for upper voices, SATB, and harp My Perfect Stranger is a captivating setting of Kevin Crossley-Holland's retelling of the Christmas story. Following an expectant prologue, the central movement is rich in characterization as soloists from within the choir take on the roles of key players in the narrative, with the upper voices adopting the role of the guiding star, as well as enriching the texture at important moments in the story. Beginning with the harp ostinato of the prologue, the epilogue asks the listener to reflect on the story we have heard, challenging us to consider the part we might have played and asking 'what have you to say and sing?'. The work's vibrant part for harp makes for a compelling alternative to the more conventional keyboard accompaniment.

for SATB unaccompanied and optional flute This warm and tender carol sets an evocative text by Norman Nicholson depicting Mary's gentle nurturing of her child. There is a beautiful simplicity in Chilcott's setting, which features sumptuous harmonies, lyrical melodies, and an optional part for flute that weaves in and out of the texture. The flute part is printed in the vocal score.

for SATB (with divisions) unaccompanied This reflective carol (setting a text by the composer) features an affecting recurring melody, sumptuous harmonies, and long, expressive phrases. Though it has moments of great intensity, the carol is primarily quietly optimistic in mood, with the homophonic texture and changing metre highlighting the heartfelt devotion of the text.

for SATB (with divisions) unaccompanied This spellbinding setting of words from Act 1, Scene 1, of Hamlet depicts a bird of dawning singing all night long in celebration of the Saviour's birth, with Shakespeare's characteristically evocative imagery heightened by Chilcott's artful word-setting. The harmonies are rich and the atmosphere hushed and expectant, with asoaring soprano solo line, which may be taken by a soloist from within the choir, evoking the birdsong.

for SATB and piano This rousing carol sets a text by the nineteenth-century Scottish poet Norval Clyne. Bassi's setting perfectly captures the contrast between light and darkness in Clyne's text, with simple vocal lines underscored by a busy piano part culminating in a powerful ending evoking the peels of church bells on Christmas morning. An orchestral accompaniment is available on hire/rental.

for SATB, piano, djembe, and cello This evocative anthem, from the larger work Snow Angel, is a piece of two halves. Opening with a haunting cello line, the first section ('God Will Give Orders') is mystical and ethereal, until a vibrant figure from the djembe lifts the music into the second section ('Sweet Child'), which is uplifting and bold in character, with a distinctly African feel and an effective a cappella ending. The instrumental parts are included in the vocal score, and a version for upper voices (SSAA) is also available.

for SATB and piano four-hands or orchestra This short, energetic piece sets words by contemporary hymn-writer Mary Louise Bringle. The text is full of positivity and hope, and Wilberg's use of a 7/8 time signature keeps the verses propelling forward joyously, while undulating quavers shape the refrains. Several key changes are supported by a continuously rhythmic accompaniment in the form of piano duet or large orchestra, and an instrumental interlude precedes the third and final verse.

for solo voice and SATB unaccompanied A familiar piece from the 100 Carols for Choirs stable, John Rutter's sublime arrangement of the haunting Appalachian carol I wonder as I wander, collected in the 1930s by musical folklorist and singer John Jacob Niles, is lilting and evocative, setting the scene with an affecting opening verse for solo voice.

for SSAA unaccompanied A bright and breezy piece with a charming text by Charles Bennett, A Tree of Song begins with a jaunty 7/8 figure which recurs throughout the piece, with a spirited melody floating above. Alternation between passages of 4/4 and 7/8 gives a lively offbeat feel, with the piece only taking on a darker tone in a brief central section.

for SA, piano, and percussion This is an uplifting and expressive setting of a fun, descriptive text by Christie Dickason that characterizes the sky in an imaginative way. The compelling melodies are underpinned by a dynamic piano part, often featuring rippling quavers, and charcterful interjections from the glockenspiel and suspended cymbal complement the narrative. A contrasting middle section in triple time quotes from the Northumbrian folk song 'When the boat comes in', while the final section is affirmatory in feel, emphatically repeating the final line of the poem, 'and I will grow'.

for SATB and piano/orchestra Wilberg's arrangement of Robert Lowry's text and melody is a beautifully reflective take on the well-known hymn. Simple vocal lines are enhanced by a gently flowing accompaniment, rich in suspensions and harmonic interest. This part can be played on the piano, or by the unusual combination of flutes, cors anglais, harp, and strings.

for SATB and piano Written for the 2016 'Requiem to Cancer' event at St Paul's Church, Covent Garden, Now is the Time sets hopeful and inspirational words by Marie Curie. McDowall's setting is optimistic and appealing, with charming interplay between the voices and piano.

for soprano solo and SSATB unaccompanied Cecilia, Busy Like a Bee is a reflective and reverential setting of a text adapted from the Divine Office for St Cecilia's Day. The influence of plainchant is particularly apparent in the soprano solo, and McDowall intersperses effective imitative passages amidst homophonic writing with rich harmonies.

for SATB and organ Setting the George Herbert poem 'Whitsunday' from the 1633 collection The Temple, this lilting, gentle anthem is particularly useful for Whit Sunday services. Syncopations and duplets provide rhythmic interest, with memorable melodies, sumptuous harmonies, and contrasting textures making this a rewarding anthem for performer and listener alike.

for soprano solo, SSATB, and organ As Each Leaf Dances is a setting of a powerful text by Kevin Crossley-Holland about the cruelty of child abuse being overcome by love and kindness. Reflecting this, the first section features a relentless organ part, jagged vocal lines, and dissonant harmonies, before giving way to a jaunty, dancing, and uplifting second section.

for SATB (with divisions) unaccompanied First performed by the Choir of St Luke's Episcopal Church, Evanston, Illinois, in 2016, this powerful motet sets a reflective text by Augustine of Hippo. Connoisseurs of Jackson's music will recognise the hallmarks of his highly accessible style: inventive harmony that is largely diatonic but never plain, and textures that encompass the blazingly sonorous and the expressively intimate.

for SATB and organ Michael Finnissy's John the Baptist won the 2015 British Composer Award in the Liturgical Category. Commissioned by St John's College, Cambridge, for Advent 2014, the piece recalls the folk music of the Middle East, and alternates between boisterous two-part homophony and slower, reflective polyphony.