for SATB and optional organ, or full orchestra, or strings only, or brass ensemble A German translation of the traditional English carol, 'Hark! the herald-angels sing'. German and English texts. Also in the collection Glory to God.

This Day unites five very different texts, both sacred and secular, in an exploration of man's relationship with the world and with God. Opening with an optimistic F sharp major setting of Emily Dickinson's 'Bring me the sunset in a cup', the work progresses through the stages of a day (or, indeed, a life): 'Awake, my soul!' (Thomas Ken), 'This Day' (Jewish text, adapted Chilcott), 'The Bright Field' (R.S. Thomas), and 'O Lord, support us' (John Henry Newman). This is powerfully evocative music embracing a range of moods and styles, with moments of joyful optimism, spiritual enlightenment, and poignancy.

for SATB unaccompanied This is a vibrant and rhythmic Christmas carol based on an anonymous 15th-century text. The modal feel and lively rhythms lend this carol a medieval character which will delight singers and audiences alike. An enjoyable option for any SATB choir at Christmas.

Forever Child is a suite of seven pieces for unaccompanied mixed voices on the theme of childhood. It was composed in memory of a young boy, Ben Curiel, and is a celebration of his life in a sequence of well-loved texts. Corp skilfully evokes a variety of moods, from the innocence and exuberance of childhood to the darker, more reflective mood of the final movements. The work forms an excellent concert suite, or any of its movements may be extracted for separate performance.

An easy anthem for unison children's and/or SATB choir, with piano/organ or orchestra. This German translation of Look at the world is suitable for Harvest or for any occasion where God is praised for his creation. Also available in English in John Rutter Anthems and in German in Glory to God. An orchestral accompaniment is available on hire.

for SATB and oboe or flute with piano or orchestra This captivating rendition of a classic spiritual is a delight to sing. Thornett expertly adds new flavour to the original melody through the addition of the flute or oboe counter-melody. Fluctuations between major and minor make this setting particularly moving and reflective. Orchestral material is available on hire.

for SATB and piano or organ or orchestra This beautiful setting of Edward Caswell's well-known text provides a wonderful alternative to more familiar versions. A perfect option for SATB choirs at Christmas. Orchestral material is available on hire.

for SA and piano This lyrical setting of a text by Colin Coppen has an elegant melody and flowing piano accompaniment. It would make a charming addition to any concert or service, and is also available in a version for mixed voices.

for SA and piano Wayfarin' Stranger is a two-part upper voice version of the SAB setting of the popular American folksong that is featured in SongStream 2: An American Journey. A blues flavour in the accompaniment and a canon in the middle section give the familiar tune fresh appeal.

for SSAA and piano This setting of a delightful text by Canadian poet Tara Wohlberg was commissioned by the Canadian Children's Opera Chorus. The gentle undulating piano accompaniment and the lush choral parts will make this a delight both for singers and audience members.

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 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 SSA and organ This joyful carol sets a text by Henry Wadsworth Longfellow. The piece opens with an imitation of bells spread across the voices, and this festive, celebratory quality is maintained throughout. Simple yet elegant, Christmas Bells is ideal for any upper-voice choir.

for SSA and piano or orchestra This carol may also be found in Carols for Choirs 4. The orchestral material is available on sale.

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.

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 chorus, organ, and optional brass ensemble (2 trumpets, 4 horns, 3 trombones, and tuba) Jongen's Messe en l'honneur du Saint-Sacrement was written in 1945 to celebrate the 700th anniversary of the inception of the Festival of Corpus Christi. The result is a striking work, with poignant and expressive harmonies, that is very approachable by mixed voiced choirs, and with short solos that can be taken by members of the choir.

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

for SATB and piano or organ The text is by Timothy Dudley-Smith and is based on a text of St Augustine. The gentle undulating rhythm created by the 6/4 time signature and the subtle harmonic shifts add interest and illuminate the meaning. A central section can be sung by soloists or by small sections of the choir.

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.

Irascible, truculent, but a brilliant musician. Any of these words could accurately describe Samuel Sebastian Wesley (1810-76), the foremost organist and church music composer of his generation. Peter Horton paints a detailed picture of the life and career of this remarkable man whose output includes such favourites as 'Blessed be the God and Father' and 'The wilderness'.

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.

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.