Break Forth with Joy

Uses: General Concert Easter AdventScripture: Isaiah 40:5; Revelation 5:13Raw power characterizes the opening of this festival anthem from the Cathedral Series. Massive chords sweep forwardbringing in fanfare-like choral acclamations of praise. Use of a solo reed adds shine and the martial like theme is a confident call to worship and invitation to prepare the way of the Lord with praise. The church was made forsong and the middle contrasting section celebrates this legacy of praise by increasing intensity until breaking forth with jubilant alleluias. A final canon caps this majestic offering!

Handel's 'Break Forth Into Joy' arranged for mixed voice choir SATB with Organ accompaniment.

Psallite Choral Series. From our Psallite Series, we present a sacred tone poem destined to be an important addition to the choral canon. Luxurious in harmonic language, this octavo framed in Latin describes the angel's announcement of Christ's birth to the shepherds. Emerging poetically from stillness and darkness with fragile sound, the piece opens organically as the divine glory of light breaks forth with angelic Glorias in luminous chords. Divided voices and evocative watercolor-like dissonances create a substantial sonic stack, a challenge worth taking for choirs of distinction. The cyclical text returns to the opening darkness and silence before ending with peace. Magnificent!

Kammeroper Nr. 2. Par RIHM WOLFGANG. Chamber opera does not mean “little opera.” On the same scale as chamber music is to the symphony, it is rather the other way of talking onstage. The movable apparatus permits sophisticated voice-leading. A large ensemble demands simple conception to achieve the complexity it perhaps intends; this can be formulated more sharply and nuanced in a chamber ensemble. Therefore it is the subject which this type of presentation must sustain – or, better, provoke. Büchner’s Lenz is a description of the conditions within a process of collapse, moments of destruction already occurred but not yet accepted, evident in the points of contact with the environment. And it was those points of contact which Michael Fröhling attempted to reconstruct onstage. Lenz’s distraught state is always the same; only the proximity of the environment to that distraught state grows and ebbs. The musical consequence An hour of extreme chamber music results from this description: always bound for the main character – actually, not a commentary, but the main character himself as a multilayered level of action. Although Lenz acts on many levels – or tries to or believes he is – he has no room to manoeuvre. That is why he is also tightly interwoven in his sonic surroundings; the voices which only he hears are just as much himself as the two men with whom he foregathers (the liberal pragmatist Oberlin and the alert merchant who always “does the right thing” in every situation) – they evoke responses which he deeply desires. Omnipresent Friederike is just as much his inner world as Nature is – Nature, which he can no longer perceive unless it is personified, enlivened or dead. Therefore, the music’s task is both to motivate the “situation” (atmospherically) and to be the psychological constant (via a network of entangled references per se) in an action as it is played out. The compositional process December 1977 to June 1978 – a period identical to the stepwise understanding of an existence as that of Jakob Lenz. Yet the more the historical figure became precisely attendant in my intellect in terms of data and atmosphere, the more it retreated in favour of a cipher of disturbance as I began to understand Lenz. Thence the explanation for the failure of the attempts to approach him – including my attempt to interpret him via musical representation – because, essentially, Lenz himself is the failure. Only the naked stages of that failure remain portrayable, i.e. including the failure of those who wish to “help” Lenz, for example, while Lenz himself is already trapped inextricably in a state of complete destruction. I tried to compose my way into that situation as far as possible; the insistence of several rhythmic and harmonic configurations is the palpable expression of the main character’s ever-recurring rigidity. One sound pervades the entire work. The musical stage For me, this is a place where very magical and very human things take place. In Jakob Lenz, the human aspects often switch to magical ones, since the realism of a self-suasive, unhinged soul takes on surreal traits – or we simply cannot understand that otherwise except as not being real. A character like Jakob Lenz on the stage is complex due to the fact alone that it harbours many stages within itself, and music must represent those constantly present stages. I have tried to do so in the most direct way – by not cleanly separating the musical layers, but keeping them constantly in evidence until they must break forth, each in accord with its own dramaturgy. In an overview, the large form takes on aspects of a rondo, performed in overlapping layers – a type of rondo relief, since perspectives of psychological proximity and distance are indeed formulated musically as atmospheric relations. Above all: the thread on which Jakob Lenz hangs is the current onto the listeners’ hearts. Wolfgang Rihm (January 1979)/ Répertoire / Chant et Piano

Two timeless Christmas favorites by J.S.Bach are gloriously arranged for the Concert Band and ready for your interpretation. BREAK FORTH O BEAUTEOUS HEAVENLY LIGHT and JESU JOY OF MAN'S DESIRING comprise the two contrasting movements (a Chorale and a Ballad). You know how valuable chorale style playing can be for the band’s tone quality breath support intonation and phrasing. With thorough cueing throughout the arrangement TWO BACH CHRISTMAS CLASSICS will work beautifully even if your group has instrumentation problems. Christmas music does not ordinarily leap to mind as a choice for spring festival use but you may wish to consider it in this case. Great music isgreat music any time of the year! Magnificent!

for Trumpet and Guitar. Par BAY WILLIAM. Through the centuries, the Christmas season has inspired composers, poets, lyricists and hymn writers to apply their craft in devotion to this event.This book presents 100 arrangements of favorite Christmas carols and advent hymns for violin solo with guitar accompaniment. Suggested chordal accompaniment is included for each solo so that any chordal instrument can accompany the violin. The author has also indicated whether the guitarist should use fingerstyle or strum accompaniment. The music in this book spans centuries and represents a wonderful assortment of solos which may be used as preludes or offertories throughout the various seasons in the church year. / Niveau : Intermédiaire / Musique religieuse / Recueil / Trompette et Guitare

By now well-known to those familiar with the Hinshaw 'family' of composers Ms. Ford has woven together Isaiah 55 and Psalm 98 with exciting results. Flute tambourine and claves add yet more liveliness to the original music. All instrumental parts are in the octavo with the flute part both above the keyboard and alone on the back page.

Through the centuries, the Christmas season has inspired composers, poets, lyricists and hymn writers to apply their craft in devotion to this event. This book presents 100 arrangements of favorite Christmas carols and advent hymns for cello solo with guitar accompaniment. Suggested chordal accompaniment is included for each solo so that any chordal instrument can accompany the cello. Where appropriate, capo chords are shown.The author has also indicated whether the guitarist should use fingerstyle or strum accompaniment. The music in this book spans centuries and represents a wonderful assortment of solos which may be used as preludes or offertories throughout the various seasons in the church year. / Niveau : Intermédiaire / Musique religieuse / Date parution : 2018-05-04/ Recueil / Violoncelle et Guitare

Uses: General Youth Choir ConcertScripture: Psalm 96:1-5; Isaiah 42:10Unbridled praise breaks forth in this festive contemporary choral based on the Psalms. Syncopations and mixed meter animate theprimary theme with an enthusiastic spirit admonishing the faithful to “Sing to the Lord a new song!” A lovely contrasting middle section provides musical and lyrical variety before launching into an excitingrecapitulation. The final drive to the end is a perfect punctuation mark to this call to joyful praise. Duration: ca. 2:57.

Anthem for Christmas and general use with for Soprano Solo SATB Choir and Organ.

Par SILKTBERG STEPHEN. The author's intent while arranging these carols was to maintain their traditional flavor while making them idiomatic for the guitar. They are intended for guitarists with intermediate to advanced technique, and are ideal for performance at intimate gatherings as well as the concert stage. Standard classical guitar notation and symbols are used throughout. Includes access to online audio. / Niveau : Intermédiaire à Avancé / Recueil / Guitare Classique

Par PARRY BEN. This Spiritual Medley comprises three songs that speak of a journey through trial to eventual salvation and liberty. It should gradually gather pace and energy from a slightly more reflective start, though retaining a lively feel throughout. All My Trials developed into a popular protest song in the 1950s and 60s and has been recorded by, amongst others, Joan Baez, Paul McCartney and Elvis Presley. By and By is a more upbeat song with plenty of syncopated rhythms and more forthright dynamics – it should be sung and played with lots of energy. The medley ends with I Want Jesus to Walk With Me, a true ‘pilgrim journey’ full of trials and breaking hearts, but never giving up on hope and final deliverance. The tempo should really pick up for this final section, galvanised by the walking bass line and more jazzy harmonies, and reaching its climax in the final few measures. This piece is part of the Faber Choral Singles series, offering a selection of beautifully crafted arrangements in a diversity of musical styles. From Broadway, pop and folk to spirituals, gospel and original works, the series is arranged for 3-part choir (soprano, alto and a combined male-voice part) providing flexibility for any choir. Complete with straight-forward piano accompaniments supporting the vocal lines, the Faber Choral Singles series guarantees the perfect repertoire for every occasion – so get exploring and get singing! / Choral Music / Répertoire / Voix Mixtes SAB et Piano

John McCabe's Nocturnal For Piano Quintet was composed in 1966 commissioned by the Park Lane Group London and first performed by the Lancaster University Ensemble. Duration: Approximately 13 minutes. Composers Note:  The title of this work is a reference to John Donne's poem A Nocturnal upon St Lucie's Day the mood of which is reflected in the quintet. It falls into several movements played without a break: Introduction (Andante) setting forth the main thematic ideas of the music; Nocturne 1 (Allegro vivo) an agitated virtuoso scherzo-like section; a tripartite central part of the work consisting of two Cadenzasframing a brief Interlude the first Cadenza being largely for strings the second mainly for piano and the Interlude harking back to the feeling of the Introduction; Nocturne 2 (Andante molto) a slow piece gradually building to a unison theme on strings accompanied by a tolling piano background. This dies down to lead to an Epilogue ending with a final reference to the work's opening bars.