with Jesus Lover of My Soul-Uses: General Communion Scripture: John 3:16-17; Romans 8:28-39; Ephesians 3:16-19 Kurt Kaiser's time-honored chorus is skillfully interwoven with a Charles Wesley hymn text creating a useable anthem for throughout the entire church year. Easily learned and beautiful in its simplicity this will be a must-have in your choral library.

Behold How Good It Is When We Dwell Together-If you are looking for a piece for your next ecumenical service this is it! Sung in both Hebrew and English Cantor Contzius has written a lovely melody for this ubiquitous yet timely text and the arrangers have couched it with beautiful well-fashioned choral lines. Perfect for any occasion especially for ecumenical gatherings.

Bette Midler's tribute album to seven decades of girls' groups includes the 1994 song by TLC but with a slower reflective beat acoustic track soft drums in the background and rich choral textures. A stunningly beautiful treatment!

Uses: All Saints General Revival Scripture: Genesis 18:3 - Luke 2:7 - John 14:2 Joy unbounded defines this bluegrass-styled song. The words are inspired by the traditional spiritual Don't Be Weary O Traveler and the music maintains a rustic sensibility. The choral parts are easily absorbed and the piano accompaniment is filled with idiomatic figurations that ignite the Appalachian ambience of the piece. The optional bluegrass consort sends this piece into overdrive and will make for an unforgettable impact on your concert or worship gathering. Score and Parts (fdl bjo mndln ac gtr db) available as a digital download.

For SATB unaccompanied.This is a vibrant and rhythmic Christmas carol based on an anonymous 15th-century text. The modal feel and lively rhythms lend this carol a medieval character which will delight singers and audiences alike. An enjoyable option for any SATB choir at Christmas.

(The Fiery Force)-A truly special and evocative poem by Hildegard von Bingen set masterfully by the composer. The piano acts as a fifth voice with the choir often representing the circling of the mysterious firey force. Interesting vocal writing feauring great attention to line and phrasing. Jo-Michael Scheibe Choral Series.

(Through the Eyes of Love)-The creative genius of the late Marvin Hamlisch is unmatched in the world of movie music! This lovely setting of the theme from the 1970s film Ice Castles features a soloist and warm expressive choral parts and supportive accompaniment. String bass part included.

Kane Bradley is a Junior and Senior high choral director and a relatively new composer on the scene. His De Profundis employs minimalism and contemporary harmonies that are quite compelling. He builds walls of sound in repeated phrases that enable less experience choirs to enjoy the power of modern music in a satisfying way. Both high school and college choirs will enjoy this work.

Choral-Exploring the essence of the butterfly and its impact on nature the tonalities shift with each passing phrase in the music. Consequently each line of the text has its own character. This inspired text painting encourages singers to explore vocal colors to support the delivery of the text.

Instrumental Accompaniment Set-Instrumentation: String Quartet Piano (played from the vocal score) Full Score

Each of the five connected movements in this choral cycle contains references to 'Light ' assembled from various sacred Latin texts. I composed Lux Aeterna in response to my mother's final illness and found great personalcomfort and solace in setting to music these timeless and wondrous words about Light a universal symbol of illumination at all levels - spiritual artistic and intellectual.The work opens and closes with the beginning andending of the Requiem Mass with the central three movements drawn respectively from the Te Deum O Nata Lux and Veni Sancte Spiritus. The opening Introitus introduces several themes that recur later in thework and includes an extended canon on “et lux perpetua.” In Te Domine Speravi contains among other musical elements the cantus firmus “Herzliebster Jesu” (from the Nuremburg Songbook 1677) and a lengthy inverted canon on “fiat misericordia.” O Nata Lux and Veni Sancte Spiritus are paired songs the former an a cappella motet at the center of the work and the latter a spirited jubilant canticle. A quiet setting of the Agnus Dei precedes the final Lux Aeterna which reprises the opening section of the Introitus and concludes with a joyful celebratory Alleluia.--MortenLauridsen