for SSAATTBB and piano Rebecca Dale's reimagining of Cesar Franck's Panis Angelicus was commissioned for the second instalment of Sonoro's Choral Inspirations project. Dale has drawn upon the harmonic framework of the original setting, as well as playing with fragments of the well-known melodies. She cleverly sets this within a modern sound-world, supported by a rippling, arpeggiated piano accompaniment, original melodic material, and subtle layering of the divisi vocal lines.

for SATB (with divisions) unaccompanied A powerfully emotive setting that contrasts moments of reflection with declamatory exultation, Psalm 57 uses passages from the eponymous psalm in the King James translation. Written in 1972, it is dedicated to the Brazeal Dennard Chorale, a Detroit-based choir known for championing the music of Black composers. Jackson King employs imitative writing to great effect, and the anthem's slow tempo makes space for expansive melodic lines.

for SATB unaccompanied This gentle anthem, written for the Choir of St Chad's College, Durham, sets a text that is adapted from several prayers of St Chad. Warm dynamic swells and rich harmonies emphasize the meaning of these prayers. Bednall has added movement to this calm and reflective piece through the use of melismatic vocal phrases and falling triplet figures.

for SATB with piano and organ This is a substantial setting of the canticles of Mary and Simeon, suitable for performance in both concert and liturgical settings. The choral writing features fugal counterpoint and a chromatic soundworld rooted around the octatonic scale. The text is in English throughout, with occasional Latin interjections in the Magnificat. Notably, the choir is accompanied by both piano and organ, a combination that reflects the tradition of the Black American church in which the composer grew up, where both instruments were used simultaneously for almost all service music. The resulting timbral effect is quite unique, with the more percussive piano sound twinkling over the sustained organ writing. Bringing a fresh voice to an established genre, this setting presents a rewarding challenge for singers and the opportunity for congregations or audiences to appreciate familiar words in a new way.

for SSATB unaccompanied A Gaelic Blessing was commissioned by the University of Edinburgh, McDowall's alma mater, for performance by the Edinburgh University Singers conducted by Calum Robertson. This meditative, folk-style anthem is given a Scottish lilt through the use of Scotch snap rhythms and held drone-like vocal lines. The text is a traditional Scottish Gaelic blessing, translated by the Right Reverend Ian Paton, Bishop of St Andrews, Dunkeld, and Dunblane. McDowall chose this text for the 'warmth and simplicity' of the words that seem to 'resonate with the times in which we live'.

for SATB and orchestra Setting a well-loved medieval text, this effective piece paints the story of Jesus through lyrical melodies and beautiful harmonic surprises. The vocal lines offer both powerful intensity and skilful dialogue, and are supported by a pulsing orchestral accompaniment.

for SATB and organ or small orchestra This much-loved carol is presented with background information and helpful performance hints. Recognising the frequency with which this piece is performed with organ accompaniment, John Rutter has made an organ reduction of the orchestral material. Conductor's scores and instrumental parts are available on sale and on hire.

This short Missa brevis setting is perfect for choirs looking to bring a fresh soundworld to their worship. Each movement is distinct in character, but with an overall cohesiveness of harmonic language. A short communion introit, Hoc corpus, which is traditionally sung on Passion Sunday, follows the Mass setting.

for SSA and piano In O be joyful, McGlade presents the words of Psalm 100 with a clarity and sincerity that amplifies the message of the text. The piece moves through a variety of tonalities and metres, which is typical of the composer's style. The lyrical melody lines from the upper voices are supported by a sensitive and melodic piano accompaniment.

Arthur Sullivan is best known as W. S. Gilbert's collaborator in the Savoy Operas, However, Sullivan was far from being simply a composer of light operettas. At the height of his fame and popularity in late Victorian Britain, Sullivan was regarded as the nation's leading composer of sacred oratorios on a par with Mendelssohn and Brahms. Yet despite his contemporary popularity and enduring legacy, little attention has been given to Sullivan's sacred work. The last twenty years have seen a considerable revival of interest in and critical appreciation for this aspect of Sullivan's work. Lost Chords and Christian Soldiers provides the first detailed, comprehensive, critical study and review of Sullivan's church and sacred music. As well as exploring issues of repertoire and ecclesiology involved in these and other formative influences and experiences, consideration will be given to how far Sullivan's own personal beliefs and faith influenced his settings of sacred texts and the extent to which his own spiritual and theological leaning are expressed in his choice of material and style of setting. Sullivan's motivation in setting religious texts will be probed and comparison will be made with the motivation, output and approach of his closest contemporaries in this field, most notably Stainer.

for SATB (with divisions) and two soloists unaccompanied In this beautiful setting, Latvian composer Laura Jekabsone presents a modern, popular take on the familiar carol text by Henry John Gauntlett. The piece is led by two soloists (one upper voice, one lower voice), who the choir underpin with a rich harmonic cushion of a cappella-style scats. The melodies are instantly memorable, and the choir's move from an accompanying role to presenting the final chorus gives a powerful lift and emphatic conclusion to this effective Christmas work.

for SSAATTBB and oboe John Rutter creates a peaceful and contemplative atmosphere in this new arrangement of the traditional German carol, Es ist ein' Ros' entsprungen. The piece opens with a lyrical melody from the solo oboe, over a wash of gentle, hummed vocal harmonies. Rutter continues the carol by underpinning the vocal melodies with 'ah's and hummed parts, and keeping the dynamics soft, to retain its tranquility.

for SATB and organ Simon Biazeck has artfully arranged Dyson's Evening Service in C minor for mixed voices, transposing the work up a tone to better suit the SATB vocal ranges. The arrangement is engaging and eminently singable, allowing this staple of the repertoire to reach new choirs and audiences.

for SATB (with divisions) and organ Density of light is an anthem that sets an evocative hymn by Thomas Troeger. The text is drawn from an Epiphany reading and explores the theme of the triumphing of light over darkness. The organ opens with a rising and falling quaver motif that is taken and expanded upon in the vocal lines. Expanding into dramatic homophonic textures, the piece ends with the words 'glory be to you O God' sung to powerful fortissimo chords.

for SATB unaccompanied Bob Chilcott has composed O Lord, make thy servant Elizabeth our Queen, a reflection on the 16th-century piece of the same title by William Byrd, for the occasion of Her Majesty The Queen's Platinum Jubilee in 2022. Chilcott uses the same text and some melodic ideas from Byrd's original piece, while developing and embellishing them with rich harmonic language and changing metre.

In this revision of the book first published in 1941, the music examples have all been revised. The period covered is that from Edward VI to Edward VII, or from the introduction of the Prayer Book to the late Victorian and Edwardian composers.

for SABar and organ or piano With words by the composer, this warm, expressive anthem calls to Christ, the light of the world, to bring justice, hope, and joy to our lives. The simple, memorable melody is supported by a gently flowing organ part, with straightforward but effective harmonies from Altos and Baritones in verse two. Offprinted from The Oxford Book of Easy Flexible Anthems.

for SATB double choir unaccompanied Chilcott sets this beautiful new text by Charles Bennett in a lush style. The vivid imagery is brought to life through the composer's warm harmonic palette. The Pear Tree Carol is a contemplative celebration of new life and nature. It would be equally suited to a winter concert or Christmas carol service.

for SSA and piano The time draws near is instantly recognisable as Chilcott. The text, by Alfred, Lord Tennyson, describes the feeling of anticipation before the birth of Christ. Chilcott has set these words using a pure and effective melody in the verses, complimented by jubilant refrains of 'Gloria in excelsis Deo'.

for SATB choir unaccompanied This imaginative setting of the well-loved text O little town of Bethleham, by Phillips Brooks, displays McGlade's characteristic rich and expressive harmonies, with their jazz inflections. Opening with a plaintive two-part harmony for upper voices, the scoring expands into lush four- and five-part textures. McGlade uses swelling dynamics, legato vocal lines, and freely changing metre. O little town of Bethlehem would be a superb choice for Christmas services and concerts.

for SATB (with divisions) unaccompanied Commissioned by King's College, Cambridge, for the 2021 Festival of Nine Lessons and Carols, Cecilia McDowall's setting of this well-known fifteenth-century macaronic text is expressive and ethereal. Employing the richness of her distinctive harmonic palette, McDowall pairs upper and lower voices to great effect throughout, contrasting polyphonic writing with moments of rhythmic unison. The carol abounds in rise and fall of both melody and dynamic, before drawing to a hushed, atmospheric close.

for SATB unaccompanied 'Traditionally sung on Christmas Eve, 'O Virgo virginum' is often described as the eighth 'O' Antiphon and praises Mary, 'O virgin of (amongst) virgins.' McDowall's setting is vigorous and joyful, with intimations of medieval plainchant. O Virgo virginum is the final movement of McDowall's set of three 'O' text settings conceived as Trinity Triptych.