O Pray for the Peace of Jerusalem
for SATB choir and optional organ
“O Pray for the Peace of Jerusalem” was written for John Patrick Cardinal Foley, the Grand Master of the Equestrian Order of the Holy Sepulchre of Jerusalem. It received its first performance on February 11th, 2011 in St. Peter’s Basilica at the Vatican by the Saint Mary’s University Chamber Singers, with the composer conducting.
SKU: POA-005
Categories: Choral Music, Mixed Voices
Tags: Choral, Organ
| Sacred or Secular: | Sacred |
| Season or Event: | Epiphany, General |
| Descriptive Tags: | Blessing, Liturgical text, Peace, Prayer, Psalm, Worship |
| Difficulty: | Advanced |
| Instrumentation: | A Cappella |
| Voicing: | SATB, SSAATTB |
| Language: | English |
$1.95
This title is available in print. For both options, there is a minimum required quantity of 8 copies for choral titles. Please support self-publishing composers by ordering the quantity according to the number of singers in the ensemble that will perform the work.
Print orders are printed on demand and shipped by our printing partner, and can be expected to be processed within a few days of the order. Please do not hesitate to contact [email protected] to follow up.
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Title | View | Voicing | Duration | Language | Composer | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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SATB | 4'20" | Latin | BENEDICTION was written in February-March of 2013 for my friend Keith Haan upon his retirement as Director of Choral Activities St. Ambrose University. The “threefold blessing” seemed perfect for the occasion as we gathered to wish our colleague well on his way. I used the latin text because I wanted that elevated sound those open […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
BENEDICTION was written in February-March of 2013 for my friend Keith Haan upon his retirement as Director of Choral Activities St. Ambrose University. The “threefold blessing” seemed perfect for the occasion as we gathered to wish our colleague well on his way. I used the latin text because I wanted that elevated sound those open […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SATB | 4'36" | Latin | This energetic setting of Gloria in excelsis Deo, from the Latin Mass, opens with rhythmic patterns that enhance the text. Midway through, the chorus softly occults between two simple chords under an alto then baritone soloists. The opening patterns return before a fugal section at the text “cum santo spiritu.” The final Amen is another […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
This energetic setting of Gloria in excelsis Deo, from the Latin Mass, opens with rhythmic patterns that enhance the text. Midway through, the chorus softly occults between two simple chords under an alto then baritone soloists. The opening patterns return before a fugal section at the text “cum santo spiritu.” The final Amen is another […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SSA | 2'45" | English | This setting of a poem by Linda Marcus is entirely pentatonic (i.e. uses only 5 notes – C, D, F, G and A) apart from the very last measure. The pentatonic setting is intended to create a naive effect, recalling childhood. (The very opening is based on a universal 3-note ‘song of childhood’.) The points […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
This setting of a poem by Linda Marcus is entirely pentatonic (i.e. uses only 5 notes – C, D, F, G and A) apart from the very last measure. The pentatonic setting is intended to create a naive effect, recalling childhood. (The very opening is based on a universal 3-note ‘song of childhood’.) The points […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SAB | 1'57" | English | I Sing of a Maiden (I syng of a mayden) is a Middle English poem or carol of the 15th century celebrating the Annunciation and the Virgin Birth of Jesus. The poem is written from a first person point of view, and contains five quatrains. No evidence of original music is known to exist, though […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
I Sing of a Maiden (I syng of a mayden) is a Middle English poem or carol of the 15th century celebrating the Annunciation and the Virgin Birth of Jesus. The poem is written from a first person point of view, and contains five quatrains. No evidence of original music is known to exist, though […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SATB | 2'15" | English | Short choral blessing (text from the Old Testament) written as part of 2001-2003 Composer Residency at San Francisco’s National Shrine of Saint Francis of Assisi. Premiered by resident ensemble, Schola Cantorum SF | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Short choral blessing (text from the Old Testament) written as part of 2001-2003 Composer Residency at San Francisco’s National Shrine of Saint Francis of Assisi. Premiered by resident ensemble, Schola Cantorum SF | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SATB | 5'20" | Latin | The text comprises a solitary verse, St. John 3:8, taken from Nicodemus’ well-known nocturnal conversation with Jesus. The anthem is intended for use in a generous acoustic, such as a Cathedral, where during the many bar rests, the fragmented and overlapping phrases can be given opportunity to resound and reflect until the reverberation dissipates. The […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
The text comprises a solitary verse, St. John 3:8, taken from Nicodemus’ well-known nocturnal conversation with Jesus. The anthem is intended for use in a generous acoustic, such as a Cathedral, where during the many bar rests, the fragmented and overlapping phrases can be given opportunity to resound and reflect until the reverberation dissipates. The […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SATB | 3'30" | English | The cumulative rhyme, “The House that Jack Built” follows a series of connected objects, animals, and people, from the titular house through to an unrelated “farmer sowing his corn.” This setting features a light, skipping melody that slows down periodically to linger on the developing romance between the “maiden all forlorn” and the “man all […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
The cumulative rhyme, “The House that Jack Built” follows a series of connected objects, animals, and people, from the titular house through to an unrelated “farmer sowing his corn.” This setting features a light, skipping melody that slows down periodically to linger on the developing romance between the “maiden all forlorn” and the “man all […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SSA | 3'30" | English | SSA settings, with piano accompaniment, of texts by e. e. cummings (in Just), Thomas Dekker (The Merry Month of May), and from Genesis 1:11-12 (First Spring). The style is rhythmically intricate, includes spoken passages, and is rooted in an expanded tonality; the piano accompaniment is virtuosic. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SSA settings, with piano accompaniment, of texts by e. e. cummings (in Just), Thomas Dekker (The Merry Month of May), and from Genesis 1:11-12 (First Spring). The style is rhythmically intricate, includes spoken passages, and is rooted in an expanded tonality; the piano accompaniment is virtuosic. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SATB | 3' 25" | English | This heartfelt folksong was written by Newfoundlander Jim Payne (b. 1955) in 1994, and appeared as the title song for the Album “Wave Over Wave: Old and New Songs of Atlantic Canada,” with Fergus O’Byrne (1996). The song was also very successfully recorded by the Newfoundland folk rock band Great Big Sea, which released it […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
This heartfelt folksong was written by Newfoundlander Jim Payne (b. 1955) in 1994, and appeared as the title song for the Album “Wave Over Wave: Old and New Songs of Atlantic Canada,” with Fergus O’Byrne (1996). The song was also very successfully recorded by the Newfoundland folk rock band Great Big Sea, which released it […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
SATB | 3' 55" | English | Also popularly known as “The Ryans and the Pittmans,” this song recounts the romantic entanglements of a sailor named Robert “Bob” Pittman. It is based on the English sea shanty “Spanish Ladies,” which has a number of variants known to sailors from New England to Australia. Most of the verses in this version may be […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Also popularly known as “The Ryans and the Pittmans,” this song recounts the romantic entanglements of a sailor named Robert “Bob” Pittman. It is based on the English sea shanty “Spanish Ladies,” which has a number of variants known to sailors from New England to Australia. Most of the verses in this version may be […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||