I Believe TTBB

w/ Lord Listen to Your Children-Mary McDonald captures the spirit and message of two popular songs that deal with the significance of prayer for the individual believer and the church as a whole. The spiritual 'Down to the River to Pray ' is seamlessly combined with Ken Medema's 'Lord Listen to Your Children Praying. ' Together they poignantly ask for the Father's love the Spirit's power and the grace of Jesus to direct the lives of all believers. Choirs will enjoy the flavor of this partnered song with its unhurried rhythmic style and supportive accompaniment.Mary McDonald captures the spirit and message of two popular songs that deal with the significance of prayer for the individual believer and the church as a whole. The spiritual 'Down to the River to Pray ' is seamlessly combined with Ken Medema's 'Lord Listen to Your Children Praying. ' Together they poignantly ask for the Father's love the Spirit's power and the grace of Jesus to direct the lives of all believers. Choirs will enjoy the flavor of this partnered song with its unhurried rhythmic style and supportive accompaniment.

The text may be from the 13th century but David Dickau's setting would have us believe it is contemporary. Although sounding sacred the text portrays God's love for us is as effortless as a bird who catches the wind in flight the content is more universal. The finishing touch is Dickau's ending which repeats a sequence with a diminuendo that eventually goes silent mid-text. High school and college choirs will be drawn to this piece.

Ralph Vaughan Williams was an English composer. His works include operas ballets chamber music secular and religious vocal pieces and orchestral compositions including nine symphonies written over nearly fifty years. Strongly influenced by Tudor music and English folk-song his output marked a decisive break in British music from its German-dominated style of the 19th century.Vaughan Williams was born to a well-to-do family with strong moral views and a progressive social outlook. Throughout his life he sought to be of service to his fellow citizens and believed in making music as available as possible to everybody. He wrote many works for amateur and studentperformance. He was musically a late developer not finding his true voice until his late thirties; his studies in 1907 08 with the French composer Maurice Ravel helped him clarify the textures of his music.

Par PART ARVO. Pärt's take on the Te Deum text, also known as the Ambrosian Hymn, employs his signature tintinnabuli style of composition. The melodic lines, as well as their harmonies, strictly follow the rhythms of the text, resulting in heightened importance given to the text itself and an unconventional setting. For advanced players and vocalists. The liturgical text of the Te Deum consists of immutable truths. I am reminded of the sense of immeasurable serenity imparted by a mountain panorama. Swiss artist Martin Ruf once told me that he can distinguish over twenty shades of blue in the mountains when the air is clear. His words immediately turned into sound; I began tohear those blue mountains. I wished only to convey a mood, a mood that could be infinite in time, by delicately removing one piece - one particle of time - out of the flow of infinity. I had to draw this music gently out of silence and emptiness. The work Te Deum was a quest for something evanescent, something long lost or not yet found, the quest for something believed to be non-existent, but so real that it exists not only within us but beyond our being as well. (Arvo Pärt)/ Répertoire / Choeur SSAA/TTBB/SATB, Piano Préparé, Orchestre à