for SSA and piano This joyous and upbeat piece sets a text by Delphine Chalmers full of vivid imagery of childhood memories and with a compelling refrain: 'Though the years may make us strangers, our voices set the ripples dancing in memory's stream'. Alternation between passages of 4/4 and 7/8 gives a spirited offbeat feel, and the pleasingly simple melodic lines and long unison passages make the piece especially suitable for school or children's choirs.

for SATB double choir unaccompanied Lightly come or lightly go is a playful setting of James Joyce's poem of the same name for SATB double choir. The second choir carries the titular words as an arching ostinato, while choir one presents the main body of the text through characterful melodies and word painting. The two choirs portray the conflicting emotions expressed in the poem demonstrated by the closing line: "Love and laughter song-confessed When the heart is heaviest".

for SATB (with soprano solo) and harp or organ or percussion or orchestra Written for Suzi Digby and her choir Ora, this gentle, sacred, and lyrical setting complements the well-known 15th-century text from the Sloane MS: 'A babe is born all of a may, to bring salvation unto us'. The carol may be performed with accompaniment of harp, organ, percussion, or orchestra: the vocal score carries the organ part; the harp and percussion parts are available separately for purchase; and the orchestral material is available on hire/rental.

for SSATB unaccompanied This simple and exquisite miniature keeps the text, the fourth-century Latin Hymn to the Virgin Mary, at the fore, with instructions from the composer to accent the melodic lines according to word stress rather than position in the bar. The musical style is a fusion of old and new, with plainchant-like melodies and tonality set against expressively dissonant contemporary harmonies. Tota pulchra est was recorded by The Epiphoni Consort on the CD David Bednall: Sudden Light (Delphian, DCD34189)

for SATB and organ or piano Chilcott's setting of St Benedict's sixth-century prayer begins with a gentle recurring figure in the keyboard, graduallly building to a rousing climax. The primarily homophonic texture allows the timeless text to shine through, while the expansive vocal writing and expressive use of harmony create a sense of awe towards the Almighty God.

Stephen Sondheim is one of the best-known and most-loved musical theatre composers, but also one of the most misunderstood, often being labelled as 'distant' or 'cynical'. Careful the Spell You Cast instead argues that Sondheim firmly belongs to the Broadway aspirational tradition, in that many of his characters are defined by their dreams: to abandon one's dream (as Ben does in Follies, Frank does in Merrily We Roll Along, and Addison does in Road Show) is to lose one's soul. Rather than take the established view of Sondheim as a cynic, this book contends that throughout Sondheim's work, letting go of one's illusions is a process that his characters need to go through, that they must cast off illusions and false dreams, without becoming cynical and destroying their genuine dreams in the process. In turn this view aligns Sondheim's work as being aspirational and a logical continuation from the work of his mentor, Oscar Hammerstein II. Following the trajectory of Sondheim's career, Careful the Spell You Cast shows how Sondheim has dramatized this process throughout his writing life alongside different collaborators. From his work as a lyricist with the musicals Gypsy and West Side Story through to his later collaborations with Hal Prince (Company, Follies) and James Lapine (Into the Woods, Sunday in the Park with George), this book reframes the established view through lyrical and structural analysis in relation to the characters within each of these celebrated works of musical theatre, arguing that Sondheim is, in the popular sense of the word, a romantic within the tradition of the Broadway musical.

for SATB and organ Francis Jackson's spirited setting of Psalm 150 is steeped in the English choral tradition. With contrapuntal writing, engaging interplay between choir and organ, effective word painting, and virtuosic organ writing, O praise God in his sanctuary is a welcome addition to the service repertory.

for SATB and organ This radiant anthem explores the theme of light, with luminescent harmonies, a virtuosic organ part, and soaring vocal lines. The text is by Dr Marcus Tomalin, after Dante's Paradiso, and Bednall's word painting is highly effective. A compelling climax as the singers tell of the 'pure living light shining' falls away to a powerful unaccompanied moment, before the organ picks up a motif and develops it in a majestic interlude. This is a highly rewarding anthem for performer and audience alike. Pure Living Light was recorded by The Epiphoni Consort on the CD David Bednall: Sudden Light (Delphian, DCD34189).

This deeply expressive arioso, which opens Handel's Ode for the Birthday of Queen Anne (1713), was performed at the wedding of Prince Harry and Meghan Markle at St George's Chapel, Windsor, on 19 May 2018. Originally scored in D major for counter-tenor, with trumpet and strings, the work is here arranged by John Rutter for performance by soprano and organ (or strings and organ continuo), with or without solo trumpet, in the slightly lower key of C major. This package contains (1) the orchestral score in C major, and (2) the instrumental parts (solo trumpet, 1st and 2nd violins, viola, cello, bass, organ continuo) in two versions, in C major and D flat major. The D flat version of the parts is to enable performance with modern strings but natural trumpet, the trumpet playing in Handel's original key of D major but at baroque pitch (A = 415).

for SATB unaccompanied This setting of a tune from The Sacred Harp is strong and march-like, with accented rhythms and percussive vocal lines contributing to a rousing overall effect. It was originally published as part of Mack Wilberg Anthems and is also available in a version for TTBB unaccompanied.

for SATB (with divisions) unaccompanied Ethan McGrath's setting of this well-known fourteenth-century macaronic text is expressive and rich, both harmonically and emotionally. The melodies have a chant-like quality and the metrical changes create a compelling ebb and flow. This carol is evocative of an ancient choral tradition, while at the same time offering a fresh choral sound.

for SATB (with divisions) and piano This dramatic and majestic anthem sets verses from Isaiah, starting with an appeal to God to show himself and his power, followed by an admission of human sin, finishing with an affirmation that we are all God's people. The choral parts are largely homophonic, except for an effective unaccompanied fugal central section, and optional high soprano notes are included towards the end for added dramatic effect. The piano part makes full use of the instrument's range and features vibrant scalic and arpeggiated flourishes, tremolos, and rhythmic, accented chords.

for SATB unaccompanied This lively reimagining of the traditional hymn is a thrilling a cappella arrangement which pairs the soaring legato melody with a rhythmic vocal accompaniment. Together, these elements capture both the gentle hope and the profound joy contained in the text. Also including moments of tenderness and reflection, the piece comes to a rousing close with an energy that engages singers and audience alike. Also available in a version for SSA unaccompanied.

for SATB and piano or orchestra This setting of Adolphe Adam's beloved Christmas carol employs rich choral textures and a flowing piano accompaniment to create a rousing overall effect. Opening gently, the intensity builds gradually towards a stirring, powerful ending. Also in the anthology, An American Christmas.

for SATB (with divisions) unaccompanied Based on Frances Anne Kemble's poem 'An Entreaty', this enchanting piece describes the experience of leaving a beloved time and place. Lush, expressive harmonies and lyrical melodies create a touching musical manifestation of Kemble's poignant words.