Here I Am, Lord (SATB)

The spiritual Were You There When They Crucified My Lord? is arranged here for SATB Choir and Organ Accompaniment by Stephen Jackson.A review in the June 2016 edition of Organist's Review states that 'the added harmonies and imaginative treatment...are highly effective and create a melancholic atmosphere that complements the melody well.'

Novello New Choral Series-Why O Lord do you stand far off? was written in memory of the victims of the London bombings on 7 July 2005 questions the presence of God in times of human disaster particularly when committed by man upon his fellow man. The piece's focus lies in the two rhetorical questions first sung by the female voices at the beginning. This opening three note motif returns frequently throughout the work forever challenging the whereabouts of God's watchful eye. This commemorative setting of Psalm 10 was recorded by the Exeter College Chapel Choir in 2006.The Novello New Choral Series is an inspiring selection of new works from a range of contemporarycomposers offering pieces for all types of choirs including sacred and secular works from simple four-part settings to more expansive yet accessible repertoire in an exciting variety of styles. This collection is perfect for choirs looking to broaden their repertoire and explore some of the best new music around.Jonathan bridcut (b.1984) has written a broad range of works for choir and orchestra that have been performed throughout the UK and europe. Jonathan was a treble at Winchester College where he was head Quirister in 1998 before Moving on to Radley College as top music scholar. He developed his interest in composition at Oxford University while studying at Exeter College as both an academic and choral Scholar. His first set of Evening Canticles was premiered in 2004 and a year later a second was performed in St Paul’s Cathedral. Recent highlights include performances at Oxford’s Sheldonian Theatre Tewkesbury Abbey St James’s Piccadilly and at the Lausanne Summer Festival by choirs and orchestras including Schola Cantorum of Oxford Commotio and The Oxford Spezzati. Future engagements include performances by the Oxford Spezzati and Laudate in London Lyon and Chester (where his latest choral commission will be premiered in September 2011). Jonathan graduated from Oxford in 2006 with a BA in Modern

In preparing for publication the 1935 orchestral version of Britten's Te Deum in C it became clear that there were a number of discrepancies between the manuscript and the original 193 vocal score. Some of these were minor:different articulation and dynamic markings something Britten was later very fussy about but perhaps left unchanged on proof because of his relative inexperience at this stage of his career with the processes of musicpublishing. Others were more important: wrong pedal notes for example which Britten failed to notice on proof and which have been perpetuated in performances and recordings for nearly seventy years. These have been corrected inthe new edition of the vocal score and in the orchestral score (Britten clearly used the published vocal score to prepare his orchestral version). The two versions have been made consistent in other details - rehearsal cues andbar numbers for example - since Britten intended choristers to use the vocal score to perform the orchestral version. This would have been an easy task for these is little discrepancy in essential details between versions (arare departure occurs in bars 53 to 56 where the works 'Lord God of Sabaoth' are unaccompanied in the orchestral version but doubled by Organ in the original). Sustained Organ chords are often filled out with arpeggiated stringwriting while the spacing of chords is frequently much wider in the string version with melodies transposed into different octaves. Although harmony in both versions is identical voice leading is sometimes altered in the latterto make it better suited to the idioms of the instruments concerned.So although in essence the two versions are the same the soundworld explored in each is quite distinct. Britten's orchestral version should neither beviewed as an occasional piece nor considered solely a liturgical work like many of his choral pieces from the 1930s and 1940s it is equally at home in church and concert hall.

Music for Royal Occasions is an exciting volume of pieces written for coronations and other royal celebrations over the past five centuries. It includes long-standing favourites such as Handel's Zadok the priest and Parry's I was glad; and works from earlier years such an Henry Purcell's I was glad and the delightful Rejoice in the Lord alway.Many well-loved composers were commissioned to write motets for the coronation of Queen Elizabeth II and several are published here including George Dyson's stirring Confortare William Harris's Let my prayer and Herbert Howells's Behold O God ourdefender. In addition two pieces performed at the wedding oF the present Duke and Duchess of Cambridge are included: Paul Mealor's beautiful Ubi caritas and Hubert Parry's epic anthem Bless pair of sirens.Music for Royal Occasions provides a well-rounded concert programme in itself for choral societies or community choirs. The collection offers many useful and accessible pieces for church choirs suitable for a wide variety of occasions.'an inventive selection of festive music' - Jeremy Summerly Choir & Organ

Praise the Lord O My Soul is a long anthem for Chorus SATB with solo lines.Composer and Organist Samuel Sebastian Wesley is the grandson of Charles Wesley founder of Methodism and son of composer Samuel Wesley. He composed music almost entirely for the Anglican church and his works are frequently performed there.

Here is an anthem from Don Besig and Nancy Price that affirms our willingness to be touched by God's grace and to share that grace with others. Here We Stand Lord! was written for the 100th anniversary of the FirstLutheran Church – Missouri Synod in Missoula Montana and the dedication of their new church. The text asks for God's continued love and care and promises faith trust and a willingness to serve. This contemporary ballad isperfect for any fellowship of believers looking to revitalize or rededicate themselves to the service of the Lord.

SATB-Worshipful and reverent...this creative pairing of Take My Life and Let It Be with Here I Am Lord is unforgettable. Larry Mayfield's careful and sensitive treatment of these two classics is beautiful. Perfect for use all yearlong and particularly useful for commitment stewardship or confirmation services.

With flowing melodic lines and inspiring poetry this inspired anthem invites the gathered to worship and to service. Ideal for services of commitment and dedication Here In The House Of The Lord will be a useful addition to your general sacred repertoire.

A jubilant main theme in 6/8 sweeps this psalm-like text along with great celebration and power. Antiphonal techniques between the voices provide sonic choreography and the glorious contrapuntal transition into a statement of Joyful Joyful We Adore Thee is truly inspiring. With the general nature of the text this is not only very useful for sanctuaries but there is much to explore here for festival choirs as well. Excellent!

Dan Forrest magnifies the power of this well-known hymn based on the AVON tune and Isaac Watts text through his creative choral writing. Both the a cappella verse and the climactic statement Here Lord I give myself awayadd drama to the setting. A must for your Lenten season.Available separately: SATB and BonusTrax CD. Performance Time: Approx. 4:25.

En Namibie, le chant est omniprésent partout où vous allez. On chante un peu partout, au travail, lors des fêtes, comme un moyen d'exprimer la joie ou de la tristesse, ou comme un moyen de transmettre des histoires traditionnelles par le bouche à oreille. Il ya une répertoire adapté à chaque occasion.Les chansons de Opela, nous sommes là pour chanter sont merveilleusement approprié pour le chant partie sans accompagnement au piano, à la fois pour les chorales d'expériences et pour inexpérimentés '' pas-encore-chanteurs ''. Les mélodies colorées et les arrangements simples mais très animée peut être appris dans un délai très court, puis exécuté immédiatement, par exemple, comme une contribution créative à un service religieux. Dans le même temps, le matériau musical est si riche en contenu que les choeurs d'imagination peut-elle développer en morceaux entraînants de concert. Ils vont trouver le CD du Choeur UNAM une riche source d'idées. / Choeur Mixte (SATB)

En Namibie, le chant est omniprésent partout où vous allez. On chante un peu partout, au travail, lors des fêtes, comme un moyen d'exprimer la joie ou de la tristesse, ou comme un moyen de transmettre des histoires traditionnelles par le bouche à oreille. Il ya une répertoire adapté à chaque occasion.Les chansons de Opela, nous sommes là pour chanter sont merveilleusement approprié pour le chant partie sans accompagnement au piano, à la fois pour les chorales d'expériences et pour inexpérimentés '' pas-encore-chanteurs ''. Les mélodies colorées et les arrangements simples mais très animée peut être appris dans un délai très court, puis exécuté immédiatement, par exemple, comme une contribution créative à un service religieux. Dans le même temps, le matériau musical est si riche en contenu que les choeurs d'imagination peut-elle développer en morceaux entraînants de concert. / Choeur Mixte (SATB)