for SATB unaccompanied In this unaccompanied setting of a text by contemporary poet Thomas A. Clark, Jackson skilfully evokes the magical atmosphere of the onset of nightfall. This is a striking and complex piece, with highly imaginative word setting.

for soprano solo, upper voices, SSATB, piano, and optional percussion A Time for all Seasons is an evocative cantata that explores the complexities of the human condition. The well-known To every thing there is a season text from Ecclesiastes is interwoven with a modern-day reworking of the verses by award-winning poet Kevin Crossley-Holland. McDowall's impressive range of musical styles, effective antiphonal writing, and artful juxtaposition of textures work together to create a meaningful experience for the listener. The work's scoring contributes to the narrative, with sections for solo soprano or full choir contrasting with prescient interjections from the uppervoice choir. The part for upper voices may also be sung by a children's choir, and there is an optional part for percussion.

for SSSAA unaccompanied Sanctum is a captivating setting of four movements of the Requiem text, inspired by the landscape of the west coast of Canada. Each movement depicts an aspect of Vancouver Island (the water, mountains, wind, and sky), exploring landscape as a place of healing and sanctuary. The combined effect is some of Quartel's most atmospheric and dramatic writing to date.

for CCBar and piano This arrangement meets the demand for timeless popular songs, designed to appeal to teachers and students alike. For three-part choir, it contains that memorable tune, Joel's clever lyrics, riffs associated with the original, and an exciting piano part that supports the singers and provides short interludes.

for SATB, piano, and optional saxophone, bass, and drum kit Ophelia, Caliban, and Miranda puts a jazzy twist on three Shakespearean characters. With newly written texts by Charles Bennett, each of the three movements focuses in on Ophelia from Hamlet and Caliban and Miranda from The Tempest. In the funky opener, 'River Bride', the upper voices take the part of Ophelia, while the tenors and basses play a lover figure. Caliban's song, 'Ariel taught me how to play', is a reflective ballad in which the slave tells Miranda, who has escaped his advances, about the spirit helper Ariel teaching him to play the saxophone. The final movement, 'All good things come to an end', is a sassy yet tender number, where Miranda bids farewell to her beloved husband Ferdinand, declaring: 'I've gone back to the island to remember who I am'. The piano part may be played as written or serve as a guide, and a part for saxophone, bass, and drum kit is available separately for jazz quartet accompaniment.

for SATB and piano Written in memory of John Scott, the celebrated organist and choirmaster, who died in 2015, The Real of Heart is a beautifully tender and reflective piece. The anonymous text reminds us to remember things in their best form, 'untarnished and supreme', and Chilcott's music is the perfect match. Arc-shaped melodies and a variety of choral textures are complemented by gently flowing arpeggio figures in the piano, with a central triplet section providing contrast.

for SATB (with divisions) unaccompanied This serene communion motet sets the last two verses of the Pangue Lingua and oscillates between 3/4 and 4/4 time signatures. The melodic lines are expressive and at times melismatic and the divisi in all parts creates a rich texture.

for CCBarBar and piano This celebrated Spiritual has a strong, appealing, comfortable melody suitable for boys' choirs, and is arranged skilfully here for four-part choir and piano, with Ia cappella sections and affecting modulations. Suited to more established choirs, it has plenty of opportunities for musical growth.

for SATB and small orchestra Full score for this classic Rutter anthem, which is also available in John Rutter Anthems and in a version for upper voices.

for SATB and piano or piano four-hands or orchestra Wilberg's arrangement of the Christmas favourite Deck the hall is bright and energetic from beginning to end. After an uplifting introduction going through several keys, the choir sings the three carol verses in up to seven parts. The accompaniment provides both a harmonic underpinning and almost continuous flourishing semiquaver movement. Further modulations throughout the piece lead to an extended 'fa la la' section to bring the piece to an exhilarating close.

for SATB unaccompanied Described by Elgar as an elegy for unaccompanied chorus, this mournful, reverent, and dignified setting was composed for a service commemorating Queen Victoria on the anniversary of her death. The text is by Cardinal John Henry Newman, whose poem The Dream of Gerontius was set by Elgar in one of his most enduringly popular works.

for SATB and continuo Bach's motets are essential pillars of the choral repertory, and the irresistibly joyful Lobet den Herrn, alle Heiden is a wonderful introduction to them for choirs unfamiliar with the works. It features concise contrapuntal writing and a sophisticated harmonic language, yet the vocal lines are not excessively demanding. John Rutter's edition includes helpful performance suggestions and background information, and full scores and instrumental parts are available on hire from the publisher.

for SATB (with divisions) and piano This arrangement of Gruber's timeless carol is warm and gentle. The first two verses are accompanied by gentle arpeggiated figures, leading to a third and final verse which is given profound depth through its largely unaccompanied scoring. The carol was recorded by the Cambridge Singers, directed by John Rutter, on the The John Rutter Christmas Album (Collegium Records CSCD510). Conductor's scores and instrumental parts are available from the publisher, as is Rutter's alternative unaccompanied arrangement.

for SATB and optional congregation with two keyboards, timpani, and percussion, or full orchestra or concert band Setting this classic American patriotic song, which dates back to the Civil War, Rutter makes prominent use of trumpets and percussion to create a rousing arrangement. The setting is equally effective when accompanied by the two keyboard parts of the reduced vocal score, which may be performed by two pianos, piano and organ, piano and synthesiser, or two synthesisers. Orchestral and band parts are available on hire.

for SATB and organ Rutter composed this elegant setting of the Magnificat in homage to and in the style of composer Sir Charles Villiers Stanford, whose own Magnificat and Nunc Dimittis settings are staples of the English sacred choral repertoire. An accompanying setting of the Nunc Dimittis (Depart In Peace) is also available from Oxford University Press.

for SATB unaccompanied This joyful setting of an old Irish air, arranged by Sir Charles Villiers Stanford and edited by John Rutter, features a text by Thomas Moore on life's fleeting pleasures. It alternates between cheerful louder sections and mischievous quieter passages, before a charmingly hushed ending. A recording can be found on the Collegium CD There is sweet music (CSCD 505) by the Cambridge Singers, conducted by John Rutter.

for SATB (with divisions) unaccompanied This festive arrangement of a traditional German carol features an English text, translated and adapted by John Rutter himself. The first two verses are sung by soloists (or alternatively by a semi-chorus over a background of choral hums) before all singers come together in the final verse and then fade into solemn stillness.