for SATB and organ Commissioned by King's College, Cambridge, for the 2016 Festival of Nine Lessons and Carols, This Endernight is a tender, peaceful setting of well-known fifteenth-century words. The recurring melody has an appropriately lilting feel, and Berkeley employs artful textural juxtapositions, with solo lines always opening out into a rich, full-choir sound for the 'lullay, by-by' refrain. The organ part provides colour and support for the voices, with sparkling semiquavers leading into the final, vibrant section.

for SATB (with divisions) unaccompanied Displaying Chydenius's unique style, I am the great sun is a driven and focused setting of Charles Causley's poem. This is textured choral writing: you'll find imitative passages, melodic and rhythmic motifs, sections requiring precise articulation, and full homophonic climaxes. An exciting challenge for established choirs!

Oxford Choral Classics: English Church Music assembles in two volumes around 100 of the finest examples of English sacred choral music of the past five centuries. The first volume, dedicated to anthems and motets, presents both favourite and lesser-known works, from the exceptional Renaissance polyphony of Taverner, Tallis, and Byrd, through the Restoration led by Purcell, to the glorious works of the great nineteenth- and twentieth-century composers, including Wesley, Elgar, Stanford, Vaughan Williams, and Howells. The volume contains a number of more substantial works, including Mendelssohn's Hear my prayer, Stainer's I saw the Lord, and Naylor's Vox dicentis: Clama, as well as a wonderful selection of shorter pieces, from Gibbons's O Lord, in thy wrath to Walton's Set me as a seal upon thine heart. With the second companion volume of canticles and responses, this bipartite collection presents a comprehensive survey of English sacred music at its best.

for cambiata (opt. div.), baritone, and piano Brooke's arrangement of this traditional sea shanty is invigorating and atmospheric. Changing voices will enjoy the theme of trains and ships in the text, as well as the boisterous call-and-response texture, which is well-supported by the piano. The verses break into a reflective a cappella section before giving way to a rousing finish!

for SSATB and organ The hymn Come, Holy Ghost lies at the heart of Celestial Fire. Here, McDowall has woven the exquisite poetry of Denise Levertov into this expressive and uplifting piece. At times quietly meditative, Celestial Fire unfolds to a most joyous, affirmative conclusion. Celestial Fire was commissioned as part of a trilogy suitable for significant occasions during the church calendar year by Oakham School; the two other Oakham anthems for organ and mixed chorus are Light Eternal and Candlemas.

for SATB unaccompanied Meaning 'Souls of the Righteous', this reflective anthem is especially suitable for the Feast of All Saints but may be sung at any time of year. Jackson masterfully balances the still, mesmerizing music of the opening and close with a more agitated and emotionally powerful central section. This piece is suitable for church and secular mixed-voice choirs, and a non-singing translation of the text is included.

for soprano and tenor solo, SATB chorus, and orchestra or small ensemble Following the success of Salisbury Vespers, Bob Chilcott further explores the large-scale liturgical genre with his solemn yet uplifting Requiem. Setting words from the Missa pro defunctis and the Book of Common Prayer, the work gives a new slant to established texts: a beautiful setting of 'Thou knowest, Lord' sits alongside the powerful 'Offertorio', driving 'Sanctus', and enchanting 'Pie Jesu'. Deserving of a place among the canon of previous settings, Chilcott's Requiem is an elegy for the modern day. Accompaniments for orchestra and small ensemble are available on hire, and the piano reduction in the vocal score may be adapted for performance on the organ.

for SATB (with divisions) unaccompanied Commissioned by King's College, Cambridge for the 2009 Festival of Nine Lessons and Carols, this beautiful carol sets a well-loved text by G. K. Chesterton. With Jackson's trademark luscious harmonies alongside gentle changes in metre and mode, this piece would make an ideal introduction to Jackson's music for mixed choirs.

for SATB (with divisions) and organ Commissioned by the choir of Merton College, Oxford, In the beginning was the Word provides a welcome musical setting of this iconic biblical text. The choral lines combine plainchant with harmonically intricate passages, and all is complemented by a soloistic organ part. Suitable for use throughout the church year.

Due to popular demand, this exquisite piece has been made available as a separate choral leaflet. It is also in the anthology Weddings for Choirs. Ideal for concerts, and special occasions such as weddings and anniversaries, this choral song sets a beautiful text by Paul Eluard to rich, sumptuous music which will delight singers and listeners alike.

for SATB (with divisions) and organ This joyous, upbeat anthem sets a compelling poem by contemporary poet Sean Street in response to a text by sixteenth-century Bishop of Norwich John Parkhurst on the subject of 'alma mater'. The text encourages us to appreciate the past, our education, and where it can lead, reflecting on the profound ties we can form to a time or a place. The bright, driving organ part, with solo interjections, is juxtaposed with sustained vocal writing with rich, lush harmonies.

unison choir, piano, and cello Orginially scored for solo voice and piano by Peter Warlock, My Own Country has been broadened by David Giardiniere by the addition a cello part, tailored scoring for unison voices, and piano adjustments where appropriate. This new version is great for the school choral market, as a secular octavo with accessible piano, cello, and choral parts.

for SATB and organ or brass ensemble This rousing Jubilate was written in 2009 for Matthew Owens and the choirs of Wells Cathedral as a companion piece to the composer's Winchester Te Deum; it has the same instrumentation. With its strong melody and rich textures and harmonies, this work will prove immensely popular with all lovers of Rutter's music. An accompaniment for brass ensemble is available on hire.

for mixed-voice choir
This second book of anthems by Bob Chilcott assembles pieces in a wonderful range of styles and moods. The anthems have been carefully selected to be both approachable to a wide range of choirs and appropriate to the needs of today's liturgy. An indispensable addition to any choir library.

for chorus, chamber choir, and children's choir, or large divisi chorus, with orchestra and organ or brass ensemble and organ. Showcasing Chilcott's exceptional talent for large-scale choral writing, Salisbury Vespers pays homage to this most ancient of services, combining settings of the traditional Vespers psalms with anonymous early texts and words from the Sarum Primer of 1516. Marian motets punctuate the psalm settings, and the work is concluded with a substantial setting of the Magnificat, using the plainsong melody from the same section in Monteverdi's Vespers of 1610. With driving rhythms, passages of reflective contemplation, and expansive, powerful textures, this is sure to become a mainstay of the modern choral repertory for years to come. Written for large mixed choir, chamber choir, and children's choir, Salisbury Vespers could equally be performed by a large mixed choir, with the parts for chamber choir and children's choir being sung by smaller sections taken from within the large choir. Vocal scores are available on sale and on hire/rental.

for solo violin, upper-voice choir (women's and/or advanced children's choir), with harp, and strings or organ This four-movement work is inspired by the idea of 'Jerusalem' both as a Holy City and a utopian ideal of heavenly peace and seraphic bliss. The composer has selected four biblical texts, in English and Latin, that express different aspects of this vision. The harp part is identical for both full and reduced instrumentations.

This important contemporary Requiem demonstrates Gabriel Jackson's gift for writing mesmerising choral music on a large scale. Combining sections of the traditional Requiem text with poems from other cultures and traditions, Jackson here has created a work which embraces a wide-ranging perspective on human mortality. Each movement is given a different character and musical style, and the result is a unique, sublime work which cannot fail to impress. Vocal scores are available on sale and on hire/rental.

for SS and organ This is an energetic setting of a traditional text, with a memorable tune, attractive sequences, and exciting climax, all in a lilting swing. A version for SATB is also available.

for SATB unaccompanied Helvey sets a combination of sacred texts to beautiful music. Similar to his Cor mundum crea in me Deus, Helvey writes for SATB unaccompanied, mainly in homophonic textures, with thick, lush chords.

One of Chilcott's earliest choral compositions, The Modern Man I Sing is a setting of three poems by Walt Whitman. Initially written for the Gustavus Choir, the leading Lutheran choir in Minnesota, it was toured around the US in 1991 by the Gustavus Choir, conducted by Karle Ericksonit. It has also recently been recorded by the BBC Singers, released on CD by Signum Classics (SIGCD100). The vocal score is presented handwritten by the composer.

for SATB and piano or orchestra This uplifting Christmas carol demonstrates Rutter's gift for writing engaging and memorable tunes. The melody weaves between different voices and scorings, while the piano part complements the vocal lines with rich, luscious harmonies. An accessible and enjoyable option for mixed choirs. Orchestral material is available on hire.