Were You There on That Christmas Night?

O that we were there! is a text taken from the Christmas hymn In Dulci Jubilo. It expresses a longing to be present at the Incarnation of Christ but it also conveys alonging to be out of the world oftime and space and in an eternal world.Composed in 2012 in memory of Blossom Barrow this SATB version was first performed at the memorial service for Annabel Freyberg mother of Blossom Barrow at St Mary Abbots theparish church of Kensington on 26th February 2014. The performance was given by the choir of St Mary Abbotsconducted by the Director of Music Professor Mark Uglow.

Par . Arrangements for piano, voice and guitar of 100 all-time Christmas favorites, both sacred and secular in nature. / Date parution : 2022-12-01/ Répertoire / Piano/Vocal/Guitare (PVG)

Third edition of the world's biggest songbook. This is a vast bumper collection, perfect for buskers, of 1001 all-time hit songs.Whatever your taste, there's guaranteed to be tonnes of songs you'll want to play, this book will last you years!Inside the spiral bound cover you will find a generous selection of hit songs, golden standards, jazz and blues numbers, classical pieces, hymns, gospel songs, stage, film and musical music! Arranged here in Melody line arrangements for Piano, Organ, Electronic Keyboards, Guitar and all C instruments, complete with lyrics and chord symbols. / Ligne Mélodique, Paroles Et Accords (Avec Grilles D'Accords)

For Children's Choir and Piano . Par PART ARVO. ‘I went to nursery school every day until the end of secondary school!’ Arvo Pärt says and pauses, staring slyly at his listener. ‘My mother worked at a nursery school in Rakvere, and I always went to visit her after my lessons.’ There, the future composer often sat at the piano and played or improvised for his little friends. Arvo Pärt is a composer best known for his 'tintinnabuli' compositions. It is a lesser-known fact that in his earlier years as a composer, he also wrote children's songs and piano pieces along with music for plays and animated films. This volume, 'Songs from Childhood', contains a selection of Arvo Pärt's music for children from the period 1956-1970. In those years he was involved with several children's studios and theatres as the piano accompanist and composer. Most of his music for children came about by way of improvisation in rehearsals and was only later completed and put on paper. These pieces therefore retain all the spontaneity and playful spirit in which they were created. 'Songs from Childhood' includes a CD of the same name, providing recordings of the songs with new and colourful instrumental accompaniments in the roiginal Estonian language for your enjoyment. These new accompaniments, which are also included as backing tracks on the CD, were arranged by the composer Tauno Aints in collaboration with Arvo Pärt. The sheet music of these arrangements is available on hire. The piano version doubles as a piano reduction. • 15 selected pieces for children‘s choir and piano written with all the spontaneity and playful spirit typical of Arvo Pärt‘s music for children • Includes a CD with full and sing-along versions of the songs • The recordings of the songs are in Estonian with new and colourful instrumental accompaniments by Tauno Aints in collaboration with Arvo Pärt/ Répertoire / Choeur d'Enfants et Piano

The tradition of the Christmas tree in Western Europe dates back to a time long before any Christianization had taken place. During the severely cold winter nights so it was believed evil spirits tried to ?kill? nature. Needle-leaved trees were the only ones which kept their green colour throughout the year and therefore became symbols of immortality. These ?living? trees said to be the work of benign spirits were brought into people?s houses to ward off evil life-threatening powers. In the 14th century people first started to decorate Christmas trees. It was a pagan custom originated by the inhabitants of Alsace. This custom was taken over by the Church in thecourse of the 15th and 16th century. At first the decoration consisted mainly of edibles such as apples and wafers but later small presents were added. Legend has it that the reformer Martin Luther was the first person to decorate a Christmas tree with candles. The flickering candle flames were meant to create the image of a starry sky in which Christ?s apparition could be recognized. The German organ-player Ernst Anschütz from Leipzig was the first person to notate the song ?O Tannenbaum? the melody being a well-known folk song. Next to ?Stille Nacht? ?O Tannenbaum? is the most famous German Christmas song now known throughout the world. In the United States of America the melody of ?O Tannenbaum? has even been used in four States (among which the State of Maryland) for their State song. In David Well?s arrangement the song is first heard as many of us know it. After this introduction however it is transformed into a solid rock version and the beat has been changed. In the second part the familiar three-four time is back but here the rhythm is different from the original. After the richly ornamented rock beat the basic theme can be heard once again and the composition is concluded in a festive manner.

Par WHITBOURN JAMES. This glorious collection of beautiful choral music by composer James Whitbourn includes fifteen short works drawn from his oeuvre from the first few years of the 21st century. Many of his greatest compositions are included in The Choral Collection, with many of the pieces working perfectly for seasonal performances, while also reflecting the many fruitful collaborations of Whitbourn's distinguished career. All works are arranged for SATB Choir. James Whitbourn has become renowned throughout the world for his acclaimed compositions and settings of numerous texts. He has been described as truly original and an innovator of contemporary British choral music, collaborating with people like Archbishop Desmond Tutu and the Choir of King's College, Cambridge. The former appears here, as A Prayer Of Desmond Tutu, a setting of one of the Archbishop's prayers. His arrangements and compositions for the King's College Choir have been universally critically acclaimed, with A Great And Mighty Wonder, Nunc Dimittis and Were You There? representing these hugely popular collaborations. Whitbourn has also had a very close relationship with the BBC since his beginnings as a composer, working with them on three pieces within The Choral Collection. Eternal Rest and Give Us The Wings Of Faith were both composed specifically for television broadcast, the former (in its orchestral form) was played for the funeral of the Queen Mother in 2002. His longest work, for which he is most famous, is a setting of text from'the Diary of Anne Frank'. There Is No Speech Or Language comes from this work, taking its text from other sources, but that still maintain the beauty and tragedy of the wider piece. The Choral Collection of fifteen compositions by James Whitbourn is full of beautiful, haunting, uplifting and inspiring melodies for SATB Choir and Organ Accompaniment from one of the most treasured British choral composers. The brilliant choice of texts throughout is matched only by the sheer compositional skill of Whitbourn in evoking the emotions of the words in the musical form. Also included are suggestions for seasonal song use, a list of recordings, and fascinating song notes written by Whitbourn himself. The joy of choral singing is nowhere more evident than in a work by James Whitbourn, and performances of any piece within this collection is sure to be remembered for a long time to come./ Recueil / Choeur Mixte (SATB) et Orgue

The tradition of the Christmas tree in Western Europe dates back to a time long before any Christianization had taken place. During the severely cold winter nights so it was believed evil spirits tried to 'kill' nature. Needle-leaved trees were the only ones which kept their green colour throughout the year and therefore became symbols of immortality. These 'living' trees said to be the work of benign spirits were brought into people's houses to ward off evil life-threatening powers. In the 14th century people first started to decorate Christmas trees. It was a pagan custom originated by the inhabitants of Alsace. This custom was taken over by the Church inthe course of the 15th and 16th century. At first the decoration consisted mainly of edibles such as apples and wafers but later small presents were added. Legend has it that the reformer Martin Luther was the first person to decorate a Christmas tree with candles. The flickering candle flames were meant to create the image of a starry sky in which Christ's apparition could be recognized. The German organ-player Ernst Anschütz from Leipzig was the first person to notate the song 'O Tannenbaum' the melody being a well-known folk song. Next to 'Stille Nacht' 'O Tannenbaum' is the most famous German Christmas song now known throughout the world. In the United States of America the melody of 'O Tannenbaum' has even been used in four States (among which the State of Maryland) for their State song. In David Well's arrangement the song is first heard as many of us know it. After this introduction however it is transformed into a solid rock version and the beat has been changed. In the second part the familiar three-four time is back but here the rhythm is different from the original. After the richly ornamented rock beat the basic theme can be heard once again and the composition is concluded in a festive manner.

Par BEATLES THE. A fantastic and stupendous volume for fans of popular music and the Beatles! This comprehensive volume contains all and every one of the 194 songs that were written and sung by the Beatles during their prolific and productive career. Specially arranged in the original keys by Rikky Rooksby from the actual recordings, each song includes chord symbols, guitar chord boxes and complete lyrics and the band's full discography is also featured. / Niveau : Assez Facile / Rép International / Recueil / Chant et Guitare

The Piano Treasury of Hymns is designed to be the cornerstone of your personal music library. This tremendous collection contains 400 pages of the best-loved Christian hymns from Europe and America. From traditional favourites to contemporary worship songs, here you'll find the music that has inspired praise and worship for over four centuries. This sacred folio will provide years of enjoyment for everyone who loves the music of the church. Rediscover the beauty and power of the great songs that are a part of the fabric of the church and music history. / Piano

The Manchester Carols is an inspired collaboration between composer Sasha Johnson Manning and Poet Laureate Carol Ann Duffy. A collection of 12 carols linked with a gentle entertaining narration which reshape and modernise the Christmas story. Its creators wanted to write something that is relevant to and reflects modern society and which acknowledges the fact that even though someone might not subscribe to the religion behind the Nativity story they can still appreciate it as an inspiring magical tale. The carols are for everyone believers or not. Duffy uses the Christmas story as a metaphor for human experience giving usup-close and personal insights into the central characters of the nativity – Mary Joseph a newborn baby and a ‘golden youth’ (aka the Angel Gabriel). As Duffy herself says: 'I think the story is wonderful. There’s a lot we can take from it on a human level even if we don’t take the divine element.' There are hints too of the darker grittier side of the Nativity story – refugees poverty giving birth on the road; and looking further forward there are hints of Jesus’ fate on the cross. These carols were written in Manchester in 2007 and first performed by children from several Manchester schools at The Royal Northern College of Music (and again in 2008). All of us who worked on them – librettist composer artist conductor teachers musicians and singers – live and work in that great city. And so these are and will forever be  The Manchester Carols'.

Edited with additional material from the Salzburg version“In Italy nowadays this term (motet) is applied to a Latin sacred solo cantata consisting of two arias and two recitatives concluding with an Hallelujah and sung during the Mass following the Credo generally by one of the best singers.” One composition matching this description is the solo motet Exsultate jubilate K. 165/158a which Mozart wrote in Milan early in 1773 following the highly successful performance of his opera Lucio Silla.In 1978 when the music manuscripts in Bavaria were being sorted and cataloged in a project sponsored by the Deutsche Forschungsgemeinschaft a set ofmanuscript parts for a previously unknown second version was discovered in the town parish church of St. Jakob in Wasserburg am Inn. The music and text of the concluding Alleluja movement were written out by the Salzburg court bassoonist and copyist Joseph Richard Estlinger (c. 1720–1791) who frequently worked for Mozart and his father.The vocal text of this Salzburg manuscript departs from that of the Milan version in the first aria and in the recitative. It was entered in a different hand. The Salzburg version of the text is clearly related to the feast of the Holy Trinity. There is much evidence that this version was sung for the first time in the Dreifaltigkeitskirche on 30 May 1779 (i. e. Trinity Sunday) by the Salzburg male soprano Francesco Ceccarelli during a service mentioned by Nannerl Mozart. On that day Leopold and Wolfgang Mozart together with Ceccarelli were invited to the church’s vicarage at midday. The additional text underlaying of the first aria enabled the solo motet to be employed for the Christmas service as well.- Urtext of the New Mozart Edition- Full score performance material (BA4897) and vocal score (BA4897-90) available for sale

Edited with additional material from the Salzburg version“In Italy nowadays this term (motet) is applied to a Latin sacred solo cantata consisting of two arias and two recitatives concluding with an Hallelujah and sung during the Mass following the Credo generally by one of the best singers.” One composition matching this description is the solo motet Exsultate jubilate K. 165/158a which Mozart wrote in Milan early in 1773 following the highly successful performance of his opera Lucio Silla.In 1978 when the music manuscripts in Bavaria were being sorted and cataloged in a project sponsored by the Deutsche Forschungsgemeinschaft a set ofmanuscript parts for a previously unknown second version was discovered in the town parish church of St. Jakob in Wasserburg am Inn. The music and text of the concluding Alleluja movement were written out by the Salzburg court bassoonist and copyist Joseph Richard Estlinger (c. 1720–1791) who frequently worked for Mozart and his father.The vocal text of this Salzburg manuscript departs from that of the Milan version in the first aria and in the recitative. It was entered in a different hand. The Salzburg version of the text is clearly related to the feast of the Holy Trinity. There is much evidence that this version was sung for the first time in the Dreifaltigkeitskirche on 30 May 1779 (i. e. Trinity Sunday) by the Salzburg male soprano Francesco Ceccarelli during a service mentioned by Nannerl Mozart. On that day Leopold and Wolfgang Mozart together with Ceccarelli were invited to the church’s vicarage at midday. The additional text underlaying of the first aria enabled the solo motet to be employed for the Christmas service as well.- Urtext of the New Mozart Edition- Full score performance material (BA4897) and vocal score (BA4897-90) available for sale

Edited with additional material from the Salzburg version“In Italy nowadays this term (motet) is applied to a Latin sacred solo cantata consisting of two arias and two recitatives concluding with an Hallelujah and sung during the Mass following the Credo generally by one of the best singers.” One composition matching this description is the solo motet Exsultate jubilate K. 165/158a which Mozart wrote in Milan early in 1773 following the highly successful performance of his opera Lucio Silla.In 1978 when the music manuscripts in Bavaria were being sorted and cataloged in a project sponsored by the Deutsche Forschungsgemeinschaft a set ofmanuscript parts for a previously unknown second version was discovered in the town parish church of St. Jakob in Wasserburg am Inn. The music and text of the concluding Alleluja movement were written out by the Salzburg court bassoonist and copyist Joseph Richard Estlinger (c. 1720–1791) who frequently worked for Mozart and his father.The vocal text of this Salzburg manuscript departs from that of the Milan version in the first aria and in the recitative. It was entered in a different hand. The Salzburg version of the text is clearly related to the feast of the Holy Trinity. There is much evidence that this version was sung for the first time in the Dreifaltigkeitskirche on 30 May 1779 (i. e. Trinity Sunday) by the Salzburg male soprano Francesco Ceccarelli during a service mentioned by Nannerl Mozart. On that day Leopold and Wolfgang Mozart together with Ceccarelli were invited to the church’s vicarage at midday. The additional text underlaying of the first aria enabled the solo motet to be employed for the Christmas service as well.- Urtext of the New Mozart Edition- Full score performance material (BA4897) and vocal score (BA4897-90) available for sale