and congregation than by singing out the testimonies of those who encountered Jesus firsthand? Throughout Jesus’ ministry, people experienced divine appointments with Him that left them amazed and in awe. Presented by the Simply Word Series, this is the retelling of those testimonies in an inspiring new Easter Musical, WE ARE WITNESSES, from Word Music & Church Resources.

The best-selling Simply Word Series is dedicated to constructing musicals perfect for every choir and creating experiences your congregation will never forget. As part of this popular series, WE ARE WITNESSES, arranged and orchestrated by Daniel Semsen, will give your choir over-the-top, dynamic SATB sounds, delivered via accessible vocal part-writing, punctuated and enhanced by the use of brilliant CD Accompaniment Tracks, DVD Accompaniment Tracks, and orchestrations. Created by Kenna Turner West, and featuring new songs co-written with Kenna by esteemed writers such as Tony Wood, Lee Black, Jason Cox, Don Koch and more, WE ARE WITNESSES is sure to be a unique, refreshing, and profoundly meaningful experience for your choir and congregation, as you use these anointed songs and compelling narrative testimonies to share the Gospel of Christ with your community.

God has raised this Jesus to life, and we are all witnesses of it. Acts 2:32 (NIV)

CLICK HERE to learn what's in the Promotional Media Kit!

SKU: HL.48024387

9.0x12.0x0.093 inches.

Ilse Weber (1903-1944) played these songs composed and composed by her with children in ghetto Theresienstadt on the guitar. She went to the infirmary with children of the infirmary in the Auschwitz concentration camp. Prisoners testify that she tried to console the children in the gas chamber with their lullaby Wiegala. Winfried Radeke has already presented Ilse Weber's song collection Ich wandre durch Theresienstadt in 2008 in an edition for voice and piano. It is now also making choirs available in versions for three-part women's choir and four-part mixed choir in German and English editions. In her simplicity and intimacy Ilse Weber's songs are among the most touching testimonies from Theresienstadt. They keep the memory of the Nazi-persecuted author sounding alive.

SKU: BR.DV-9515-01

ISBN 9790200490596. 9 x 12 inches. German / English.

In the latter half of the 18th and in the 19th century the Old Preface Testament Christmas prophecy (Isaiah 9, 1-6) formed the basis for numerous motetto- and cantata-like compositions originating from the Erzgebirge and the Vogtland of Saxony. From very early times, this text was included in Matins for Christmas day, hut until the period specified it was usually intoned on a reciting note. The present cantata is one of the few surviving testimonies to musical activity in the small Thuringian town of Schleiz. The prophecy Das Volk, so im Finstern wandelt was written - probably for performance at court services - in all likelihood by Johann Georg Reichard, a magistrate in the Grafschaft (County) of Reuss who later held higher judicial appointments. Reichard was born at Oels (Olefoica) in Silesia in 1710 and studied law at Leipzig from 1732. He then went to Schleiz and rose from the position of archivist to high legal office, at the same time succeeding Gottfried Siegmund Liebich (d. 1736) as director of the court chapel. He died in Schleiz on 2 June 1782. A few of his church cantatas and other pieces (serenades etc) written for the court at Schleiz once belonged to the Fursten- and Landesschule of St Augustine at Grimma whose music holdings are now preserved in Dresden. Some of Reichard's compositions are autograph, some in copies made by his son Heinrich Gottfried Reichard (1742-1801) who pursued an active career at Grimma both in music and ancient philology, first as cantor, finally as co-rector. The 'Prophecy' cantata survives anonymously in a score copied by Heinrich Gottfried Reichard who may well have sung it himself when he was fourteen, before bis voice broke - as the date Anno 17 56 suggests. He probably prepared the score in bis later years from the original parts, now no langer existent, as he did in the case of other works of his father's. Whether he revised the musical text, and to what extent, cannot now be established. This short and attractive work has all the lightness and exuberance of the rococo as well as genuine emotional depth. In addition, it is easy to perform and should prove very popular. Liturgically, it still occupies a place in Christmas matins or vespers. Permission for this publication was kindly given by Dr. Wolfgang Reich of the Sachsische Landesbibliothek Dresden, Musikabteilung. Wolfram Steude, Dresden, January 1972.