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.

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

for unison chorus and piano This setting was originally published as part of Folk Songs of the Four Seasons. The attractive melody is set to a lilting accompaniment to create a charming arrangement that will appeal to choirs and audiences of all ages.

for solo organ The work is divided into seven sections, each reflecting a different verse of the hymn text. Musical styles vary between movements, making the work an interesting recital piece. Individual sections can also be performed liturgically. The piece is of moderate difficulty.

for SATB, soprano and tenor soloists, unaccompanied This is a setting of text by the Irish poet and singer Colum Sands in a contemporary folk style. Its secular text will appeal to a wide range of audiences, and might also be suitable for use in non-liturgical services.

Multivocality frames vocality as a way to investigate the voice in music, as a concept encompassing all the implications with which voice is inscribed-the negotiation of sound and Self, individual and culture, medium and meaning, ontology and embodiment. Like identity, vocality is fluid and constructed continually; even the most iconic of singers do not simply exercise a static voice throughout a lifetime. As 21st century singers habitually perform across styles, genres, cultural contexts, histories, and identities, the author suggests that they are not only performing in multiple vocalities, but more critically, they are performing multivocality-creating and recreating identity through the process of singing with many voices. Multivocality constitutes an effort toward a fuller understanding of how the singing voice figures in the negotiation of identity. Author Katherine Meizel recovers the idea of multivocality from its previously abstract treatment, and re-embodies it in the lived experiences of singers who work on and across the fluid borders of identity. Highlighting singers in vocal motion, Multivocality focuses on their transitions and transgressions across genre and gender boundaries, cultural borders, the lines between body and technology, between religious contexts, between found voices and lost ones.

for SATB wordless chorus, viola solo, and orchestra A suite for solo viola, wordless chorus (SATB), and small orchestra, Flos Campi is one of Vaughan Williams's most enigmatic pieces. Although the six movements all borrow their titles from the Old Testament's Song of Solomon, the chorus never articulates a single word. Instead, it serves as a section of the orchestra, creating an elegant vocal texture and backdrop to the viola's haunting solo lines. The work was premiered in October 1925 by the violist Lionel Tertis, singers from the RCM, and the Queen's Hall Orchestra, directed by Sir Henry Wood.

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.

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.

A second collection of 50 carols, mostly for SATB, some unaccompanied, and some having accompaniments for piano, organ, orchestra, or brass ensemble. Many of the carols are from traditional sources, rearranged, as well as carols written especially for this volume by composers including William Walton, Benjamin Britten, Richard Rodney Bennett, and William Mathias. Instrumental material for most of the accompanied items is available on hire. Eight Carols for Brass for 5 and 8 part brass (to accompany carols from Carols for Choirs 1 and Carols for Choirs 2) are also on sale.

for SATBarB unaccompanied This setting can be found both in Five Traditional Songs and Folk Songs for Choirs 1. The text is simple, while the arrangement is varied and charming.

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.

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.

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.

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.

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.

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.

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.

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.