for SATB and chamber ensemble A splendid curtain-raiser to Vivaldi's Gloria, Francesco Durante's artful Magnificat has long been misattributed to his pupil Pergolesi in a version for four voices, not five. Durante's vocally richer five-voice version has been chosen for the Sacred Choruses volume, which this orchestration accompanies, and merits performance as an alternative to the familiar four-voice version, which may or may not have been Durante's own work.

for SATB and chamber ensemble A splendid curtain-raiser to Vivaldi's Gloria, Francesco Durante's artful Magnificat has long been misattributed to his pupil Pergolesi in a version for four voices, not five. Durante's vocally richer five-voice version has been chosen for the Sacred Choruses volume, which this orchestration accompanies, and merits performance as an alternative to the familiar four-voice version, which may or may not have been Durante's own work. This complete set contains 4 x vln I, 4 x vln II, 2 x vc, 2 x db, 1 x continuo, and 1 x lute.

for unison or 2-part choir and organ or piano This setting of the well-known hymn text 'Christ the Lord is risen again!' features bright vocal lines and an energetic accompaniment. The scoring is flexible, allowing performance with either one or two vocal parts made up of upper, lower, or mixed voices. Offprinted from The Oxford Book of Easy Flexible Anthems.

This companion volume provides organists with new, dedicated three-stave accompaniments to twenty-four of the twenty-eight choruses in the main Sacred Choruses volume. In every case, these organ transcriptions, made by John Rutter, are based directly on the original orchestral versions and will facilitate church performances without orchestra.

for SATB and piano This celebration of friendship is rich in expressive melodies and poignant harmonies, underpinned by sensitive piano writing. The text, by Delphine Chalmers, is inspired by French Renaissance essayist Michel de Montaigne's writings on friendship, from which the well known quotation 'If I am pressed to say why I loved him, I feel it can only be explained by replying: 'Because it was he; because it was me.'' originates. Eminently accessible, this piece is perfect for concert programmes celebrating friendship and community.

for SATB (with divisions) and piano This sombre and evocative 'Stabat mater' is taken from Passion Music, a concert and liturgical work that continues Todd's fusion of jazz and choral music so successfully blended in his Mass in Blue. The delicate piano part often falls away to spiritual a cappella sections, and a soaring line for solo soprano rises out of the texture to draw the setting to a close.

for SATB unaccompanied This gentle, lilting anthem sets verses from the psalms that speak of devotion to and delight in the Lord. Bednall's sophisticated and appealing musical language gives colour and expression to the text and creates a devotional atmosphere perfectly suited to the psalmists' words.

for SATB unaccompanied The Scholar is a sensitive setting of Robert Southey's poem that explores a man's kinship with the dead. With Bednall's characteristic metrical fluidity and effective word setting, this piece will provide a moment of quiet reflection in a concert programme.

for SATB unaccompanied I will be with you sets a reflective text by the composer with a message of enduring solace. Lush harmonies, with predominantly homophonic passagework, coupled with flowing and cascading lines in every voice part make for a tranquil musical experience. Also available in a version for SSAA unaccompanied choir.

SSAA unaccompanied I will be with you sets a reflective text by the composer with a message of enduring solace. Lush harmonies, with predominantly homophonic passagework, coupled with flowing and cascading lines in every voice part make for a tranquil musical experience. Also available in a version for unaccompanied SATB choir.

for SATB unaccompanied This short sacred work for unaccompanied mixed choir is a highly atmospheric setting of the poet Henry Vaughan's mystical and enigmatic poem of the same name. Written for the choir of St Peter's College, Oxford, the work has a sonorous quality and uses extended harmonies to great effect.

for SSATB unaccompanied An atmospheric and expressive setting of Caliban's dream from Shakespeare's The Tempest, this piece transports the listener to a mysterious, dream-like place. McDowall effectively employs melismas and ornaments to create a sense of the other-worldly, and her rich, immersive harmonies perfectly characterise the reverie Shakespeare's protagonist describes.

for SATTBB unaccompanied Victimae paschali laudes is an atmospheric arrangement of the traditional plainsong melody for this Latin text for Easter Sunday. Changing metres enable an authentic presentation of the plainsong style, and Lawson effectively employs interjections of 'alleluia' within the main body of the text as a powerful expression of the triumph of life over death that is at the heart of the Easter story.

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 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.