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

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.

Music played an exceptionally important role in the late Middle Ages - articulating people's social, psychological and eschatological needs. The process began with the training of choirboys whose skill was key to institutional identity. That skill was closely cultivated and directly sought by kings and emperors, who intervened directly in recruitment of choirboys and older singers in order to build and articulate their self-image and perceived status. Using the documentation of an exceptionally well preserved archive, this book focuses on music's functioning in an important church in late Medieval Northern France. It explores a period when musicians from this region set the agenda across Europe, developing what is still some of the most sophisticated music in the Western musical tradition. The book allows a close focus not on the great achievements of those who cultivated this music, but on the personal motivations that shaped their life and work.

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.

for SATB and organ (or piano duet) A lyric and serene sacred song, foreshadowing the mood of the Requiem. German words are by Paul Flemming (b. 1609) and the English singing translation has been provided by Rutter.

for SATB and organ This setting of a fervent and uplifting text by Samuel Stennett is both direct and effortlessly melodic. The impression is one of great joy and freshness; an irresistible combination.

An exciting collection of twenty new spiritual arrangements for SATB choirs, specially commissioned for this volume, compiled and edited by Bob Chilcott. Taking a fresh look at these timeless songs, including both familiar favorites and less well-known gems, the ten arrangers bring to these pieces the fruits of their diverse musical backgrounds and experiences. The arrangements feature a wide range of styles, from introspective to ecstatic, with a mixture of large- and small-scale pieces, both unaccompanied and accompanied. Spirituals for Choirs provides singers with an inspirational, moving, and above all, enjoyable repertoire.

Choral Music: A Research and Information Guide, Third Edition, offers a comprehensive guide to the literature on choral music in the Western tradition. Clearly annotated bibliographic entries guide readers to resources on key topics within choral music, individual choral composers, regional and sacred choral traditions, choral techniques, choral music education, genre studies, and more, providing an essential reference for researchers and practitioners. Covering monographs, bibliographies, selected dissertations, reference works, journals, electronic databases, and websites, this research guide makes it easy to locate relevant sources. Comprehensive indices of authors, titles, and subjects keep the volume user-friendly. The new edition has been brought up to date with entries encompassing the latest scholarship, and updated references and annotations throughout, capturing the continued growth of literature on choral music since the publication of the second edition.

This work was once credited to Mozart but later discounted as being by him and attributed instead to the composer Jan Zach (1699-1773). Rcent Zach scholarship has largely discredited the idea of Zach being the composer. In any case, this work has remained quite popular for good reason regardless of who the actual composer may have been. This new, beautifully engraved vocal score edited by Richard Sargeant will be welcomed by choruses worldwide interested in performance or study of this delightful piece of Latin church music from Mozart's time.

Composed at while returning from a concert trip to Italy, this setting of the Latin hymn text was possibly heard for the first time on 21 March of 1767 at the Kloster Seeon in Bavaria. The vocal score offered here is a newly engraved one in a very easy-to-read and convenient format designed for choruses, carefully edited by Richard W. Sargeant, Jr

for SATB with organ introduction An expressive setting for Lent that begins with a treble solo or unison singing that gradually splits into four-part harmony.

This collection aims to provide a comprehensive survey of a highly significant part of the Christian Year: Ash Wednesday and Lent, Passiontide, Palm Sunday, Maundy Thursday, Good Friday, and Easter. Its contents span all musical periods of what is a marvellously rich area of church music and it contains much that is not widely available elsewhere under one cover.

Ash Wednesday to Easter for Choirs includes a number of less familiar works together with new or recent arrangements of well-known tunes, such as Philip Ledger's 'This joyful Eastertide', Simon Lindley's 'Now the green blade riseth', and Bob Chilcott's setting of 'Were you there?'. Some of the anthems, for example Richard Shephard's 'Sing, my tongue' and Grayston Ives' 'Ride on', have been newly commissioned specifically for this collection, thus filling certain gaps.

Wherever possible new practical performing editions of 16th-century repertoire have been prepared, reflecting current scholarship and including an English singing translation and, where, the original had none, a dynamic scheme. Such dynamics are the editors' suggestions only and may be freely ignored or adapted. Note values have in some instances been halved. Unaccompanied items include keyboard reductions for rehearsal.

for SATB unaccompanied A fine four-part motet for Christmas that is a succint expression of both the mystery and the joy of the Nativity.

for SATB and piano or organ A combination of tender, flowing melody, understated harmonies, and a simple piano accompaniment, this moving cradle-song describes Mary's love for her child from the perspective of another young mother and her newborn baby.

This book presents a comprehensive view of children's musical artistry and how to develop it in both the music classroom and children's chorus. Presenting the musical mind as the gateway to children's artistry, and addressing the power of movement in its embodiment and advancement, author Mary Ellen Pinzino shows how song-rhythm, melody, and text, independently and together-influence children's developing artistry musically, expressively, and vocally at every level. Accordingly, she also offers a multitude of specific songs that inspire children's artistry, all in various tonalities and meters and on a continuum of increasing difficulty. Keeping the need for practical application in mind, Pinzino offers materials for implementation with children from kindergarten through seventh grade, as well as guidance for professional development. Content can be applied alongside any pedagogical methodology, as well as with older singers in the process of developing their own artistry. In short, this book makes the intangibles of children's artistry more tangible. It enables music teachers and choral conductors to draw artistry out of every child and draw every child into the choral art. It summons music teachers and choral conductors to bring artistry to the forefront of every music class and choral rehearsal-and to the forefront of the field of music education as a whole.

for SATB with optional bass solo and piano or orchestra This chorus, brimming with melody, rhythm excitement, and orchestral color, has been extracted from Borodin's opera. A Russian transliteration has been included along with an English singing translation. Orchestral material is available on rental.

Mahler's penultimate symphony recieved its premiere performance in Munich on September 12th, 1910 with a chorus of about 850, and an orchestra of 171. These massive forces led to Mahler's agent dubbing the work "Symphony of a Thousand." Mahler did not approve of the title at all, but it remains. The piece was a great success at its premiere, one of few of Mahler's works to be well received in his lifetime. It was the last premiere of one his works that Mahler witnessed before his death. Unabridged digitally enhanced reprint of the vocal score prepared by Josef Woss that was first published in 1910 by Universal Edition, Vienna.

for SSA and organ A wonderful anthem for Christ the King Sunday with words by George Herbert.

for SATB with optional double bass and optional piano Rutter's music captures the varied moods of Shakespeare's words, with their rapture, sorrow, humour, and vitality, in a way that makes these classic madrigal texts come alive for contemporary audiences. These pieces may be performed individually or as a five-movement suite. Numbers 1, 4, and 5 are also published for upper voices and keyboard as Three Birthday Madrigals.

Suitable for soprano solo, SATB choir, and organ, this title includes John Rutter's Requiem which is presented here separately, with the accompaniment arranged for organ.

This new vocal score is a digitally enhanced reprint of the one fist issued by C.F. Peters, Leipzig in the late 19th century, based upon the Bach Gesellschaft edition with the classic keyboard reduction by Gustav Rosler. With added measure numbers and in a large, easy-to-read A4 size, choruses and students of Bach's music will appreciate having this authoritative score in their libraries.

for SS or SA, with keyboard, or orchestra, or brass An easy and original setting with an extremely memorable tune of the well-known Rossetti text. An SATB version is also available. Orchestral and brass accompaniments are available on hire.

There are two versions of the vocal parts - for two-part upper voices with piano or for SATB with organ. An orchestral accompaniment is also available for both versions. Words are from Corinthians 1:14 Full scores and parts for the orchestral accompaniment are available on hire. Also available in John Rutter Anthems.