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.

Set of parts for the orchestral accompaniment of John Rutter's arrangement of Joy to the World. The carol is of the Christmas collection Joy to the World; this set of parts is compatible with both. Please note that this accompaniment is not compatible with the version of the carol in the O holy night collection.

for SATB unaccompanied John Rutter's tender and poignant arrangement of W. J. Kirkpatrick's much-loved carol sees the familiar melody taken first by the sopranos and then by the male voices, underpinned by a rich cushion of humming from the other sections of the choir, before the voices join together for the final verse in glorious harmony.

for SSA and organ This concise Latin mass setting is entirely suitable for liturgical use, but the sharply delineated characters of the different movements make it also an appealing concert work. The organ part is supportive, but full of interest and not merely accompanimental. Particularly memorable are the jaunty Gloria, with its constantly shifting time-signatures, and the haunting Agnus Dei.

for SSAA, solo cello, djembe, and piano 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.

With a host of accessible, quality new settings, and with pieces based on all the major hymn tunes, these volumes are a must for every church organist's library.

for SATB, trumpet in C, and organ This substantial anthem was composed in 2015 to celebrate the 800th anniversary of Magna Carta and to mark Salisbury Cathedral's stewardship of the charter since 1215. Rutter succeeds in weaving together passages from the books of Isaiah, Zechariah, and Amos with music that is both ceremonial and mysteriously intense to create a dignified and powerful work.

for SATB, trumpet, and organ/orchestra The second of two Rutter anthems celebrating the 800th anniversary of Magna Carta, Give the king thy judgments, O God is a ceremonial work that draws upon the Book of Psalms alongside text written by the composer to create a suitably festive piece. Although the prevailing mood is jubilant, the closing pages provide a prayerful moment as Orlando Gibbon's gentle hymn tune Song 1 is interpolated to great effect. This anthem is featured on Rutter's highly-acclaimed CD The Gift of Life. A trumpet in C part is included in the vocal score, and a B flat trumpet part is available separately.

for SATB with divisions, unaccompanied This setting of texts from Cymbeline and The Merchant of Venice, and Sonnet 98, is characterised by inventive textures and vibrant word-setting. The harmonic language is for the most part diatonic, but never plain, and there are some pungent dissonances, as the contrasts between and within the texts are laid bare in music of evocative power.

for CBar, piano, and percussion This original composition sets the composer's own text celebrating freedom of expression and the music within each of us. Accompanied by hand-drum and piano, the piece is an exciting and engaging sing filled with teachable moments and opportunities for musical growth, with simple legato and two-part passages, and vocal percussion.

for CCBar & piano This fine arrangement of the popular sea-shanty 'Haul away' provides enjoyment and learning opportunities through call-and-response, opportunities for solos, amusing (and historical) lyrics, and an appealing, catchy chorus. A footnote makes further suggestions for choreography and how to inject the drama of the open seas.

for CCBar and piano This original suite, written for the Warwickshire Youth Choir, represents an extended concert item at the centre of the Emerging Voices series. It sets anonymous instructions found in packaging to general household goods, providing amusing and theatrical highlights as well as musical interplay and formal episodes.

for CBar and piano This original composition combines several traditional proverbs (Good things come to those who wait, What goes up..., Where there's a will...), a quirky melody, a laid-back swing feel, a whispering section, and an immediate melodic 'hook'. Sufficient unison writing supports effective learning, for this age group, and challenging duplet rhythms are made accessible within helpful longer phrases. The music is well-suited to the text and displays Bullard's accessible but highly accomplished compositional technique.

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 CCBar unaccompanied This title features the celebrated spirituals 'Steal away' and 'My Lord, what a morning!'. With their repeating choruses and verses, the arrangements are quick to learn yet effective concert items, with healthy amounts of contrast and pleasing dramatic effect, and sensitive treatment of the text.

for CCBar and piano This arrangement of the well-loved spiritual celebrates gospel style in all its colours, through rhythm, close harmony, memorable melody, and piano riffs. Ian Crawford is Director of Music at The King's School in Macclesfield and musical director of Cambiata North West.

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 SATB (with divisions) and organ Set to Ursula Vaughan Williams's celebrated paean to the patron saint of music, this work is by turns joyous and reflective. Rich harmonies, shifting tonalities, and expressive melodies combine to evoke the changing moods explored within the text. The poignant Andante section midway through the piece, sung by a solo soprano, is a pivotal moment; it gives way to increasingly jubilant and powerful writing that brings the work to an ecstatic conclusion.

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 SATB (with divisions) and piano7L This charming French carol (with E.C. Nunn's English translation) tells of the milkmaids Jeanette and Isabella, who run to tell the shepherds to come and see the baby Jesus in the stable. The 3/8 time signature and interplay between the vocal lines give it a lilting and engaging character. Scores and parts for the orchestral accompaniment are available on sale and on hire/rental.

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, 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.