American Idol was the television smash of the summer. The winner Kelly Clarkson rocketed to the top of the Billboard Hot 100 with this hit. Beautifully arranged for choir this moment will capture your audience's heart. Available for SATB SAB and SSA. ShowTrax CD also available. Performance time: Approx. 3:45

Par ARMAN HOWARD. Howard Arman, director of the Bavarian Radio Choir, has been actively engaged with international Christmas carols through various Christmas-related CD productions of his choir in the past years. This has resulted in a number of original arrangements for four- to eight-part mixed choir a cappella, shedding new light on well-known classics such as O du fröhliche [O, you joyful], Stille Nacht [Silent Night] and Lasst uns froh und munter sein [Let us be happy and cheerful]. The first volume includes five Christmas carols from the German-speaking regions. They range from simple but harmonically intriguing settings such as Lieb Nachtigall, wach auf [Dear nightingale, wake up] to eight-part sound paintings with bell-like chimes as in O du fröhliche and classical double choir settings such as Resonet in laudibus . The second volume includes five Christmas spirituals with English texts, forming a contrast to the solemn and festive character of the first. The choir can prove its swing and jazz qualities here; the stirring arrangements are a gain for classical Christmas concerts, too. Following the tradition of the spiritual, some settings also require soloists, which can, however, also be recruited from the choir if adequate singers are available. The first piece combines the spirituals It?s a Birthday and Wasn?t That a Mighty Day to form a medley, Ain?t That a Rockin? gives a moment of tranquility before the likewise rousing spirituals Mary Had a Baby and Little David conclude the volume. In both volumes, Howard Arman provides a short preface in German and English, explaining the background of each piece and giving advice on performance. / Date parution : 2022-07-20/ Recueil / Choeur Mixte a Cappella

Uses: Christmas Eve ChristmasScripture: Matthew 1:18-25; Luke 2:8-14An exquisite melody reaches out to the night sky in this striking Christmas tableau. Like a tone poem this refined anthem has unison writing forclarity and strategically placed four-part writing for richness and texture. The delicate nature of this original text is heart-warming and the appearance of “Silent Night” is truly a magical moment.

Hear My Prayer Oh Lord manifests Purcell’s genius not only in his unerring setting of each line but in addition of challenging intervals and discordant moments to what is a deceptively simple melodic line. Purcell’s affecting anthem Hear My Prayer Oh Lord was writing in 1680 approximately and is likely to be part of a larger unfinished work. The autograph manuscript is held in the Cambridge Fitzwilliam Museum from which John E West has edited this rendering of the work.

A challenging scripture all flesh is like grass and its glory like the flower is lovingly set for contemplative worship gatherings. Services for both Ash Wednesday and memorials will benefit from this gentle devotional anthem. A quickly absorbed tune and approachable part writing allow for this to be a moment of worship for your singers. Though the text is bittersweet it reminds us that the Word of God is eternal and that we can rest secure in this truth.

A truly inspired melody rises like a prayer in this new treatment of a treasured hymn text. A heartfelt petition for enlightenment the anthem is profound in its message yet approachable in its musical difficulty. A canon-like dialogue is established as the work unfolds punctuated by thicker four-part writing throughout. A more through-composed B section offers contrast and a chance for division in the sopranos lending an ethereal moment before giving way to a deeply sincere and quiet ending.

Recorded on his CD Lift Every Voice for Freedom Moses Hogan's hymn-like setting of this classic patriotic standard is powerful in its simplicity and will provide a rich reflective moment in many concerts. Originally composed by Al Jacob with words by Don Raye this traditional song has been beautifully arranged here for SATB with Piano accompaniment by Moses Hogan.

Based on Jingle Bells-You've NEVER heard “Jingle Bells” like this before! Eric's humor explodes in a medley of variations that include a quick history lesson on the original tune sections of Pig Latin bolero-styled jingles Russian-enhanced vocals a presto section that leads into a jazz-styled vocal moment and finally ending with a big rousing finale. Available: SATB with percussion.

Uses: Advent GeneralScripture: Isaiah 9:6; 11:2-3The celebrated words of the prophet Isaiah are often set to music but this new adaptation is a fresh and scintillating addition to the oeuvre. Writtento work with organ or piano the memorable melodic sequence that energizes the theme is a stunning moment and the fanfare-like choral acclamations of the names of the Messiah are a majestic reminder of the coming King of kings.Handbell part (3 octaves) included. Available separately: SATB Orchestration CD-rom (Score & parts for Trumpet 1&2 Trombone 1&2 Bass Trombone or Tuba (French Horn may be substituted for Trombone 1). Duration: ca. 2:27.

A message of strength and hope is woven throughout this arrangement of three beautiful spirituals. Purifoy masterfully combines Sometimes I Feel Like a Motherless Child Steal Away and Deep River along with a sensitiveaccompaniment to create a special moment for any service. Performance Time: Approx. 4:45

I hide myself With a lily Go lovely Rose-Written early in Whitacre's career whilst at the University of Nevada in Las Vegas. Arranged for SATB choir includes a Piano line for rehearsal purposes.I Hide MyselfJust a simple song really. All of the musical suggestions come from a careful study of the poem a quiet passionate soul occasionally speaking a little bolder than the age will allow. She loves almost to the point of distraction and this mood mustprevail in the performance: shy and sullen her passion surging to the surface only to sink back into the silence that is herself.Go Lovely RoseThe piece is structured around the cyclical lifeof a rose and is connection throughout by the opening 'rose motif' a seed that begins on the tonic and grows in all directions before it blossoms dies and grows again. Each season is represented: spring begins the piece summerappears at bar 13 autumn at bar 26 winter at bar 39 with spring returning at bar 49. The form is based on the Fibonacci sequence (the pattern found in plant and animal cell divisions) - its fifty five bars are a perfectFibonacci number. The Golden Mean appears at bar 34 as all parts are reunited to complete the flower before its final blossom and inevitable cycle of death and rebirth.Each performance should be approachedwith a child-like innocence and naivety that allows us to marvel at the return of the rose each spring. The szforzandos throughout must be light and gentle.With A Lily In Your HandWater and Fire. If the performance of this piece connects these contrasting elemental ideas its success is guaranteed. Water: At bar 30 this ostinato should be fluid and gentle only interrupted at bar 32 asthe butterflies momentarily spring out of the texture; bars 35-38 the water should slowly transform back to fire. Bar 44 should be tiny bell-tones motivating the next nine bars another patient sensuous transformation back to

Beautiful lines and meaningful words characterize this new sacred song for communion. This gentle anthem of grace moves like a steady procession of the faithful making it useful for communion moments. The anthem ends quietly like a prayer. Moving!

Andrea Ramsey Choral Series. This classic Yeats' poem is set to music that is rooted in a simple melody and meter and, when performed with a traditional ?folk song? simplicity will resonant with singers and listeners. All voice parts and the piano are given moments of individual importance. This beautiful poem asks your singers to reflect on how they would like to live today and be remembered. Powerful.

Traditional Folk Hymn-Uses: General LentScripture: John 15:13; Psalm 36:7; Romans 5:8A choral re-interpretation of this old hymn text brings new focus to certain parts of the beloved poem and creates and artful moment foryour special music moment. Beautiful choral tone painting and interesting harmonic stacks are tonal gifts to a creative director and to audience alike. The everlasting song of life is a universal theme and no hymn text capturesthis better.

These settings were written to a commission from the Southern Cathedrals Festival and first performed in Salisbury Cathedral on 24 July 1976 by choirs of Salisbury Winchester and Chichester Cathedrals with the Phillip Jones BrassEnsemble conducted by Richard Seal.Pied BeautyThe rhythmic elasticity and freedom of the poem matches the vividness of its images and the freshness of the poetic language: it is like light playing on water. In thissetting for choir and brass phrases for trumpets and then voices- ‘Glory to be God’- Alternate with more meditative moments- ‘who knows how?’. The contrast of the poem- ‘swift slow sweet sour- a dazzle dim‘ quick changes fromsunshine to shadow- are mirrored in the music.Heaven HavenThe stillness and serenity of this poem one of Hopkins’ earliest is in direct contrast to the other. ‘Out of the swing of the sea’ to a gently rockingfigure runs as a sort of undercurrent through the piece. At the end this figure combines with a motive in thirds (heard quietly on the trumpets at the opening) and expands slowly with the choir in eight parts before dying awayinto silence.