for SATB double choir unaccompanied This optimistic and affirmatory anthem sets a useful service text of general thanksgiving from the Book of Common Prayer. Chilcott makes full use of the imitation and antiphonal effects that these forces enable, while keeping the vocal lines and part-writing well within the capabilities of most church choirs.

These four splendid anthems were composed for the coronation of George II in October 1727 and have since retained a position at the heart of the English choral tradition. The popular anthem Zadok the priest has been performed at all subsequent coronations, and Handel's other contributions to the royal occasion - Let thy hand be strengthened, The King shall rejoice, and My heart is inditing - have the same majestic grandeur, with affecting contrasts between different sections of the sacred texts. The editor, Clifford Bartlett, has corrected various inconsistencies in Handel's score, and complete details of sources and editorial method, additional performance notes, and a critical commentary can be viewed in the companion full score available on hire. This continuo part is also available as part of the wind set.

for SATB (with divisions) and organ This arrangement features Robert Bridges' translation of J. Neander's 17th-century German text set to Herbert Howells' hymn tune 'Michael'. John Rutter adds a descant and reharmonizes the 4th and 5th verses to create a rousing ending to this much-loved classic.

for SSAA 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.

for solo voice, SATB (with divisions), flute, and piano John Rutter's timeless arrangement of Skylark, a standard of the golden age of American song, is rich, mellow, and mellifluous. Soaring lines for flute depict the eponymous songbird, and the classic Hoagy Carmichael tune is shared between solo voice and choir, the latter also often providing a cushion of evocative harmonies.

for soprano solo, SATB, with organ and unaccompanied This short collection presents the complete set of meditations from Chilcott's stunning St John Passion. Setting English poems from the 13th to the early 17th centuries, the meditations provide a very personal reflection on the dramatic story of the passion - at times anguished, adoring, and humbling. The beautiful soprano solo soars over the SATB voices and organ accompaniment in 'Christ, my Beloved' and 'Jesus, my Leman', while the unaccompanied choir take centre stage for 'Miserere, my Maker' and 'Away vain world'.

A synchronic study that highlights the importance of printed packaging, rather than notes on the page, to the complex relationship between composers, publishers, and consumers of music. Why dedicate music? What did dedications mean to their readers and writers, especially after 1785, when more works were offered to fellow composers as well as to patrons? Borrowing from book history and sociological theory, Dedicating Music, 1785-1850 is a large-scale study of patterns of dedications. Emily H. Green argues that the kinds of offerings printed in the late eighteenth through mid-nineteenth centuries reflect a changing financial and aesthetic landscape in which patronage was waning and independent artistry surging. Dedications labeled written music as a gift while presenting composers with an opportunity for self-promotion. They also contributed to a new kind ofbranding of music by communicating composers' friendships and artistic allegiances.. Dedicating Music considers dedications issued in print between 1785 and 1850 in sets of overlapping corpuses: offerings to peers (as in Mozart's string quartets dedicated to Haydn); to patrons (as in Ignaz Pleyel's string quartets for Count Erdoedy); to friends (as in Ferdinand Ries's offerings for Beethoven); and dedications issued by publishers (as in Beethoven's song "In questa tomba oscura," included in publisher Tranquillo Mollo's collection offered to Prince Lobkowitz). The result is a synchronic study that highlights the importance of printed packaging, rather than notes onthe page, to the complex relationship between composers, publishers, and consumers of music. EMILY H. GREEN is Assistant Professor of Music at George Mason University. The University of Rochester Press gratefully acknowledges generous support from the Claire and Barry Brook Endowment of the American Musicological Society and the AMS 75 PAYS Endowment of the American Musicological Society, both funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.

for SATTBB unaccompanied With a text by the composer, this secular carol is a true celebration of all that we love about the festive season. Owain Park's arrangement presents a new take on this Christmas classic, drawing on Rutter's evocative orchestral colours to create this characterful and heart-warming arrangement for a cappella voices. This arrangement of The Very Best Time of Year has been recorded by The Choir of Trinity College, Cambridge, conducted by Stephen Layton, on the album Yulefest! (Hyperion, CDA68087).

Junior Voiceworks at Christmas is a wonderful collection of seasonal songs for children. Building on the success of his Junior Voiceworks 1 and 2, Kevin Stannard has collected 40 inspirational pieces for the Christmas season, ranging from rounds to raps, and from folk pieces to well-known carols in sparkling new arrangements. With excellent practical advice and rehearsal notes, and an accompanying CD, this volume meets the needs of all schools and choral groups for this special time of year.

for SATB unaccompanied Following a collaboration with Katie Melua on her 2016 album 'In Winter', Bob Chilcott has made a choral arrangement of this traditional Ukrainian carol, first introduced to the English-speaking world as 'Carol of the Bells', with lyrics that link it to Christmas. Here the original is presented in Ukrainian and English, with haunting and atmospheric folk motifs distributed between the parts.

for alto solo, SATB (with divisions), and guitar Following a collaboration with Katie Melua on her 2016 album 'In Winter', on which she worked with the Gori Women's Choir from her native Georgia), Bob Chilcott has created ans evocative and stirring arrangement of Rachmaninov's celebrated fifth movement of the Vespers (or 'All-Night Vigil'), which may be performed in Russian or in English.

This delicate, spring-like poem, by poet Kevin Crossley-Holland, is an affectionate salutation to a newborn babe. The poet tells that the parents couldn't decide on a name for their baby, and that instead of imposing an inappropriate name on her, they will welcome her into the garden of the world and wait for her to 'declare' herself. After a hushed introduction of whispered welcomes, the voices burst into a dance-like song in celebration of the new arrival's homecoming.

for SATB double choir and organ or orchestra or brass ensemble This renowned anthem was written for the coronation of Edward VII in 1902, and has been performed at all subsequent British coronations. This edition presents the 1911 version prepared by the composer for the coronation of George V, with the 'Vivats' as written for that occasion and an alternative editorial text by John Rutter that enables the anthem to be performed in its complete form on any suitable occasion. Rutter's fascinating editorial preface provides interesting contextual notes and informative performance considerations. Orchestral scores and instrumental parts for full and reduced orchestrations and for a version for brass, organ, and optional timpani are available on rental.

for children's choir (SS) and piano These charming settings of riddles by Bob Chilcott's long-term collaborator Charles Bennett were originally published as part of the environmental cantata The Angry Planet. Simple, yet highly effective, each has a subject taken from nature. Here rescored for two-part children's choir (SS) and piano, they may be performed individually or as a set.

Piano Sketches Duets 1 is a fantastic collection of new pieces for exploring the art of duet playing. Suitable for students working at the 'easy' technical level, the book features a range of appealing and accessible styles, from the Baroque-inspired 'Glorious Pastime' to the playful 'Crazy Clown' and pop ballad 'Just for You'. As well as being great fun to play, these pieces offer pianists an adventure in texture, melody, and harmony, and will help to develop good ensemble playing.

Piano Sketches Duets 2 is a fantastic collection of new pieces for exploring the art of duet playing. Suitable for students working at the 'easy' or 'intermediate' technical level, the book features a range of appealing and accessible styles, from the evocative 'Autumn in Paris' to the spirited 'Tarantella' and Bach-pastiche 'Rumba for Johann'. As well as being great fun to play, these pieces offer pianists an adventure in texture, melody, and harmony, and will help to develop good ensemble playing.

for unison upper voices, solo violin, and organ or piano Bednall's beautiful setting of this much-loved prayer is warm, simple, and immediate. The vocal line is expertly lyrical and the accompaniment suitably supporting, with a serene line for solo violin that soars above the texture. Ave Maria was recorded by Benenden Chapel Choir, conducted by Edward Whiting, Jennifer Pike (violin), and David Bednall (organ) on the CD 'Stabat Mater' (Regent, REGCD481).

for SATB and organ/piano with optional congregation 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 SATB choir. The accompaniment should ideally be played on the organ, but may be performed on the piano if organ is not available.

for SATB, violin, and piano A Prophecy of Dawn is an artfully crafted setting of a beautifully descriptive poem by Matthew Meiklejohn, who was awarded the Victoria Cross for his actions in the Second Boer War. The piece is rich in contrasting material, some of which recapitulates, and many of the text's images are apparent in the music, for example lively birdsong in the violin and a radiant shift into a major key at the poet's first mention of dawn. The violin part contributes much to the setting, and is permitted moments of virtuosity amidst the energetic piano writing and expansive choral textures.

for SATB (with divisions) and piano The Music of Stillness is a beautiful and emotive setting of Sara Teasdale's poem 'There Will Be Rest'. Sonorously scored choral phrases conjure up images of 'stars shining, rooftops covered with snow, crystal peace...finding the music of stillness'. Following a serene opening, the piece rises and falls through both affecting climaxes and passages of great tranquility, ending with the same sense of stillness with which it begins.