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.

Commissioned by the King's Singers in celebration of their 40th birthday, this work has unusual forces and a comparatively complex nature. Using two texts by Henry Vaughan and John Gillespie Magee, the work charts a journey from a free tempo reflective beginning to a rousing ending, celebratory in tone. The work was first performed by the King's Singers & King's College Choir at King's College Chapel, Cambridge, 1 May 2008.

for SATB choir, solo trumpet, and organ Commissioned by the Worshipful Company of Barbers in celebration of their 700th anniversary and first performed at the United Guilds Service in St Paul's Cathedral in March 2008, this is an impressive and stately setting of verses from Psalm 90, culminating in a jubilant, maestoso final section. The work would suit any festive service or concert. The trumpet part is available separately.

for TTBarBB and percussion
This is a powerful setting of a darkly vivid poem by Edwin Brock, which explores the theme of the futility of war. Scored for male voices, with jumpy rhythms and chromatic harmonies, the music is vigorous, exciting, and menacing.

for SATB or SSA, piano, and optional bass and drum kit ad lib.
This fantastic backing CD, recorded by a professional jazz trio, is ideal for use in both rehearsals and concerts. Compatible with the mixed-voice and upper-voice versions of A Little Jazz Mass, it is sure to inspire breathtaking performances from all choirs

for SATB choir (with soprano solo) and strings or keyboard This beautiful and moving piece in seven sections combines text from the Ave maris stella antiphon and Psalms 26 and 106. Starting and finishing in a mood of peace and certainty, the work is structured around a turbulent middle section anticipating the gathering storm. Orchestral material and vocal scores are available on hire/rental.

for SATB (with divisions) and viola obbligato Beach is taken from the song cycle 'Songs for Seven Storeys', which Bob Chilcott wrote to celebrate the opening of the New Evelina Children's Hospital. Combining a nostalgic melody with a haunting viola obbligato, this introspective song beautifully captures the memory of the seaside.

for SATB, baritone solo and orchestra A newly engraved edition of this vibrant choral work and fully compatible with the new Walton Edition full score. There are minor adjustments to the piano reduction to improve playability and the text underlay is now English only, as Walton's original.

for unison children's choir, SATB choir, and piano or strings This beautiful song combines a melodic setting of Christina Rossetti's 'A Birthday' with Robert Burns's 'A Red, Red Rose', sung to the tune of a traditional Scottish ballad. Both themes are imbued with a sense of happiness and contentment with the world, and the interplay between the melodies results in a truly stirring finish. Also available for SATB and piano or strings.

for SATB choir, cor anglais (or clarinet in A or viola) and organ This reflective setting of verses from Psalm 139 opens with a folk-like melody from the cor anglais. The work grows in intensity with sombre choral harmonies, leading to an ecstatic climax; it then gently subsides, tailing into silences with a return to the opening cor anglais melody. The work is a highly effective Lenten or contemplative anthem.

SATB (with divisions) unaccompanied Am Abend is a setting of 'Grodek', which is thought to be the last work of the Austrian poet Georg Trakl. Written in 1913, the year before Trakl committed suicide at the age of 27, the poem is set in the town of Grodek on the Eastern Front, where he had served as a medical officer. Jackson's setting is agonizingly moving, opening with an eerie alto melody before the rest of the choir enter with haunting harmonies and cluster chords, reflecting the darkness of the text. Grace notes and glissandi add an Eastern flavour and evoke the 'wild lament' and 'dark flutes' of Trakl's poem. Jackson's setting builds to a powerful climax, before the altos close with a quiet, repeated fragment on 'die ungebornen Enkel' ('the unborn grandsons'). First performed by the BBC Singers, directed by Paul Brough, at Milton Court Concert Hall, London, on 11 February 2016.

for SSA and piano or string orchestra or full orchestra This is an exuberant and animated chorus from the cantata In Windsor Forest, which was itself adapted from the opera Sir John in Love. The text is from Act II, Scene 3 of Shakespeare's Much Ado About Nothing, and features the women's chorus gleefully denouncing men as 'deceivers'. The colourful orchestral accompaniment is available on hire in versions of full orchestra or string orchestra and piano.

Known for his orchestral, operatic and choral works, James MacMillan (b. 1959) appeals across the spectrum of contemporary music making. James MacMillan appeals across the spectrum of contemporary music making and is particularly celebrated for his orchestral, operatic and choral pieces. This book, published in time to mark the composer's sixtieth birthday, is thefirst in-depth look at his life, work and aesthetic. From his beginnings in rural Ayrshire and his early work with Sir Peter Maxwell Davies, through the international breakthrough success of The Confession of Isobel Gowdie,the continuing success of works such as the percussion concerto Veni, Veni, Emmaneul and his choral pieces, to his current position as one of the most prominent British composers of his generation, the book explores MacMillan's compositional influences over time. It looks closely at his most significant works and sets them in a wider context defined by contemporary composition, culture and the arts in general. The book also considers MacMillan's strong Catholic faith and how this has influenced his work, along with his politics and his on-going relationship with Scottish nationalism. With the support of the composer and his publisher and unprecedented access to interviews and previously unpublished materials, the book not only provides an appraisal of MacMillan's work but also insights into what it means to be a prominent composer and artist in the twenty-first century. PHILLIP A. COOKE is a Composer and Senior Lecturer and Head of Music at the University of Aberdeen. He has previously co-edited The Music of Herbert Howells for Boydell.

The Campaign Choirs Network is a loose affiliation of like-minded choirs across the UK sharing a belief in a better world for all and dedicated to taking action by singing about it; the Campaign Choirs Writing Collective is a part of that network. The book intends to inspire the reader to engage with this world: to find out more, to join a choir in their community, to enlist their local street choir to support campaigns for social change and, more generally, to mobilize artistic creativity in progressive social movements. It is an introduction to street choirs and their history, exploring origins in and connections with other social movements, for example the Workers Education Association, the Clarion movement, Big Flame and the Social Forum movement. The book identifies the political nodes where choir histories intersect, notably Greenham Common, the Miners' Strike, anti-apartheid and Palestinian struggles. The title of the book is taken from a song by the respected American musician and activist Holly Near, and is popular in the repertoire of many street choirs. Exploring the role of street choirs in political culture, Singing For Our Lives introduces this neglected world to a wider public, including activists and academics. Signing for Our Lives also elaborates the personal stories and experiences of people who participate in street choirs, and the unique social practices created within them. The book tells the important, if often overlooked, story of how making music can contribute to non-violent, just and sustainable social transitions. www.singing4ourlives.net/about.html

The Campaign Choirs Network is a loose affiliation of like-minded choirs across the UK sharing a belief in a better world for all and dedicated to taking action by singing about it; the Campaign Choirs Writing Collective is a part of that network. The book intends to inspire the reader to engage with this world: to find out more, to join a choir in their community, to enlist their local street choir to support campaigns for social change and, more generally, to mobilize artistic creativity in progressive social movements. It is an introduction to street choirs and their history, exploring origins in and connections with other social movements, for example the Workers Education Association, the Clarion movement, Big Flame and the Social Forum movement. The book identifies the political nodes where choir histories intersect, notably Greenham Common, the Miners' Strike, anti-apartheid and Palestinian struggles. The title of the book is taken from a song by the respected American musician and activist Holly Near, and is popular in the repertoire of many street choirs. Exploring the role of street choirs in political culture, Singing For Our Lives introduces this neglected world to a wider public, including activists and academics. Signing for Our Lives also elaborates the personal stories and experiences of people who participate in street choirs, and the unique social practices created within them. The book tells the important, if often overlooked, story of how making music can contribute to non-violent, just and sustainable social transitions. www.singing4ourlives.net/about.html

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 with optional bass solo and piano or orchestra This chorus, brimming with melody, rhythm excitement, and orchestral color, has been extracted from Borodin's opera. A Russian transliteration has been included along with an English singing translation. Orchestral material is available on rental.

for SATB (with divisions) and small orchestra This setting of a song from Act II of Shakespeare's As You Like It was originally published as part of John Rutter's cycle of six choral settings with small orchestra When Icicles Hang. This set contains: 1 x fl 1, 1 x fl 2, 1 x hp, 1 x hpschd, 4 x vln 1, 4 x vln 2 3 x vla, 2 x vc, 1 x db