Two Human Hymns

SKU: HP.9085

UPC: 763628190859.

In Little Seeds you will find new hymns from my heart. My devotional life is given to you in my hymnwriting. During the past three years I have been writing songs for the unity of the church - songs reminding us of our baptism. I have been writing biblical story hymns for lesser-known characters. I have written paperless songs that may be easily memorized. I set a Rumi poem. There are new hymns for Christian missions from everywhere to everywhere. You will find new texts and musical settings for folk songs from around the world. I hope I have treated these with the love and respect they deserve. You will find alternate arrangements of some songs that may be useful in different settings. Lim Swee Hong composed three tunes for this collection at my request. I am also pleased to include Lianne Tan's first published hymn tune in Little Seeds.

SKU: HL.14012307

The collection of nine Vedic Hymns (Op. 24) for solo Voice with Piano accompaniment marked a turning point in Holst's compositions. They were inspired by Hindu scripture and Indian raga, and first published in1908. Vac (Speech) is the seventh movement, and is the first of the third group of hymns, where the theme shifts into the human sphere.

Gustav Holst (1874-1934) was an English composer and teacher.Having studied under Stanford and Parry, he became a close friend of Vaughan Williams - they would often critique each other's work - and influenced composers such as Tippet and Britten. He is best remembered for hisPlanets suite.

SKU: HL.14035685

UPC: 884088485689. 6.75x10.5 inches. Lyrics by George Herbert.

In 1994, for the 500th anniversary of the University of Aberdeen, Judith Weir wrote two settings of 17th century English verse and choir, entitles Two Human Hymns. In 1997, Weir arranged the first of these 'Hymns' - a setting of George Herbert's poem Love Bade Me Welcome - for a cappella choir of mixed voices (SSATBB).



A piano accompaniment part is scored for rehearsal purposes.

SKU: HP.1094

UPC: 763628110949.

Forty -three songs from Africa are included in this valuable resource. Like Tom Colvin's first collection of African hymns, Fill Us with Your Love (1983, Code No. 431), this collection includes English language translations of songs written for the churches in Africa.

SKU: WD.080689579172

UPC: 080689579172.

Heari ng just one gifted voice sing an inspired piece of music can be a glorious, moving experience. Hearing it accompanied by musical instruments played by skillful musicians can be even
more exciting. But...put together a group of exceptional Human Voices, joined in perfect harmony, skillfully arranged and executed, and a cappella music can take us to even greater heights of musical expression, soul-stirring emotion, and musical appreciation!

Th e music in this book acts as a SPOTLIGHT illuminating the brilliance and exceptional qualities of the Human Voice, made even more brilliant and exceptional by virtue of the fact that these songs magnify and glorify God. SPOTLIGHT features a group of voices weaving a tapestry of sound and movement, textures and lyrics…spotlighting the Human Voice, yes, but even more significantly, spotlighting the One Who created those voices and gave us the gift of all music!

A rranged by gifted arrangers Cliff Duren and David Wise (both of whom have their own special love of a cappella music!), SPOTLIGHT is both balanced and diverse in its content, including Hymns, Worship Songs, CCM Songs, Christmas and Patriotic Songs, being done in traditional a cappella styles and in the fresh, contemporary style of groups like Pentatonix.

SKU: PR.14540022F

ISBN 9781491131572. UPC: 680160031832.

Ameri can Hymn was commissioned by the American Bandmasters Association and the United States Air Force Band. It received its premiere on March 5th, 1980 as part of the 40th anniversary of the American Bandmasters Association in Washington, DC. It is based on an earlier choral work which Schuman contributed to a comprehensive survey entitled American Hymns Old and New, published by Columbia University Press. The Langston Hughes text that inspired the original human is simple and straightforward, which is reflected in the melodic setting (quasi hymn-spiritual).

SKU: PR.145400220

UPC: 680160031795. Key: C major.

American Hymn was commissioned by the American Bandmasters Association and the United States Air Force Band. It received its premiere on March 5th, 1980 as part of the 40th anniversary of the American Bandmasters Association in Washington, DC. It is based on an earlier choral work which Schuman contributed to a comprehensive survey entitled American Hymns Old and New, published by Columbia University Press. The Langston Hughes text that inspired the original human is simple and straightforward, which is reflected in the melodic setting (quasi hymn-spiritual).

SKU: HP.8845

UPC: 763628188450.

Inten tionally aiming to give words to those whose voice has been denied, this collection includes 70 new hymns addressing social justice issues. There are hymns for children, the elderly, women, LGBT persons, migrants, immigrants, refugees, victims of human trafficing, victims of violence, persons with mental illness, the poor and oppressed, people with disabilities, and people of other faith traditions. About these hymns Dan writes, I hope you will find songs to sing in this collection that will move all people toward the prophet's vision of a just and peaceful world.

SKU: ST.B923

ISBN 9780852499238.

The fourth collection of hymns by Alan Gaunt, Beyond All Words, brings together 89 texts on a variety of themes that are both contemporary and yet grounded in the perennial questions of theology.

In his Foreword, Emeritus Professor David M. Thompson writes 'One could see this collection as a diary of the first decade of the third millennium, during which so many of the bright hopes with which the new era began were ruthlessly smashed with the most up-to-date military technology available. So again and again the human existential question Why? is translated into the ultimate question in Christian theology of the Why? of the cross.'.

SKU: GI.G-10422

SKU: PR.466000470

UPC: 680160099405. 11 x 17 inches.

This is the second incarnation of a work I first composed in 1994 for symphonic wind ensemble. The earlier version was intended to be the summation of three-part suite, each part being named for a different national park in the Western United States. This orchestral version, commissioned in 1999 by the Utah Symphony and dedicated to the memory of Aaron Copland, is more than a re-scoring of the earlier piece; it is a re-thinking of all its elements. Zion is a place with unrivaled natural grandeur, being a sort of huge box canyon in which the traveler is constantly overwhelmed by towering rock walls on every side of him -- but it is also a place with a human history, having been inhabited by several tribes of native Americans before the arrival of the Mormon settlers in the mid-19th century. By the time the Mormons reached Utah, they had been driven all the way from New York State through Ohio and, with tragic losses, through Missouri. They saw Utah in general as a place nobody wanted, but they were nonetheless determined to keep it to themselves. Although Zion Canyon was never a Mormon Stronghold, the people who reached it and claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecuted people that I was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: Zion's Walls (which Aaron Copland adapted to his own purposes in both his Old American Songs and the opera The Tender Land) and Zion's Security, which I found in the same volume in which Copland found Zion's Walls -- that inexhaustible storehouse of 19th-century hymnody called The Sacred Harp. My work opens with a three-verse setting of Zion's Security, a stern tune in F-sharp minor which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful to be firm, and describing the city of our God they hope to establish). This melody alternates with a fanfare tune, whose origins will be revealed in later music, until the second half of the piece begins: a driving rhythmic ostinato based on a 3/4-4/4 alternating meter scheme. This pauses at its height to restate Zion's Security one more time, in a rather obscure setting surrounded by freely shifting patterns in the flutes, clarinets, and percussion -- until the sun warms the ground sufficiently for the second hymn to appear. Zion's Walls is set in 7/8, unlike Copland's 9/8-6/8 meters (the original is quite strange, and doesn't really fit any constant meter), and is introduced by a warm horn solo. The two hymns vie for attention from here to the end of the piece, with the glowingly optimistic Zion's Walls finally achieving prominence. The work ends with a sense of triumph.

SKU: PR.16500092L

UPC: 680160039531. 11 x 17 inches.

Zion is the third and final installment of a series of works for Wind Ensemble inspired by national parks in the western United States, collectively called Three Places in the West. As in the other two works (The Yellowstone Fires and Arches), it is my intention to convey more an impression of the feelings I've had in Zion National Park in Utah than an attempt at pictorial description. Zion is a place with unrivalled natural grandeur, being a sort of huge box canyon in which the traveler is constantly overwhelmed by towering rock walls on every side of him -- but it is also a place with a human history, having been inhabited by several tribes of native Americans before the arrival of the Mormon settlers in the mid-19th century. By the time the Mormons reached Utah, they had been driven all the way from New York State through Ohio and, with tragic losses, through Missouri. They saw Utah in general as a place nobody wanted, but they were nonetheless determined to keep it to themselves. Although Zion Canyon was never a Mormon Stronghold, the people who reached it and claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecuted people that I was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: Zion's Walls (which Aaron Copland adapted to his own purposes in both is Old American Songs and the opera The Tender Land) and Zion's Security, which I found in the same volume in which Copland found Zion's Walls -- that inexhaustible storehouse of 19th-century hymnody called The Sacred Harp. My work opens with a three-verse setting of Zion's Security, a stern tune in F-sharp minor which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful to be firm, and describing the city of our God they hope to establish). This melody alternates with a fanfare tune, whose origins will be revealed in later music, until the second half of the piece begins: a driving rhythmic ostinato based on a 3/4-4/4 alternating meter scheme. This pauses at its height to restate Zion's Security one more time, in a rather obscure setting surrounded by freely shifting patterns in the flutes, clarinets, and percussion -- until the sun warms the ground sufficiently for the second hymn to appear. Zion's Walls is set in 7/8, unlike Copland's 9/8-6/8 meters (the original is quite strange, and doesn't really fit any constant meter), and is introduced by a warm horn solo. The two hymns vie for attention from here to the end of the piece, with the glowingly optimistic Zion's Walls finally achieving prominence. The work ends with a sense of triumph and unbreakable spirit. Zion was commissioned in 1994 by the wind ensembles of the University of Texas at Arlington, the University of Texas at Austin, and the University of Oklahoma. It is dedicated to the memory of Aaron Copland.

SKU: LO.30-3362L

UPC: 000308145243.

Full Score and Parts plus CD with Printable Parts for Go Sing It on the Mountain - 65/2073L The birth of Jesus is a scene of awe-inspiring humility: God in human form, born in a lowly manger for our salvation. Pepper Choplin's distinctive, folk-infused musical style is particularly well-suited to capture this story. Employing a highly-inventive mixture of mountain melodies, folk hymns, spirituals, familiar carols, and original music that is sure to surprise and delight, Go Sing It on the Mountain proclaims the good news from the prophet Isaiah's proclamation, Comfort, O comfort my people, to the final exuberant celebration: Joy to the World! Christ is born! Solos, Duets, and Trios shine the spotlight on featured singers and nicely complement the SATB choruses.

SKU: HL.35005444

UPC: 840126922325. 8.5x11.0x0.12 inches.

The Dylan Thomas poem Do Not Go Gentle into That Good Night was the motivation for this musical composition. While not a programmatic depiction of the poem, the work attempts to recreate the essence of the poem in sound. The opening motive, representative of the life force, permeates much of the work. The use of sound layers - in the form of polytonal hymns - calls to mind the struggles and persistence of the human spirit and its refusal to go gentle. A substantial and dramatic work for mature ensembles. Dur: 11:15 (Grade 5).

SKU: GI.G-1086

UPC: 657383660057.

In celebration of the 10th Anniversary of the Uzee Brown Society of Choraliers— Uniquely capturing vastly diverse genres and styles of African American sacred music, TESTIMONY! includes foot-tapping jubilant, meditative and testimonial spirituals, charismatic sacred songs, and hymns beautifully spun out in anthem-like style, some with brilliant accompaniment and others unaccompanied. As the title would suggest, the songs collectively bear witness to victory in the face of life’s many challenges, not solely in the ten-year existence of the Choraliers or the African American experience, but as a microcosm of the human condition, with its unpredictable twists and turns in the exciting and ever-evolving cycle of life.

SKU: BT.EMBZ5109

Hungarian.

Brahm s was one of the great masters of Romantic choral music: not only did he sense how to create a good sound with the human voice, but through the choirs he himself conducted he gained great experience and skill in vocal composition. Alongside large-scale choral works for large forces he also composed a capella pieces to poems by contemporary poets (Rückert and Goethe, for instance), and to the words of German folk songs. Six of these works were selected and translated into Hungarian by Dr. Károly Vargha (1914-1993), who also translated the German texts of several great composers such as Bach, Haydn, and Händel. These six works for mixed choir are published here in twobooks, edited by Lajos Bárdos.

SKU: BT.EMBZ5110

Hungarian.

Brahm s was one of the great masters of Romantic choral music: not only did he sense how to create a good sound with the human voice, but through the choirs he himself conducted he gained great experience and skill in vocal composition. Alongside large-scale choral works for large forces he also composed a capella pieces to poems by contemporary poets (Rückert and Goethe, for instance), and to the words of German folk songs. Six of these works were selected and translated into Hungarian by Dr. Károly Vargha (1914-1993), who also translated the German texts of several great composers such as Bach, Haydn, and Händel. These six works for mixed choir are published here in twobooks, edited by Lajos Bárdos.

SKU: BT.EMBZ5272

Hungarian.

'This collection which comprises 143 choral works in 13 languages has been brought forth by the need of the Hungarian choirs for such publications. It leaves no doubt that it is but a drop in the sea even if it covers a period of two and a half millenia, works from an ode of the Hellenic Pyndar to present day compositions. The pleasure in singing together must reach back to older times yet, perhaps to the beginning of human existence. The earliest traces of polyphony can be come upon in the 9-10th centuries. The present compendium that concentrates on the golden age of choir music, the Renaissance derives its title from this period...' Miklós Forrai.

SKU: HL.14041389

Latin.

The text for the choral work 'Hominis dies' is partly form the book of psalms, partly from Isaiah in the Latin translation of the Bible. The words are relevant today - they are about the fate of humanity - our fear of war and destruction, violence and polution. The choral work is divided in three parts, all of them introduced with a Halleluja. A Halleluja is most often a praise, but that is not the case in this work, where the suppressed and oppressed manking with this work express desperation and sorrow, but also hope.

The text for the choral work 'Hominis dies' is partly form the book of psalms, partly from Isaiah in the Latin translation of the Bible. The words are relevant today - they are about the fate of humanity - our fear of war and destruction, violence and polution.
The choral work is divided in three parts, all of them introduced with a Halleluja. A Halleluja is most often a praise, but that is not the case in this work, where the suppressed and oppressed manking with this work express desperation and sorrow, but also hope.

SKU: CA.4048115

ISBN 9790007070014. Key: E flat major. Language: German/Latin. Text: Luther, Martin. Text: Martin Luther.

Also contains an arrangement for organ. In 1840 Schumann remarked: The small piece deserves to be world famous and will become so in the future; the Madonnas of Raphael and Murillo cannot remain hidden for long. Together with the orchestral version an version for choir and organ is available. Score and part available separately - see item CA.4048100.