Festival Praise for Organ

Twenty- three pieces for organ-Plenty of jolly hummable pieces to delight both organist and congregation. Give them a treat! Praise the Lord with mighty sounds!.

Anthem for SATB Choir and Organ taking the text of Psalm 117. Commissioned for the opening service of the King's Lynn Festival 1967.

Written for SATB choir and organ with optional brass (2 trumpets and 2 trombones) and cymbal Dr. Powell illustrates her regal flair. Based on Psalms 118 and verses from Acts 10 the tender middle section is flanked by the royalfanfares and triumphant statements. This piece will flourish in festival occasions and services of praise to God.

Using a noble text by Englishman Timothy Dudley-Smith K. Lee Scott has created an elegant and stately hymntune entitled “Hodges Chapel.” He has set the verses into an anthem with organ format which invites thecongregation to join by the final refrain. Optional trumpets and trombones (2/2) are available separately (F2351B). An excellent choice for festival and church use.

Psalm 148 and 150-An exciting work for men's chorus that will make a great concert opener. In 7/8 time this work will give a nice but achievable challenge to your men's chorus. A good selection for honor choirs and festivals.

No. 1 of Two Hymns of Praise-Festival hymn with introductory fanfare for mixed choir brass ensemble (4 trumpets 2 trombones or 2 horns bass trombone and optional tuba) timpani percussion and organ An alternative orchestral accompaniment is available on hire. No. 1 of Two Hymns of Praise.

Diane Bish is a renowned organist and her compositions reflect her keyboard excellence. The choral music by Franz Joseph Haydn (from “Creation”) is firm and fulfilling but it is the organ part that exalts it tofestival status. A real crowd pleaser in worship or concert it is also an august anthem of praise to God.

There is no rose of such virtue is an anonymous mediaeval text, already well known through beautiful settings by Britten (in his Ceremony of Carols), John Joubert and others. The poem is 'macaronic' (it presents a verse in English, followed by a varying Latin refrain). This new version follows the illustrious examples above by remaining strophic and presenting broadly the same music in a succession of slightly different guises. The first verse is a straightforward four-part setting, the second gives the melody to the tenors and surrounds them with hushed, wordless writing for the other parts, and the third explores a freely canonic relationship between the tenor and soprano lines before carrying the previous verse-endings to a higher, more exalted pitch and mood. The fourth verse then expands its texture in a free climactic passage evoking the songs of praise sung by the angels. This subsides towards the final verse, where the texture of the music attenuates again to four parts, and canonic writing (based on the first four notes of the original melody) permeates all of them. This slightly extended statement leads to a hushed final cadence. Francis Pott (b. 1957) began musical life as a chorister at New College, Oxford. He held open music scholarships at Winchester College and at Magdalene College, Cambridge, where he studied composition with Robin Holloway and Hugh Wood while pursuing piano studies privately in London with the distinguished British artist, Hamish Milne. Throughout the 1990s Francis was John Bennett Lecturer in Music at St Hilda's College, Oxford, and a lay clerk in the Choir of Winchester Cathedral. In 2001 he became Head of London College of Music, University of West London, later leading research across the University's Faculty of Arts and acceding in 2007 to its first Chair in Composition. Francis Pott has become recognised particularly for his sacred choral and organ music. This has been performed in concert and on radio in over three dozen countries worldwide, published by four major UK houses and released extensively on CD. Winner of four national composition awards, in 1997 he received first prize in the piano solo section of the S. S. Prokofiev Composing Competition, Moscow. In 2006 and 2011 he was a nominated finalist in the BASCA/BBC Annual Composer Awards. In summer 2012 he was winner of the international composing competition of the Cheltenham Festival, which sought new piano variations on the arioso song Bist du bei mir, well known in the arrangement by J. S. Bach. Francis lives with his wife and two children on the outskirts of Winchester. An inspiring selection of new works from a range of contemporary composers, the Novello New Choral Series offers pieces for all types of choirs, including sacred and secular works from simple, four-part settings to more expansive, yet accessible, repertoire in an exciting variety of styles. / Choeur Mixte (SATB)