Uses: ChristmasScripture: Ephesians 5:8-10; Isaiah 60:1; Luke 2Available for the first time as a single here is the brilliant angel song from the blockbuster cantata The Winter Rose.Abounding with rhythmic energy this dance of praise is rich with powerful imagery and celebratory music. Mixed-meter and syncopations galore make this a challenge well worth the effort. Available: SATB Orchestration StudioTraxCD. Duration: ca. 3:23.

A Christmas Cantata-The triumphant opening Prepare the Way of the Lord sets the tone for this joyous and celebratory Christmas cantata. A children's choir is featured in two sections bringing innocence and simplicity to the telling of thestory. It displays some of Harlan's best writing and truly a signature work. Songs include: Prepare the Way of the Lord My Soul Magnifies the Lord A Child This Day Hush My Babe Lie Still and Slumber O Sing a Song of Bethlehem The Wise May Bring Their Learning and O Come All Ye Faithful. Full orchestration available.Available separately: SATB Orchestra Pak/ePak CD 10-Pak Preview CD Preview Pak andChoirTrax Accompaniment CD. Performance Time: Approx. 30:00.

A playful and celebratory chorus with a waltz-time feel and oom-pah percussion accompaniment by Per Nørgård.

Get ready to rock'Mark Hayes style! This beloved spiritual is perfect for any occasion where spirited Christmas music is needed. The well-crafted piano accompaniment supports the choral parts and is a joy to play. Truly celebratory and fun! / Choeur Mixte (SATB)

This anthem opens with a driving energy, capturing the celebratory occasion of Palm Sunday. The (optional) hushed a cappella section provides a wonderful contrast leading back to a reprise of the opening theme. The anthem then drives to a satisfying flourish. Exciting! / SATB

How excellent is an upbeat and celebratory work setting the composer's own paraphrase of Psalm 8. It features exciting and declamatory opening and closing sections with a contrastingly calm and legato central section evoking this well-known scriptural text. The accompaniment should ideally be played on organ but piano may be used if necessary.

Choral Artistry for the Singer-From Lights of Freedom an easy non-liturgical and celebratory piece in English with a simple Hebrew refrain. For junior high level and up.

This setting of Psalm 47 is an example of the masterful craft of composer Robert Lau. This festival anthem is easily successful on Palm Sunday Christ the King ascension or general celebratory use.

Four Latin motets (1991) for mixed choir SSATB (SSA) by Per Nørgård. Edited by Ivan Hansen. 1 Ne obsurdescas mihi (SSA/SAT) 2 Ad te Domine clamabo (SSATB) 3 Quam dilecta tabernacula tua (SSA/SAT) 4 Exultavit in Deum (SSATB) Programme note All four motets are based on the first motets´ simple pentatonic initial motif. Like the polarities of the hymn texts between lamentation and jubilation the motif appears in various disguises from a gloomy Japanese (death-) mode (first and second motet) to the lighter celebratory forms inthe familiar Chinese pentatonic scale and the Indonesian “pelog” scale (third and fourth motet). The mood-creating scales weave (like the text sections) in and out of each other ; just a few changes in notes change grief to joy from idyll to catastrophe. The latin version of the motets (originally with Danish text 1991) was made in 1998 by Per Nørgård and Ivan Hansen. Ivan Hansen

This gleeful fanfare is one you'll enjoy having ready whenever there's a need for an upbeat choral presentation. Accompaniment may be provided by piano or organ; however when used with organ this song is truly“jubilant.” An excellent selection for any celebratory occasion choir members will learn it quickly and enjoy its easily singable vocal ranges. Once prepared you'll have an enthusiastic praisesong which can besuccessfully performed on short notice. Practical yet delightfully zestful.

This setting of Psalm 100 by composer Donald McCullough is energetic and celebratory. Appropriate for almost any feast or festival day the work is scored for mixed chorus with organ and optional trumpet and timpani/or for chamber or full orchestra. The rhythmic energy and colorful textures really bring the text to life.

Incorporating the beloved hymn Rise Up O Church of God this celebratory anthem of praise is a jubilant assertion of our worship heritage. Lilting in an infectious 6/8 meter this anthem embraces both classical and contemporary musical elements. Glorious!

This new vocal-score edition is being published to mark the 60th anniversary of Queen Elizabeth II's coronation in June 1953. First performed as the new Queen processed out of Westminster Abbey William Walton's Te Deum is at once regal celebratory and restrained and a beacon among English settings. The new vocal score (with keyboard reduction) draws on research for the complete Walton Edition and is compatible with existing orchestral materials on hire.

Quoting Burgon: My first thought on receiving this commission was what sort of text would suit. Something on the general idea of growth - starting very small and blossoming was the obvious way to go but it wasn’t until I foundthe Andrew Marvell poem Music’s Empire that I really got going. The poem is about the invention and development of music; this might sound a bit dry but in fact it is both charming and dramatic and it is also apt in that it canbe set for both solo voice and chorus.The other factor to be considered in writing this piece was the Purcell connection. Purcell wrote Come Ye Sons of Art in 1964 the year the bank was founded and this piece is alsoincluded in the celebratory concert. So I wanted to include some homage to HP as well.Marvell’s poem is the sort of text that Purcell might have set had he come across it. It is a sort of Ode of text that Purcell might haveset had he come across it. It is a sort of Ode to St Cecelia and he wrote one of those as we know. So I have referred to Purcell in two particular ways; I have quoted Come Ye sons of Art directly and I have used thecountertenor. Purcell himself sang countertenor in many of his own pieces and wrote some of the most gorgeous music ever written for that voice. I also happened to love both Purcell’s music and the countertenor so writing thispiece was really a labour of love.It is scored for countertenor mixed chorus and symphony of orchestra - rather larger than any orchestra that Purcell had access to as far as I know but one in which I’m sure he would haverevelled in given the opportunity. It is about ten minutes in duration.