for SATB unaccompanied This is a declamatory setting of a popular Easter text by Gerard Manley Hopkins in an upbeat 7/8 metre. Featuring compelling interplay between choral sections, a slower reflective passage, and a rousing conclusion, this anthem will bring a fresh sound to Easter services and concerts.

for SATB (with divisions) and piano This is a high energy, foot-tap inducing setting of a well-known text. The bluesy melodies, jazzy harmonies, and swung rhythms give the piece a gospel feel and fill you with the infectious urge to boogie along to the music. Powerful voices and enthusiasm required. An optional bass and drum kit part is available as a free PDF download from the OUP website. Also available in a version for SSA and piano.

for SATB (with divisions) unaccompanied This is a beautiful and dynamic setting of well-known words from the Song of Songs (or Song of Solomon). With a soaring soprano melody, McGlade's fluid vocal lines drive harmonic twists within an immediately accessible sound-world. Perfect for concert performance.

for SATB and piano Slow Down has a relaxed swing feel, with imaginative lyrics by the composer that encourage us to take time out of our busy lives. The vocal lines explore a swung quaver style, along with scat syllables and jazzy harmonies, all underpinned by a supportive yet characterful piano part. Also available for cambiata voices and piano in the Emerging Voices series, and for TTBB and piano.

for SATB and organ or piano This Easter carol is based on J. M. Neale's translation of the Latin Piae Cantiones and occupies a captivatingly exotic soundworld. Sheehan's setting is in strophic form, with a texture that builds from verse to verse and with varying harmonizations, culminating in a dramatic cadence.

for SABar and piano Higgins's arrangement of the popular German carol is given a modern twist with fresh harmonies, but still captures the gentleness and tranquility found in more traditional settings. Supported by sustained 'oo's and 'ah's throughout, the well-known melody is underpinned by a delicate piano accompaniment, with an optional unaccompanied middle section.

for SSA and organ or piano Paul Drayton's setting of three stanzas from Laurence Binyon's poem 'For the Fallen' is poignant, dignified, and atmospheric. A serene and expressive refrain for unison voices (which the congregation may join in if desired) is interposed between evocatively turbulent passages for SSA choir. The accompaniment should ideally be played on the organ, but may be performed on the piano if organ is not available. Also available in a version for mixed voices.

for SABar (with optional Bass) and piano Higgins's setting explores the vibrant, natural imagery in Rossetti's text with flowing melodic lines and warm harmonies. The elegant piano accompaniment is characterised throughout by quick demisemiquaver flourishes, as though painting an aural portrait of the 'singing bird'. First published in The Oxford Book of Flexible Choral Songs.

The Recital Books congratulate students for a job well done by providing correlated repertoire to their Lesson Books that are based on concepts they've already learned. As a result, the pieces are quickly mastered. Included in Recital 1A are familiar favorites such as "Lost My Partner" and "Tumbalalaika," and fun originals like "Charlie the Chimp!" and "My Secret Place."

for SATB and organ or orchestra This radiant anthem is an arrangement of William F. Smith's hymn tune 'Lattimer', frequently paired with the popular gospel song 'This little light of mine'. Wilberg gives each section of the choir a presentation of the melody, beginning with the sopranos, before building towards a climactic finish with new harmony and texture as light spreads 'across the land'.

for SATB unaccompanied Let all mortal flesh keep silence is a reflective, homophonic setting of text from the fourth-century Orthodox Liturgy of St James. Sheehan's setting, an original rather than the customary pairing with the hymn tune 'Picardy', is steeped in the Orthodox tradition, and has pure harmonies and a beautiful stillness.

for SATB unaccompanied This is an energetic setting of a text by Jennifer Thorp that celebrates and encourages festivities during Christmas time. With a fast tempo, Young's lively melodies are full of syncopated rhythms and supported by colourful harmonies in the accompanying voices. A rhythmic ostinato throughout reinforces an alternative Christmas message from the poet: 'oh come and dance'!

for SSAA, solo violin, and piano Everyday Wonders: The Girl from Aleppo, here re-scored for upper voices, tells the extraordinary story of Nujeen Mustafa, a Kurdish teenager with cerebral palsy forced by war to flee her home and embark on an arduous journey to Europe with her sister. In this five-movement cantata Nujeen's story - recounted in her biography 'The Girl from Aleppo' (co-authored by Christina Lamb) - is retold by Kevin Crossley-Holland and richly scored by Cecilia McDowall. A wealth of musical effects are employed to capture the narrative, including chorales, rhythmic spoken sections, body percussion, and a solo violin part infused with Middle Eastern flavours. The prevailing mood of Nujeen's story is embodied by the final line of a chorale that bookends this unique concert work: 'singing the song of life itself.'

for SSA and piano This is a high energy, foot-tap inducing setting of a well-known text. The bluesy melodies, jazzy harmonies, and swung rhythms give the piece a gospel feel and fill you with the infectious urge to boogie along to the music. Powerful voices and enthusiasm required. Also available in a version for SATB and piano. An optional bass and drum kit part is available as a free PDF download from the OUP website.

for SATB (with divisions) and organ Setting his own text, Archer's new carol is specifically dedicated to Mary. 'Ave Maria's are interspersed between flowing melodies that rock gently in 3/4 time, while the central section offers brief introspection in the tonic minor. Accompanied by a supportive organ part throughout, the voices finish with a jazzy chord progression, leaving behind a warm, Christmassy feeling.

for SATB and organ, with optional congregation This congregational mass setting is short and accessible, with a congregational part that may be intuitively learnt. The organ plays a supportive role throughout, while the choral parts are of melodic and harmonic interest, but always keeping the discernibility of the text at the fore. The congregational part, which may be photocopied, is available at the back of the vocal score.

for TTBB and piano This sensitive 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 and organ This Easter anthem sets an evocative text by J. M. C. Crum. Stately, expressive vocal lines are underpinned by a lively organ part, with crisp staccato melismas that pop out of the texture.

Contents are: Berceuse, Wiegenlied or Lullaby, Op. 98, No. 2 (F. Schubert) * Tonalization: The Moon over the Ruined Castle (R. Taki) * Gavotte (J.B. Lully) * Minuet from Sei Quintetti for Archi No. 11, Op. 11, No. 5 in E Major (L. Boccherini) * Tonalization: The Moon over the Ruined Castle (R. Taki) * Scherzo (C. Webster) * Minuet in G, Wo0 10, No. 7 for Piano (L. van Beethoven) * Gavotte in C Minor, Gavotte en Rondeau from Suite in G Minor for Klavier, BWV 822 (J.S. Bach) * Minuet No. 3, BWV Anh. II 114/Anh. III 183/Anh. II, 115 (J.S. Bach) * Humoresque, Op. 101, No. 7 for Piano (A. DvorAk) * La Cinquantaine (Gabriel-Marie) * Allegro Moderato from Sonata I in G, BWV 1027 for Viola da Gamba (J.S. Bach).

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.