for SATB unaccompanied This warm and expressive carol sets a Christmas poem by English poet U. A. Fanthorpe that centres on the moment of Christ's birth. Fleeting unisons call the listener's attention to the focal point of the text, the 'moment', and the rich, luminous harmonies create a sense of wonder at this momentous event.

for SATB and organ or small orchestra Christmas Lullaby was commissioned in 1989 by the Bach Choir in celebration of the seventieth birthday of its conductor, Sir David Willcocks. The haunting melody of the verses and the reflective refrain of 'Ave Maria' have made this an immensely popular carol. The orchestral accompaniment is available on sale and on hire/rental. A version for upper voices is also available.

for SATB (with divisions) unaccompanied The text for this arrangement of the second of William Walton's Two Pieces for Strings from Henry V' is based on the line 'Touch her soft mouth, and part' from Shakespeare's Henry V (Act 2, Scene 3). Featured on the Tenebrae Consort's CD Sun, Sea, Moon and Stars (released January 2016), this melancholic setting is simple yet highly effective.

In recent decades, cognitive neuroscience research has increased our understanding of how the brain learns, retains, and recalls information. At the same time, social psychologists have developed insights into group dynamics, exploring what motivates individuals in a group to give their full effort, or conversely, what might instead inspire them to become free loaders. Art and Science in the Choral Rehearsal explores the idea that choral conductors who better understand how the brain learns, and how individuals within groups function, can lead more efficient, productive, and enjoyable rehearsals. Armed with this knowledge, conductors can create rehearsal techniques which take advantage of certain fundamental brain and social psychology principles. Through such approaches, singers will become increasingly engaged physically and mentally in the rehearsal process. Art and Science in the Choral Rehearsal draws from a range of scientific studies to suggest and encourage effective, evidence-based techniques, and can help serve to reset and inspire new approaches toward teaching. Each chapter outlines exercises and creative ideas for conductors and music teachers, including the importance of embedding problem solving into rehearsal, the use of multiple entry points for newly acquired information, techniques to encourage an emotional connection to the music, and ways to incorporate writing exercises into rehearsal. Additional topics include brain-compatible teaching strategies to complement thorough score study, the science behind motivation, the role imagination plays in teaching, the psychology of rehearsal, and conducting tips and advice. All of these brain-friendly strategies serve to encourage singers' active participation in rehearsals, with the goal of motivating beautiful, inspired, and memorable performances.

A History of Western Choral Music explores the various genres, key composers, and influential works essential to the development of the western choral tradition. Author Chester L. Alwes divides this exploration into two volumes which move from Medieval music and the Renaissance era up to the 21st century. Volume I surveys the choral music of composers including Josquin, Palestrina, Purcell, Handel, and J.S. Bach while detailing the stylistic, textual, and extramusical considerations unique to the topics covered. Consideration of Renaissance music includes both sacred and secular works, specifically addressing the growth of sacred music, the rise of secular music, and the proliferation of sacred polyphony from Josquin to Palestrina. Discussion of the Baroque era is organized by geographic location, exploring the spread of Baroque style from Italy to German, France, and England. Volume I concludes by examining the aesthetic underpinnings of the early Classical and Romantic eras. Framing discussion within the political, religious, cultural, philosophical, aesthetic, and technological contexts of each era, A History of Western Choral Music offers readers specialized insight into major composers and works while providing a cohesive understanding of choral music's place in Western history.

for SATB double choir and piano or small ensemble Another winning collaboration between Bob Chilcott and author Charles Bennett, this work was commissioned by Age UK Oxfordshire as part of a project to highlight and combat loneliness. The singers assume the role of narrator, guiding the listener on a journey made by boat, with nine choral songs presenting their own stories within this larger excursion. The outer movements provide a watery framework with rippling figures and gentle choral waves. An air of nostalgia pervades 'My father's boat' and 'What we did on our holiday', while the central songs use naval and meteorological imagery to speak of some of life's difficulties. Soliloquies between the choral songs highlight a variety of solo instruments, but these may be omitted if performing with piano.

for SSA and piano This playful song sets the famous 'Beautiful Soup' poem from Lewis Carroll's Alice's Adventures in Wonderland in a suitably tongue-in-cheek manner. With lilting rhythms, intertwining lines, and opportunities for portamento, Beautiful Soup will make an enjoyable addition to any concert programme.

for SSA and piano As She Goes sets words by the composer on a reflective yet inspirational theme ('We were born to fly, but your wings come without a trial run'), against the backdrop of images from the natural world. The choral lines are simple and melodic, drawing on the sound-world of the folksong 'My Love's An Arbutus', which opens the work. Ideal for adult and youth upper-voice choirs, as well as children's choruses.

for SATB and piano As Joseph was a-walking is a lilting and uplifting setting of the well-known traditional text about the prophecy of Christ's birth, as received by Joseph from an angel. The accessible musical language, with interesting harmonic inflections, and attractive piano writing makes this an appealing choice for Christmas concerts and services.

for TTBB and piano Like the original version for SATB voices, this new male-voice arrangement of Wide Open Spaces reflects on the journeys and adventures to be found in the wide opens spaces within ourselves and in the world around us. The uplifting melody is passed from the tenors to the baritones before the piece opens out into an expansive texture with rich harmonies. Quartel introduces a playful episode of scat singing before a resolute final chorus brings this evocative piece to a peaceful and serene close.

for SATB and organ Commissioned by the 2015 Three Choirs Festival, this is Chilcott's second setting of the Evening Canticles. Bright and rhythmical, the Magnificat features syncopated chords in the organ part that punctuate the more sustained choral textures. In contrast, the Nunc dimittis is reflective, opening with a soaring soprano melody and building towards an expressive climax on the word 'glory'. Ideal for church and cathedral choirs looking for something new for their evening service.

for SSATB unaccompanied Setting part of a Eucharistic hymn text by Thomas Aquinas, Adoro te devote is a beautiful, devotional piece suitable for liturgical or concert use. Flowing and expressive, it features homophonic sections, melismatic lines, and optional soaring soprano solos. Adoro te devote was written for Martin Baker and Westminster Cathedral Choir and is dedicated to the memory of the victims of the Nepalese Earthquake in April 2015.

for SATB unaccompanied This setting of the well-known fifteenth-century text Lullay, my liking is both simple and effective. With enchanting solos and a gentle choral refrain, this tender carol will bring a moment of stillness and reflection to Christmas concerts and services.

for SATB and piano or organ First published in Carols for Choirs 5, this is a beautiful and touching setting of the well-known fifteenth-century words. The contours of Stroope's melodic writing perfectly mirror the narrative from the manger scene, while the simple refrain highlights the Christ-child's innocence as his mother lulls him to sleep.

for SSAATTBB unaccompanied Ave gloriosa mater salvatoris is a challenging and yet delicate anthem, with subtle key-signature changes, vocal divisions in up to eight parts, and alternating homophonic and polyphonic passages. The text includes excerpts from the synonymous medieval hymn and Wordsworth's poem The Virgin, making the piece suitable for a variety of sacred celebrations and particularly those of the Blessed Virgin Mary.

for SATB and piano Composed in celebration of David Willcocks's 95th birthday, Jonathan Willcocks sets a suitably uplifting traditional text from Cornwall, the county of his father's birth. Telling the story of the shepherd's and wise men's visits to Jesus, this carol is both joyous and sprightly, and would be suitable for both Christmas and Epiphany.

for SATB and organ or piano Horatius Bonar's well-known hymn Beloved, let us love is a perfect text for wedding services, expressing the belief that it is only through loving others that we can know God's love for us. Bullard's celebratory and emotive setting begins by offsetting male and female voices, before exploring full-choir textures, rich harmonies, and contrasting keyboard accompaniments. Both affirmatory and exultant and reflective and wondrous, the anthem should find a place in church services and concerts throughout the year.

The first investigation into the choral foundation of the Chapel Royal, Dublin Castle. The Chapel Royal, Dublin Castle, was the place of worship of the British monarch's representative in Ireland from 1814 until the inception of the Irish Free State in 1922. It was founded and maintained by the joint efforts of church and state, and thus its history provides valuable insights into how the relationship between religion and politics shaped Irish society and identity. The Dublin Chapel was established in imitation of the Chapel Royal of St James's Palace, London, and was served by a staff of clergy and musicians. Its musical foundation was a formal and independent entity, with its own personnel and performance traditions. Its distinctive repertoire included music from the English and Irish cathedral traditions, as well as works written by composers associated directly with the Chapel. This study investigates the Chapel's constitution, liturgy and music through an examination of previously unexplored primary material. Discussion of the circumstances of the Chapel's founding and its governance structures situates the institution in the context of the church-state relationship that existed following the Union of 1800. Further, by exploring architecture, churchmanship and musical style, O'Shea demonstrates how the Chapel was part of a wider aesthetic and liturgical tradition. The choral foundation is brought to life with accounts of the Chapel's clergy, organists, boy choristers and gentleman singers, which provide insights into Dublin's social history during a period of significant change. This book reflects on the Dublin Chapel Royal's legacy a century after its closure and offers a new perspective into a forgotten corner of Irish cultural, religious and political history.

for SATB double choir unaccompanied Lightly come or lightly go is a playful setting of James Joyce's poem of the same name for SATB double choir. The second choir carries the titular words as an arching ostinato, while choir one presents the main body of the text through characterful melodies and word painting. The two choirs portray the conflicting emotions expressed in the poem demonstrated by the closing line: "Love and laughter song-confessed When the heart is heaviest".

for SSATB and piano Originally the second movement of Chilcott's choral work Five Days that Changed the World, this poignant setting of words by Charles Bennett reflects on one of the most significant events of our time. The choral parts are melodic and interweaving, and the flowing piano part provides harmonic support for the voices throughout.

for SATB and organ Setting a text by the composer, this choral hymn addresses God, the risen Christ, and the Holy Spirit in turn, with a strong sense of worship and adoration. With an appealing melody, sumptuous harmonies, and a captivating soprano descant, this is the ideal piece for Trinity Sunday.

for SSAA and piano Originally the second movement of Chilcott's choral work Five Days that Changed the World, this poignant setting of words by Charles Bennett reflects on one of the most significant events of our time. The upper-voice choral parts are melodic and interweaving, and the flowing piano part provides harmonic support for the voices throughout.

for SATB (with divisions), oboe, and organ The text combines the nineteenth-century poet and Christian minister George MacDonald's emotive poem Lost and Found with the 'In paradisum' antiphon from the Burial Service in the Liber Usualis. The music is at times ethereal, melancholic, poignant, and life-affirming. The solo oboe and organ writing is integral to the emotive character of the piece, and the word-painting and angelic chorus moments encourage the listener to reflect on the subject at hand. The Quest is featured on the Collegium Records CD The Gift of Life. An orchestration for chamber ensemble (solo oboe, harp, and strings) is available on hire/rental.