for SATB and piano or organ or brass quintet This joyful and vibrant carol will delight youth and adult choirs alike. The strong unison opening, with a pealing bell-like accompaniment, builds to a climactic two-part canon, brilliantly capturing the joyous message of Christmas.

for SATB (with divisions) and organ This vibrant and rhythmic carol sets the traditional French carol text and includes an English singing translation. It is a perfect option for good amateur and professional choirs.

As the landscape of choral education changes - disrupted by Glee, YouTube, and increasingly cheap audio production software - teachers of choral conducting need current research in the field that charts scholarly paths through contemporary debates and sets an agenda for new critical thought and practice. Where, in the digitizing world, is the field of choral pedagogy moving? Editor Frank Abrahams and Paul D. Head, both experienced choral conductors and teachers, offer here a comprehensive handbook of newly-commissioned chapters that provide key scholarly-critical perspectives on teaching and learning in the field of choral music, written by academic scholars and researchers in tandem with active choral conductors. As chapters in this book demonstrate, choral pedagogy encompasses everything from conductors' gestures to the administrative management of the choir. The contributors to The Oxford Handbook of Choral Pedagogy address the full range of issues in contemporary choral pedagogy, from repertoire to voice science to the social and political aspects of choral singing. They also cover the construction of a choral singer's personal identity, the gendering of choral ensembles, social justice in choral education, and the role of the choral art in society more generally. Included scholarship focuses on both the United States and international perspectives in five sections that address traditional paradigms of the field and challenges to them; critical case studies on teaching and conducting specific populations (such as international, school, or barbershop choirs); the pedagogical functions of repertoire; teaching as a way to construct identity; and new scholarly methodologies in pedagogy and the voice.

for SATB accompanied and unaccompanied 30 varied pieces ranging in style from the classic and sentimental to the humorous and madcap. With the standards of the repertoire are new pieces and fresh arrangements by some of the finest arrangers. The volume provides an unrivalled kaleidoscope of concert encores.

This newest volume in The Works of Giuseppe Verdi series comprises his only two surviving secular choral works: "Inno popolare," or "Hymn of the People," for unaccompanied male chorus, and "Inno delle nazioni," or "Hymn of the Nations," for tenor solo, chorus, and orchestra.
Verdi wrote the brief "Inno popolare" in 1848 at the behest of the Italian philosopher and patriot Giuseppe Mazzini, intending that it become an anthem for Italy at a time when the country had just driven away its Austrian overlords. He wrote no more independent patriotic pieces until he was asked in 1861 to represent his country with a patriotic composition at a musical jubilee during London's International Exhibition of 1862. The resulting piece was "Inno delle nazioni," the critical edition of which is based on Verdi's autograph score, preserved at the British Library. Other important sources include the composer's musical sketches, recently discovered in the Verdi family villa, and the performing parts Toscanini used for a BBC broadcast in 1943.

This colourful and exotic setting of Samuel Taylor Coleridge's epic poem is a welcome addition to the English choral repertory. The absence of Rawsthorne's original orchestral score (destroyed in 1940 during a bombing raid) had, until 2007, prevented the performance of this extraordinary work. However, a new orchestration by Edward Harper (available on hire from Oxford University Press) has allowed Rawsthorne's dream-like evocation of an exotic land to take its rightful place on the concert platform.

In the Mood is an anthology of choral arrangements of seventeen classic popular songs by such great names as Fats Waller, George Gershwin, Cole Porter, Jerome Kern, and Richard Rodgers. All the pieces are expertly arranged by the editors to suit the needs of amateur SATB groups--school choirs, youth choirs, or chamber choirs of any description--looking for lighter popular repertoire. There is a mixture of accompanied and unaccompanied numbers in a variety of styles: smoky blues, up-tempo scat, sentimental swing, exuberant Dixieland, sophisticated close-harmony, and a couple of opulent show-stoppers like "Somewhere over the Rainbow."

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.

Face to Face with Orchestra and Chorus is a crucial guide for choral conductors who are presented with the daunting task of conducting a full-size orchestra. This book provides a survival kit for both novice and experienced choral conductors, with an overview of the orchestral instruments and their particular needs, tips for rehearsing an orchestra effectively, and guidelines for proper baton technique. Conductors are walked through six case studies from the Baroque and Classical periods, including Handel s Messiah, Bach s Magnificat in D Major, Vivaldi s Gloria, and Beethoven s "Choral" Fantasia."

"This book comes from a very fine music educator with exceptional experience, who has common sense and a real understanding of what a beginning teacher should know. The book puts into print issues that are widely discussed at conventions and at conferences, and that are common knowledge for the experienced teacher, but that are not covered in a music education class. It is a plain and simple book, written in a language that is easy for anyone going into the profession to understand. It makes valuable suggestions in just about every aspect of the role of a choral music teacher." Michael Schwartzkopf, Professor of Music Education, Indiana University School of Music"

What should we consider when thinking about the relationship between an onstage performance and the story the performance tells? A Poetics of Handel's Operas explores this question by analyzing the narratives of Handel's operas in relation to the rich representational fabric of performance used to convey them. Nathan Link notes that in most storytelling genres, the audience can naturally discern between a story and the way that story is represented: with film, for example, the viewer would recognize that a character hears neither her own voiceover nor the ambient music that accompanies it, whereas in discussions of opera, some audiences may be distracted by the seemingly artificial nature of such conventions as characters singing their dialogue. Link proposes that when engaging with opera, distinguishing between the performance we see and hear on the stage and the story represented offers a meaningful approach to engaging with and interpreting the work. Handel's operas are today the most-performed works in the Baroque opera seria tradition. This genre, with its intricate dramaturgy and esoteric conventions, stands to gain much from an investigation into the relationships between the onstage performance and the story to which that performance directs us. In his analysis, Link offers theoretical studies on opera and narratological theories of literature, drama, and film, providing rich engagement with Handel's work and what it conveys about the relationship between text, story, and performance.

for SATB and piano or orchestra A folkish, legato setting from Rutter's choral Fancies. This piece is based on a 15th-century text. Orchestral material is available on hire.

for SSAA and percussion This bewitching setting tells the story of a young girl walking in an enchanted forest, mesmerized by dreamy, ancient songs sung by a chorus of birds. An atmospheric ostinato played on finger cymbals and claves accompanies the voices, and Quartel sets a strong melodic line against the warm harmonies of the birdsong.

for SATB and piano or small orchestra This delightful arrangement of a traditional Swedish melody presents the tune in a variety of scorings, from unison upper voices at the opening to classic four-part harmony with a twist later on. The piano or orchestral accompaniment brings new flavour to the melody on each rendition through Wilberg's masterful employment of subtle chromatic inflections. This arrangement will prove a popular choice both in services and concerts. Orchestral material is available on hire.