for SATB unaccompanied A mystical, atmospheric carol for Epiphany, The Wise Men and the Star sets a text by contemporary writer Lucia Quinault that depicts the journey of the wise men as they follow the star. Tarney's appealing musical language creates a sense of expectancy, and there are beautiful moments of stillness and quiet that enable the listener to reflect on the wonder of the events of the season.

for SSSSAATBB unaccompanied In this haunting arrangement of the well-known carol, Higgins creates a mystical soundscape by layering a single motif in a four-part soprano canon. These repetitions echo throughout and support the various textures explored in each verse, producing a dramatic and atmospheric setting of the Basque carol. Suitable for chamber and concert choir.

for violin and mixed choir This innovative and imaginative choral arrangement of The Lark Ascending has the original solo violin part accompanied by mixed choir. It sensitively sets George Meredith's poem (on which the original orchestration is based) and combines this with wordless vocal lines and vocal solos, preserving the texture and timeless effect of the original. Commissioned and premiered by the Swedish Chamber Choir, the work has also been recorded by the choir under the direction of Simon Phipps.

for SSATB and piano Reginald Unterseher has adapted his much-loved lower-voice arrangement of this well-known hymn by John Adam Granade for mixed-voice choir. The arching vocal lines are accompanied by a rhythmic, undulating piano part evocative of the rivers the hymn-writer describes.

for SATB unaccompanied The text for this imaginative and effective piece by Gabriel Jackson is a response to Allen Ginsberg's A Supermarket in California by Latvian poet Karlis Verdins, translated here by Ieva Lesinska. As in Ginsberg's poem, the initial setting is a supermarket, depicted with vivid imagery such as 'a weary, shrivelled apple', before the angel protagonist expounds on their observations about contemporary society. Pleasingly alliterative lines such as 'he'd babble boozily about tanks' are artfully given rhythmic emphasis by Jackson, who fully exploits the dramatic intent of the poem, giving space for the text to come through by homophonic setting, a pure harmonic language, and often sparse textures.

for SATB (with divisions) unaccompanied This is a tender setting of a text by American poet Edith Franklin Wyatt that speaks of companionship and the joys of sharing it as we travel along the road of life. Hagenberg employs her characteristically rich harmonic language to create a piece with great depth and immediacy.

for SATB and organ This is a flexible hymn for general worship, with an original hymn tune ('Charleston') by Howard Helvey. Either Francis Scott Key's 'Lord, with glowing heart I'd praise thee' or Charles Wesley's 'Love divine, all loves excelling' may be sung, and Helvey employs hymnody's most popular traits, including a majestic organ introduction, an emphatic unison first verse, and a soaring soprano descant.

for SSA and piano This atmospheric setting of familiar words from Shakespeare's As You Like It is sprightly and uplifting, with singers being asked by the composer to perform with 'a bit of frost and a knowing smile'. Blow, blow, thou winter wind was originally published in the collection Hark, hark, the lark.

for SATB soloists or choir unaccompanied This powerful work is a sequence of meditations on loss and longing, of fear and of hope, by turns contemplative and dramatic. The narrative is made up of a selection of poems by four exiled Latvian writers from the group known as the Hell's Kitchen Poets and present-day displaced persons from Palestine and Syria. The text is in Latvian and English, and a pronunciation guide for the Latvian text is included in the vocal score. Jackson also employs percussion for dramatic effect, with three singers required to play brake drum, railway man's whistle, and claves. With all of the trademarks of Jackson's compelling musical style, this piece will be an exciting challenge for choirs looking to explore universal themes.

for SSATBB unaccompanied Skilfully set to the tender words of the poet E. E. Cummings, 'I carry your heart' is an unaccompanied secular work originally for men's voices, but rescored by the composer in this version for women and men. The piece was commissioned by the acclaimed close-harmony group, The King's Men, and was recorded on their album Love from King's.

for SAB and piano Chilcott has re-scored this serene, reflective anthem, originally for upper voices, for SAB, making it accessible to choirs with a limited number of male voices. A rich addition to the Choral Evensong repertory, the anthem presents an artful juxtaposition of an original setting of William Fuller's 'Evening Hymn', most famously set by Henry Purcell, with the plainsong melody for the Latin hymn 'Te lucis ante terminum', in J. M. Neale's English translation.

for SATTBB & SA or SATB unaccompanied We are is a dynamic and vibrant setting of 'The human family', a powerful poem by American poet Maya Angelou. The poet's message that 'we are more alike than we are unalike' is carried through the piece by a compelling rhythmic figure, and the a cappella textures and interplay between voices creates an infectious energy. The rich texture of the double choir scoring allows the two groups of singers to work together to create the sense of unity and common purpose the poem speaks to. We are was commissioned by The King's Singers for their 50th anniversary celebrations and features on their album 'GOLD' (Signum, SIGCD500). The piece was originally presented with the first choir scoring as AATBarBarB, but has since been rescored for SATTBB, with the option for the second choir to be SA or SATB remaining unchanged.

for SATB unaccompanied 'Traditionally sung on Christmas Eve, 'O Virgo virginum' is often described as the eighth 'O' Antiphon and praises Mary, 'O virgin of (amongst) virgins.' McDowall's setting is vigorous and joyful, with intimations of medieval plainchant. O Virgo virginum is the final movement of McDowall's set of three 'O' text settings conceived as Trinity Triptych.

for SATB unaccompanied Images of Peace resulted from a request for a work that would encourage peace and understanding while not focussing on any particular creed or belief, and Alan Bullard approached this concept by choosing texts from a range of sources, including the English metaphysical and pastoral traditions, and the Taoist, Jewish, and Christian traditions. The set of five songs are designed as a symphonic whole, with the first and last ('Sweet Peace' and 'Bread of Peace') partly sharing the same material, book-ending three contrasting movements, a lively scherzo ('Rainbow of Peace'), an expressive slow movement ('Peace in the world'), and an elegant allegretto ('Doves of Peace').

for TTBB unaccompanied The Parting Glass is a traditional Scottish song, often sung as a farewell at the end of a get-together. Sarah Quartel's arrangement features close harmonies, idiomatic Scotch snap rhythms, and effective interjectory moments in what is a largely homophonic setting. With its valedictory message, it would make a fitting end to a performance, perhaps as an encore item.

for SATB unaccompanied This is a warm and contemplative setting of the medieval Latin hymn, suitable for communion services or for Lent, Passiontide, or Corpus Christi. Built around harmonic sequences and an appealing opening phrase, and with a gently romantic feel, Parry's setting offers a charming alternative to more familiar settings of these words.

for SATB and chamber ensemble A splendid curtain-raiser to Vivaldi's Gloria, Francesco Durante's artful Magnificat has long been misattributed to his pupil Pergolesi in a version for four voices, not five. Durante's vocally richer five-voice version has been chosen for the Sacred Choruses volume, which this orchestration accompanies, and merits performance as an alternative to the familiar four-voice version, which may or may not have been Durante's own work.

for SATB and chamber ensemble A splendid curtain-raiser to Vivaldi's Gloria, Francesco Durante's artful Magnificat has long been misattributed to his pupil Pergolesi in a version for four voices, not five. Durante's vocally richer five-voice version has been chosen for the Sacred Choruses volume, which this orchestration accompanies, and merits performance as an alternative to the familiar four-voice version, which may or may not have been Durante's own work. This complete set contains 4 x vln I, 4 x vln II, 2 x vc, 2 x db, 1 x continuo, and 1 x lute.