We Wait in Hope

The text from Psalm 27 is a familiar one about keeping the faith when times are hard and Mark Roseberry's setting does it great service. The musical path that leads to the word wait is hopeful and reassuring. The silence following wait is appropriately descriptive and the final a cappella moment is brilliant. A church anthem of assurance.

Uses: General Commitment Scripture: Hebrews 13:5 II Timothy 2:19 Isaiah 43:1-2 Isaiah 40:31 This is a beautiful sacred ballad filled with stunning music and words of assurance and hope. Based lyrically on a celebrated Scripture in Isaiah this inspiring message is sure to find resonance in the heart of your congregation. A good balance of unison passages and harmonic sections makes for musical variety. The inclusion of the early American hymn How Firm a Foundation provides a confident moment that people will connect with. Highly recommended!

Uses: Advent Scripture: Isaiah 9:2 Matthew 1:23 Lilting with anticipation this Advent original is a solid choice for the season. Hope forms the foundation of the text that moves us through the points of Child of promise Child of mercy and Child of Heaven each with increasing intensity until floating like a prayer the piece ends in quiet whispers of assurance. Approachable in its voicing yet impressive in its tonal effect this song is decorated with joy and light! Highly recommended!

Par PINK FLOYD. Pink Floyd fans who play the piano know that certain songs by the legendary band are particularly well-suited to be played on keyboard instruments. Some of these are The Great Gig in the Sky, High Hopes, Nobody Home, and more - and they're all here in this collectible sheet music anthology. Also included is a variety of the band's most popular hits from five of their best-known albums, for a lifetime of enjoyment at the keys. / Date parution : 2022-05-21/ Recueil / Piano/Vocal/Guitare (PVG)

Versuch eines Requiems. Par HARTMANN KARL AMADEUS. Karl Amadeus Hartmann wrote his first symphony in 1935/36. At that time he was still an unknown musician whose works stood no chance of being performed and who could not hope to find encouragement in his native Germany. He had to wait more than ten years for its first performance, which finally took place in Frankfurt in the spring of 1948 under the direction of Winfried Zillig. I was 21 at the time, and the work left an extraordinarily deep impression on me, an impression that marked the beginning of my admiration for Hartmann's music and its very special kind of intellectuality, which struck me as both important and significant: by this I mean its spontaneous and unrefracted immediacy, its honesty and straightforwardness – qualities that extend beyond this composer's works and affect his whole surroundings, including his fellow human beings. All Hartmann's works, moreover, contain an essential element of the art of compostion, namely, an exact correspondence between the artist's insistent need to express himself and the instrumental resources that he chooses. A superficial listener might perhaps fail to notice at first that the huge orchestral apparatus that Hartmann conjures up exactly matches his powerful expressivity and the colourful nature of his rhetoric. There is also the expansiveness and physically charged vitality of the native of southern Germany, a man capable of combining his own sense of inwardness with the beauty of the moment and a feeling of hymnic grandeur. It is a combination that reflects his own south German countryside and that answers a need to communicate sustained by his own unwavering faith in humanity. / Date parution : 1965-11-20/ Répertoire / Voix d'Alto et Orchestre

Hymn-The Te Deum was composed in Paris in 1849 following Berlioz’s first visit to England at a period when political unrest in France had made the future for artists and musicians seem very uncertain. He had no particular occasion in mind but hoped for some years that it would be available for some grand ceremonial occasion. Once Napoleon III had seized power such an occasion seemed more likely but in the end Berlioz had to wait until 1855 for an opportunity to perform the work. This took place for the opening of the Exposition Universelle on 30 April 1855 in the church of St.-Eustache Paris. It was the only time in his life that Berlioz performed it with the exceptionof certain extracts in later concerts. The score was published in 1855 with a dedication to Prince Albert consort of Queen Victoria.Urtext of the New Berlioz EditionFull score (BA5450) vocal score (BA5782-90) available for salePerformance material (BA5782-72) available for hire

Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn?t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-08-12/ Répertoire / Concert Band/Harmonie

Hymne-The Te Deum was composed in Paris in 1849 following Berlioz’s first visit to England at a period when political unrest in France had made the future for artists and musicians seem very uncertain. He had no particular occasion in mind but hoped for some years that it would be available for some grand ceremonial occasion. Once Napoleon III had seized power such an occasion seemed more likely but in the end Berlioz had to wait until 1855 for an opportunity to perform the work. This took place for the opening of the Exposition Universelle on 30 April 1855 in the church of St.-Eustache Paris. It was the only time in his life that Berlioz performed it with theexception of certain extracts in later concerts. The score was published in 1855 with a dedication to Prince Albert consort of Queen Victoria. Urtext of the New Berlioz Edition Full score (BA5450) vocal score (BA5782-90) available for sale Performance material (BA5782-72) available for hire

The long-awaited second album from British singer-songwriter Corinne Bailey Rae. Following the huge success of her self-titled debut album The Sea is a collection of songs about grief and hope despair and inspiration loss and love. This artist-approved songbook contains all of the songs from the album arranged for Voice and Piano with Guitar chords boxes.