for SATB unaccompanied This is a lush setting of three poems by Sara Teasdale who, in 1918, won the precursor to the Pulitzer Prize for Poetry. This piece would make a welcome addition to the repertoire of community choirs.

Brooke Foss Westcott (1825 1901) was a British theologian who held the position of Bishop of Durham from 1890 until his death. First published in 1912, as the second edition of an 1879 original, this volume presents the complete text of the Book of Psalms arranged by Westcott 'so as to ensure an intelligent musical rendering of each clause of the separate verses'. The text was revised and edited for its second edition by the British organist and composer of hymns Arthur Henry Mann (1850 1929). This book will be of value to anyone with an interest in the Psalms, choral music and Church history."

Choral music is now undoubtedly the foremost genre of participatory music making, with more people singing in choirs than ever before. Written by a team of leading international practitioners and scholars, this Companion addresses the history of choral music, its emergence and growth worldwide and its professional practice. The volume sets out a historical survey of the genre and follows with a kaleidoscopic bird's eye view of choral music from all over the world. Chapters vividly portray the emergence and growth of choral music from its Quranic antecedents in West and Central Asia to the baroque churches of Latin America, representing its global diversity. Uniquely, the book includes a pedagogical section where several leading choral musicians write about the voice and the inner workings of a choir and give their professional insights into choral practice. This Companion will appeal to choral scholars, directors and performers alike.

for upper voices, SATB, and piano or orchestra The Seeds of Stars is a resplendent setting of a philosophical text by Charles Bennett. The rippling piano part provides a shimmering accompaniment to radiant and expressive vocal lines, and Chilcott effectively contrasts upper- and mixed-voice sections with stirring passages for all voices. Reflecting the vivid imagery of the text, the upper voices soar above the choir during climatic moments, but also bring the piece to its gentle, profound close. An orchestral accompaniment is available on hire/rental.

Providing a detailed analysis of Bach's Passions, this 2010 book represents an important contribution to the debate about the culture of 'classical music', its origins, priorities and survival. The angles from which each chapter proceeds differ from those of a traditional music guide, by examining the Passions in the light of the mindsets of modernity, and their interplay with earlier models of thought and belief. While the historical details of Bach's composition, performance and theological context remain crucial, the foremost concern of this study is to relate these works to a historical context that may, in some threads at least, still be relevant today. The central claim of the book is that the interplay of traditional imperatives and those of early modernity renders Bach's Passions particularly fascinating as artefacts that both reflect and constitute some of the priorities and conditions of the western world.

for SATB and organ This uplifting anthem combines two well-known texts that are commonly read at weddings: 1 Corinthians 13:13 ('And now these three remain: faith, hope, and love. But the greatest of these is love.') and Song of Solomon 8:6-7 ('For love is strong as death. Many waters cannot quench love, neither can the floods drown it.'). The music perfectly mirrors the message of the texts, with flowing solo organ passages and melodic vocal lines building to full homophonic textures at the climax. Portraying a theme that is both personal and eternal, Faith, hope, and love remain is suitable for use not only as part of a wedding ceremony but also for general services and concerts.

Described as the "life and soul of British contemporary music", Jane Manning is an internationally celebrated English concert and opera soprano. In this new follow-up to her highly regarded New Vocal Repertory, Volumes I and II, she provides a seasoned expert's guidance and insight into the vocal genre she calls home. Vocal Repertoire for the Twenty-First Century spans the late middle-20th century through the second decade of the 21st. Manning's comprehensive selection of contemporary art songs ranges from the avant-garde to the more easily accessible, including substantial song cycles, shorter encore pieces, and songs suitable for auditions and competitions. The two-volume guide presents expertly-informed selections tailored to particular voice types. Each of the 160 selections is accompanied by a highly detailed performance guide, music examples, levels of difficulty, and a brief encapsulation of vocal characteristics or challenges contained in the piece. A supplemental companion website provides composer biographies and an up-to-date list of recommended recordings. With a focus on younger composers in addition to prominent figures, Manning encourages singers to refresh and expand their recital repertoire into less familiar territory, and discover the rewards therein. Volume 2 features works written from 2000 onwards, including pieces from contemporary composers Mohammed Fairouz ("Annabel Lee"), Missy Mazzoli ("As Long as We Live"), Judith Weir ("The Voice of Desire"), and Raymond Yiu ("The Earth and Every Common Sight").

Relive the best hits from the Pulitzer Prize, Tony Award and GRAMMY Award-winning musical Hamilton in this 9-minute choral medley for SA/Men. With opportunities for soloists and small groups, this is a perfect showcase piece for your choir and a lively and fun addition to any concert programme. This medley includes the songs Alexander Hamilton, My Shot, The Schuyler Sisters, The Room Where It Happens, Helpless and Yorktown (The World Turned Upside Down). This piece is part of the Faber Choral Singles series, offering a selection of beautifully crafted arrangements in a diversity of musical styles. From Broadway, pop and folk to spirituals, gospel and original works, the series is arranged for 3 part choirs (soprano, alto and a combined male-voice part) providing flexibility for any choir. Complete with straight-forward piano accompaniments supporting the vocal lines, the Faber Choral Singles series guarantees the perfect repertoire for every occasion - so get exploring and get singing!

Cori Spezzati deals with polychoral church music from its beginnings in the first few decades of the sixteenth century to its climax in the work of Giovanni Gabrieli and Heinrich Schutz. In polychoral music the singers, sometimes with instrumentalists also, were split into two (or more) groups that often engaged in lively dialogue and joined in majestic tutti climaxes. The book draws on contemporary descriptions of the idiom, especially from the writings of Vicentino and Zarlino, but concentrates in the main on musical analysis, showing how antiphonal chanting (such as that of the psalms), dialogue and canon influenced the phenomenon. Polychoral music has often been considered synonymous not only with Venetian music, but with impressive pomp. Anthony Carver's study shows that it was cultivated by many composers outside Venice - in Rome, all over northern Italy, in Catholic and Protestant areas of Germany, in Spain and the New World - and that it was as capable of quiet devotion or mannerist expressionism as of outgoing pomp. Perhaps most important, music by several major composers about which there is still surprisingly little in the literature is treated in depth: the Gabrielis, Lasso, Palestrina, Victoria, and several German masters. The book is illustrated with many musical examples. A companion volume offers an anthology of seventeen complete pieces, most of which are analysed in the text of Volume I.

Cori Spezzati deals with polychoral church music from its beginnings in the first few decades of the sixteenth century to its climax in the work of Giovanni Gabrieli and Heinrich Schiitz. In polychoral music the singers, sometimes with instrumentalists also, were split into two (or more) groups which often engaged in lively dialogue and joined in majestic tutti climaxes. The first volume draws on contemporary descriptions of the idiom, especially from the writings of Vicentino and Zarlino, but concentrates in the main on musical analysis, showing how antiphonal chanting (such as that of the psalms), dialogue and canon influenced the phenomenon. Polychoral music often has been considered synonymous not only with Venetian music but with impressive pomp. Anthony Carver's study shows that it was cultivated by many composers outside Venice - in Rome, all over northern Italy, in Catholic and Protestant areas of Germany, in Spain and the New World - and that it was as capable of quiet devotion or mannerist expressionism as of outgoing pomp. Perhaps most important, music by several major composers about which there is still surprisingly little in the literature is treated in depth: the Gabrielis, Lasso, Palestrina, Victoria, and several German masters. Volume I is illustrated with many musical examples. This companion volume offers an anthology of seventeen complete pieces, most of which are analysed in the text of volume I.

for SATB and organ Taken from Rutter's edition of Faure's Requiem, this famous Introit and Kyrie features both the original French words and an optional English text, translated and adapted for singing by John Rutter himself. The piece's brevity and touching poignancy makes it a suitable addition to funerals and All Souls Day services. John Rutter's complete edition of Faure's Requiem is available from Oxford University Press, with scores and parts available on sale and on hire.

for SATB and piano or orchestra David Warner has provided an original text for the Christmas season, for which Wilberg has created a catchy melody. The music cycles through several keys as a sense of hope, spirit, and imagination is developed and suspended throughout. This would be a wonderful opening to a concert or could be used in church services throughout the Christmas season.

Designed for both the practicing choral director and the choral methods student, this is the only book that offers such a wealth of information on choral sight-singing under one cover. Topics covered include the history of sight-singing pedagogy and research, a detailed survey of prominent methods and materials, and a host of practical strategies for teaching and assessment. Demorest's comprehensive and practical guide takes the mystery out of teaching music reading and should be a part of every choral conductor's library.

for unison (junior) and SATB (senior) choirs and keyboard The unison line, or junior choir, does have some small simple divisi. Overall, this is an accessible piece that is both rich and moving.

Choral Repertoire is the definitive and comprehensive one-volume presentation of the canon of the Western choral tradition. Designed for practicing conductors and directors, students and teachers of choral music, amateur and professional singers, scholars, and interested vocal enthusiasts, it is an account of the complete choral output of the most significant composers of this genre throughout history. Organized by era (Medieval, Renaissance, Baroque, Classical, Romantic, and Modern), Choral Repertoire covers general characteristics of each historical era; trends and styles unique to various countries; biographical sketches of over 500 composers; and performance annotations of more than 5,000 individual works. This book will be an essential guide to programming, a reference tool for program notes and other research, and, most importantly, a key resource for conductors, instructors, scholars, and students of choral music.

Contents: 1. Magnificat Anima Mea (Coro) 2. Et Exultavit (Aria) 3. Quia Respexit (Aria) 4. Omnes Generationes (Coro) 5. Quia Fecit Mihi Magna (Aria) 6. Et Misericordia (Duetto) 7. Fecit Potentiam (Coro) 8. Deposuit (Aria) 9. Esurientes (Aria) 10. Suscepit Israel (Terzetto) 11. Sicut Locutus (Coro) 12. Gloria Patri (Coro) Unabridged digitally enhanced reprint of the vocal score prepared by musicologist Karl Straube and published by C.F. Peters, Leipzig in the late 19th century. Bach composed the initial version in E flat in 1723 for the Christmas Vespers in Leipzig which contained several Christmas texts. Over the years he removed the Christmas-specific texts to make it suitable for year-round performance, transposing it into D major to provide better sonority for the trumpets. The work is divided into twelve parts which can be grouped into three movements, each beginning with an aria and completed by the choir. This large-format, easy-to-read vocal score, a welcome addition to the libraries of choruses and orchestras everywhere, is completely compatible with the widely available orchestra material reprinted by E. F. Kalmus.

for TTBB unaccompanied, with a piano reduction This is a simple, well-arranged carol based on a sixteenth-century tune.

The Glagolitic Mass, written between 1926 and 1927, is not only one of Janacek's most important works: it is also a masterpiece of the twentieth-century choral repertoire. In this fascinating account of the work and its history, Paul Wingfield brings together material from early articles and reviews, letters and manuscripts which form a comprehensive account of the work's genesis and performance history. The author also provides a thorough revision of the Old Church Slavonic text along with English translation, and reconstructs Janacek's 'ideal' version of the work - far more exciting than the less adventurous rearrangement currently performed. Chapters on the music itself offer a full synopsis of the Glagolitic Mass, an in-depth discussion of its musical organisation and a selection of key interpretations of the piece by Janacek and others.