for SA and piano Wayfarin' Stranger is a two-part upper voice version of the SAB setting of the popular American folksong that is featured in SongStream 2: An American Journey. A blues flavour in the accompaniment and a canon in the middle section give the familiar tune fresh appeal.

for SATB with divisions, unaccompanied Choirs will enjoy singing the lush, expanded harmonies in this short, breathtaking anthem. The fourteenth-century text is used widely during communion, but is also appropriate in other parts of the church's year, especially during the season of Lent. This music would also be a fine addition to a concert of sacred music.

for SATB and oboe or flute with piano or orchestra This captivating rendition of a classic spiritual is a delight to sing. Thornett expertly adds new flavour to the original melody through the addition of the flute or oboe counter-melody. Fluctuations between major and minor make this setting particularly moving and reflective. Orchestral material is available on hire.

for SATB and piano four hands or orchestra Wilberg's masterful arranging is evident in this light and fun setting of the well-known traditional carol. With staccato chords in the piano on and sometimes off the beat, Wilberg creates a playful setting that will delight singers and audiences alike and which is ideal for Christmas concerts.

for SATB and organ or orchestra This gentle New Year carol was composed in celebration of the 80th birthday of HM The Queen. Instantly singable, and with the warm, tuneful lyricism so characteristic of John Rutter's music, the carol offers a simple message of hope as we look forward to a new year. Orchestral material is available on hire.

for SATB and piano This anthem is a setting of the text from John 14, Christ's words to his apostles after the resurrection. It begins with a flowing accompaniment and solo vocal lines that build to the tutti declamation of 'Peace I leave with you, my peace I give you'. It is appropriate for the Easter and Pentecost and is accessible for all church choirs.

An easy anthem for unison children's and/or SATB choir, with piano/organ or orchestra. This German translation of Look at the world is suitable for Harvest or for any occasion where God is praised for his creation. Also available in English in John Rutter Anthems and in German in Glory to God. An orchestral accompaniment is available on hire.

This exciting and accessible collection for upper voices (scored for SA choir and piano) features five songs by celebrated choral composer Bob Chilcott. Drawing on five very different texts, Chilcott guides the voices through a number of styles and moods; the songs include the rousing 'All for Love of One', gentle 'The Truth is Great', and thought-provoking 'All things pass'. The central song, 'Circles of Motion', is a fervent and positive setting of Joy Harjo's well-known 'Eagle Poem', and the collection is completed by the funky 'Red Boots On', which uses jazzy rhythms and harmonies to bring Kit Wright's text alive. This is Chilcott at his very best - a welcome addition to the repertoire of any upper-voice choir.

for SSAA and piano This setting of a delightful text by Canadian poet Tara Wohlberg was commissioned by the Canadian Children's Opera Chorus. The gentle undulating piano accompaniment and the lush choral parts will make this a delight both for singers and audience members.

Forever Child is a suite of seven pieces for unaccompanied mixed voices on the theme of childhood. It was composed in memory of a young boy, Ben Curiel, and is a celebration of his life in a sequence of well-loved texts. Corp skilfully evokes a variety of moods, from the innocence and exuberance of childhood to the darker, more reflective mood of the final movements. The work forms an excellent concert suite, or any of its movements may be extracted for separate performance.

for SSA and organ This joyful carol sets a text by Henry Wadsworth Longfellow. The piece opens with an imitation of bells spread across the voices, and this festive, celebratory quality is maintained throughout. Simple yet elegant, Christmas Bells is ideal for any upper-voice choir.

for SATB and piano or organ or orchestra This beautiful setting of Edward Caswell's well-known text provides a wonderful alternative to more familiar versions. A perfect option for SATB choirs at Christmas. Orchestral material is available on hire.

for SSA and piano or orchestra This carol may also be found in Carols for Choirs 4. The orchestral material is available on sale.

for SATB chorus, organ, and optional brass ensemble (2 trumpets, 4 horns, 3 trombones, and tuba) Jongen's Messe en l'honneur du Saint-Sacrement was written in 1945 to celebrate the 700th anniversary of the inception of the Festival of Corpus Christi. The result is a striking work, with poignant and expressive harmonies, that is very approachable by mixed voiced choirs, and with short solos that can be taken by members of the choir.

for SATB and piano or organ The text is by Timothy Dudley-Smith and is based on a text of St Augustine. The gentle undulating rhythm created by the 6/4 time signature and the subtle harmonic shifts add interest and illuminate the meaning. A central section can be sung by soloists or by small sections of the choir.

for SSA and piano Early in the Spring is the second song in Vaughan Williams's Folk Songs of the Four Seasons. It describes the courtship of a young couple in the spring as the cuckoo and nightingale sing sweetly - an idyllic pastoral scene matched by the music's simple beauty.

for SATB and organ or brass (3 trumpets, 3 trombones, organ and timpani (optional)) Instrumental material is available on hire.

for unison chorus and piano This setting was originally published as part of Folk Songs of the Four Seasons. The attractive melody is set to a lilting accompaniment to create a charming arrangement that will appeal to choirs and audiences of all ages.

for solo organ The work is divided into seven sections, each reflecting a different verse of the hymn text. Musical styles vary between movements, making the work an interesting recital piece. Individual sections can also be performed liturgically. The piece is of moderate difficulty.

for SATB, soprano and tenor soloists, unaccompanied This is a setting of text by the Irish poet and singer Colum Sands in a contemporary folk style. Its secular text will appeal to a wide range of audiences, and might also be suitable for use in non-liturgical services.

Multivocality frames vocality as a way to investigate the voice in music, as a concept encompassing all the implications with which voice is inscribed-the negotiation of sound and Self, individual and culture, medium and meaning, ontology and embodiment. Like identity, vocality is fluid and constructed continually; even the most iconic of singers do not simply exercise a static voice throughout a lifetime. As 21st century singers habitually perform across styles, genres, cultural contexts, histories, and identities, the author suggests that they are not only performing in multiple vocalities, but more critically, they are performing multivocality-creating and recreating identity through the process of singing with many voices. Multivocality constitutes an effort toward a fuller understanding of how the singing voice figures in the negotiation of identity. Author Katherine Meizel recovers the idea of multivocality from its previously abstract treatment, and re-embodies it in the lived experiences of singers who work on and across the fluid borders of identity. Highlighting singers in vocal motion, Multivocality focuses on their transitions and transgressions across genre and gender boundaries, cultural borders, the lines between body and technology, between religious contexts, between found voices and lost ones.

for SATB wordless chorus, viola solo, and orchestra A suite for solo viola, wordless chorus (SATB), and small orchestra, Flos Campi is one of Vaughan Williams's most enigmatic pieces. Although the six movements all borrow their titles from the Old Testament's Song of Solomon, the chorus never articulates a single word. Instead, it serves as a section of the orchestra, creating an elegant vocal texture and backdrop to the viola's haunting solo lines. The work was premiered in October 1925 by the violist Lionel Tertis, singers from the RCM, and the Queen's Hall Orchestra, directed by Sir Henry Wood.

for SATB and organ, with optional congregation Commissioned for the American Guild of Organists 2014 National Convention in Boston, Mass., Eternal Ruler of the ceaseless round is a joyful and exuberant setting of the well-known hymn by John Chadwick. It begins with a rich organ introduction before the choir (and congregation) join in with a unison presentation of the melody. The second section explores the Lydian mode, with its rising fourth, while the adamantine final verse brings the anthem to a resolute close that reflects the text's profound depiction of unity and human understanding.