for TTB and piano Suitable for concert use, this simple, delightful setting of a Yeats poem embraces nature's beauty and the secret joy of solitude. Soaring melodies, rich harmonic language, and a piano part that is both driving and supportive create a piece that is evocative and poignant. Also available in versions for SSA and piano and SABar and piano.

for TTBB unaccompanied or with optional handbells (or percussion, or organ) Sarah Quartel brings a fresh take on a familiar fifteenth-century text in this enchanting carol. The dialogue between Mary and the infant Jesus is woven to a beguiling folk-like melody, in 6/8 metre, through each of the voice parts, with each verse ending in the lilting refrain 'Lully, by by, lullay'. Also available in a version for upper voices or SATB.

for TTBB unaccompanied This profoundly beautiful setting by John Rutter of one of the earliest English prayers, from the Sarum Primer of 1514, has been specially adapted by the composer for tenors and basses.

for TB and piano. This secular work for upper voices sensitively sets Langston Hughes's poem of the same name. A lilting melodic line, eloquent part-writing, and an effective piano part combine to create a piece that will appeal to both youth and adult choirs. Also available in versions for unison voices and piano, SA and piano, SABar and piano, and solo voice (high/low).

for TTBB and hand drum Sing, my Child sets a joyful text celebrating the beauty found all around us in everyday life. Characterized by tight harmonies and a dynamic percussion line, the buoyant 7/8 metre of the opening drives the piece forward. Lush harmonies colour the hymn-like B section as the text evolves into a call for strength despite the troubles that may come. Also available in a version for SSAA and hand drum and SATB and hand drum

for SATB and organ Archer's setting of this popular Easter hymn by G. R. Woodward is sparkling with energy, combining the exuberant seventeenth-century Dutch melody with short organ interjections. An exciting addition to the repertoire for Easter services.

for SATB (with divisions) unaccompanied One of McGlade's longer settings, As the hart begins simply, before expanding into a more complex central section with fluctuating time signatures and shifting tonalities. Ideal for advanced mixed-voice choirs in a sacred or concert setting, it is a fitting alternative to Herbert Howells's famous setting of Psalm 42.

for SATB and organ This energetic setting of words by St Ambrose of Milan is a real showstopper. With pop-influences and a sparkling organ part, Young effortlessly fuses modern and traditional sound worlds, while changes in key and metre build up to an invigorating finish. Perfect for accomplished choirs looking for something different.

for CCBar and piano This sensitive, authentic arrangement of a well-known Yiddish folksong introduces singers to the harmonic characteristics of Yiddish music. Clapping and body percussion is employed to great effect, and a pronunciation guide and English translation are included, along with a fascinating contextual note.

for SATB (with divisions) and organ. Maurice Ravel's popular Pavane pour une infante defunte is here arranged for mixed voices and organ, allowing choirs to perform this beautiful staple of the orchestral repertoire for the first time. Rupert Gough's arrangement sets the words of the 'Requiem aeternam' to the existing melody, and features a characterful and active organ part that underpins the sustained vocal lines. The piece has been recorded by The Choir of Royal Holloway on the album Messe da pacem.

for SATB and four-piece ensemble (flute, oboe, harp, organ) Four-piece chamber ensemble accompaniment to Rutter's lively harvest anthem. Pack includes full score and set of parts. Compatible with both the English-only and dual-language vocal score.

for SATB (with divisions) unaccompanied. A short upbeat setting of words from Psalms 9, 95, and 97, Cantate Domino opens with a triple-metre dance-like section that features optional clapping. Brown juxtaposes a darker, more chromatic middle section that has an optional verse in French, before reprising the joyful opening material.

for baritone solo, SAATB, and small orchestra Dedicated to the Oxford Vaccine Team and premiered by Sir Bryn Terfel, The Oxford Philharmonic Orchestra, and the Choir of Merton College in a special tribute concert, Joseph's Carol sets words by the composer that recount the Christmas story from the perspective of Joseph. The two expressive verses are taken by the solo baritone, with the chorus performing a macaronic refrain infused with expectancy and wonder, as well as taking on the role of the angels in a soft accompaniment to the closing words of the second solo verse. The upper three voice parts are designed to be approximately equal in strength, and the carol may be accompanied by organ, piano, or small orchestra.

for baritone solo, SAATB, and organ or piano or small orchestra Dedicated to the Oxford Vaccine Team and premiered by Sir Bryn Terfel, The Oxford Philharmonic Orchestra, and the Choir of Merton College in a special tribute concert, Joseph's Carol sets words by the composer that recount the Christmas story from the perspective of Joseph. The two expressive verses are taken by the solo baritone, with the chorus performing a macaronic refrain infused with expectancy and wonder, as well as taking on the role of the angels in a soft accompaniment to the closing words of the second solo verse. The upper three voice parts are designed to be approximately equal in strength, and the carol may be accompanied by organ, piano, or small orchestra. The orchestral accompaniment is available for purchase.

for SA and piano Setting a text by Elizabeth Barrett Browning, this thoughtful and evocative piece compares a dying relationship with the changing of the seasons from summer to winter, which McGlade skilfully reflects in her use of minor tonality, falling melodic phrases, and shifting chromaticism. Reminiscent of the English art song, this setting for upper voices and piano demonstrates McGlade's compositional versatility.

for SATB and organ. This setting of verses from John 7 imaginatively depicts the 'rivers of living water' and the contrasting 'parched land' in episodic form, providing musical structure, variety, colour, and atmosphere. An independent but delicate organ part brings further colour while underpinning long vocal lines, which interweave and occasionally perform unaccompanied.

for SATB (with divisions) unaccompanied Setting Revelation 21: 1-5, this short anthem is in McGlade's typically fluid style, with harmonic twists, changing metres, and tempo fluctuations. With some divisi in the upper parts, it will be particularly welcomed by experienced church and cathedral singers as a new take on these well-known words.

for SSAA and piano Refuge sets a powerful Sara Teasdale poem by the same name, which perfectly captures the healing power of singing: 'For with my singing I can make a refuge for my spirit's sake, A house of shining words, to be my fragile immortality'. Quartel uses musical structure to complement the poem's narrative, opening and closing with music marked 'resilient and strong', with a central section that is 'warm and hopeful', as expressed by rich harmonies and soaring melodic lines. The piano underpins this expressive setting with steady continuous quaver motion, and provides characterful harmonic moments.

for SSATBarB unaccompanied Setting words by the composer, One of these days is an affirmatory piece with pop-inspired rhythms and harmonies. The scat syllables and repeating patterns of the lower parts provide a rich cushion for the lilting melody of the soprano lines, with lyrics that encourage us to seize the day!

for unison voices and piano This secular work for upper voices sensitively sets Langston Hughes's poem of the same name. A lilting melodic line, eloquent part-writing, and an effective piano part combine to create a piece that will appeal to both youth and adult choirs. Also available in versions for SA and piano, SABar and piano, and solo voice (high/low).

for SSSAAA unaccompanied This imaginative setting of Henry Wadsworth Longfellow's poem encourages the use of evocative bird and wind noises to capture the text's natural imagery. In a fresh, a cappella style, Hawley's charismatic melodies soar through the vibrant texture, and offer plenty of opportunities for soloistic singing. Also available in a version for alto solo and SSATB unaccompanied.

for SATB (with divisions) unaccompanied This is an expressive setting of Sara Teasdale's poem 'Peace', with lush, rich harmonies and a soft dynamic palette. Poignant and peaceful, and perfect for choirs who enjoy refining blend and ensemble, this setting will provide a reflective moment in a concert programme.

for SATB and organ With a feeling of celebration, Bullard's setting of the well-known Psalm 100 is energetic and exciting. A spritely organ part supports bold statements in the vocal lines, while the middle section offers some thoughtful introspection. Perfect for services and encores.