for SATB (with divisions) and piano Brimming with groove and energy, this is a terrific arrangement of the popular spiritual. Chilcott's syncopated melodies and jazzy harmonies are well supported by the piano accompaniment, which features a walking bass. Perfect for adding a bit of spark to any concert programme. Originally published in Spirituals for Choirs.

Throughout history, two books have accompanied the advancement of Christianity: the Bible and the Hymnal. We may easily forget words that we read, or even memorize, but the melodies that we hear and sing remain in our thoughts, our minds, and our hearts forever. When Biblical truths are stated in a musical form we enjoy, the result is a penetration into our lives that has lasting spiritual benefits. These enduring songs convey a message that never grows old! So sing the hymns. Sing them over and over again. Seek out some of the great traditional songs that are rarely heard today. Purposefully learn hymns you do not know -- you will discover some gems. Whatever your musical tastes, discover anew the joy of singing the hymns! Pass this great tradition on to your children, and to the generations to follow.

for SSA and piano or harp This anthem sets a powerful poem by John Henry Newman that reflects on the spirituality of solitude. An imaginative interplay between voices and instrumental accompaniment is prevalent throughout, with effective contrasts between tranquillo and animato sections and delicate ostinato patterns. An alternative accompaniment for harp is available for purchase. The anthem is also available in a version for SATB and guitar or piano.

for SATB unaccompanied or with optional handbells (or percussion, or organ) Sarah Quartel brings a fresh take on a familiar fifteenth-century text in this enchanting carol. The dialogue between Mary and the infant Jesus is woven to a beguiling folk-like melody, in 6/8 metre, through each of the voice parts, with each verse ending in the lilting refrain 'Lully, by by, lullay'. The carol may be sung unaccompanied, though for added sparkle there is an optional part for handbells (or percussion or organ). Also available in a version for upper voices.

Hailed as a child prodigy and later acclaimed as England's finest extempore organist, Samuel Wesley - son of Charles Wesley and nephew of John Wesley, the founders of Methodism - is best known today for his musical compositions and for his promotion of the music of J. S. Bach. At the heart of this source book is a calendar of Samuel Wesley's correspondence. The editors date and summarise the content of over 1100 surviving letters and other documents, most of which have not previously been published. The book accordingly reveals considerable new information about Wesley and his complex personal affairs, including his incarceration for debt and his confinement in a lunatic asylum for a year. Many details are provided about London musical life in the era from Boyce to Mendelssohn that prior scholars have not taken into account. The book also presents a chronology of Wesley's life, a descriptive list of his nearly 550 musical and literary works, a discography, an iconography and a bibliography. It therefore is the most comprehensive available reference source for Wesley's life, times and music.

for SATB and guitar or piano This anthem sets a powerful poem by John Henry Newman that reflects on the spirituality of solitude. An imaginative interplay between voices and instrumental accompaniment is prevalent throughout, with effective contrasts between tranquillo and animato sections and delicate ostinato patterns. An alternative accompaniment for guitar (the composer's original instrumentation) is available for purchase. The anthem is also available in a version for SSA and piano or harp.

The music of clarinetists Naftule Brandwein and Dave Tarras is iconic of American klezmer music. Their legacy has had an enduring impact on the development of the popular world music genre. Since the 1970s, klezmer music has become one of the most popular world music genres, at the same time influencing musical styles as diverse as indie rock, avant-garde jazz, and contemporary art music. Klezmer is the celebratory instrumental music that developed in the Jewish communities of eastern Europe over the course of centuries and was performed especially at weddings. Brought to North America in the immigration wave in the late nineteenth century, klezmer thrived and developed in the Yiddish-speaking communities of New York and other cities during the period 1880-1950. No two musicians represent New York klezmer more than clarinetists Naftule Brandwein (1884-1963)and Dave Tarras (1897-1989). Born in eastern Europe to respected klezmer families, both musicians had successful careers as performers and recording artists in New York. Their legacy has had an enduring impact and helped to spurthe revival of klezmer since the 1970s. Using their iconic recordings as a case study, New York Klezmer in the Early Twentieth Century looks at the inner workings of klezmer dance music, from its compositional aspects to the minutiae of style. Making use of historical and ethnographic sources, the book places the music within a larger social and cultural context stretching from eastern Europe of the nineteenth century to the United Statesof the present. JOEL E. RUBIN is Associate Professor of Music at the University of Virginia and an acclaimed performer of traditional klezmer music.

This is an inspirational writing based on the author's personal experiences. The writing and content will appeal to young and middle-aged adults. It is a "divine" blending of pop music nostalgia with religious concepts formulating a guide for living in the twenty-first century. The introduction will peak the interest of the curious, and the first chapter will firmly grasp readers, as they experience along with the writer surviving a level four (4) tornado without earthly protection. The subsequent chapters are very moving and thought provoking. The reader will surprisingly be guided by song lyrics of the pop music group, the Beatles. The writer has brilliantly paralleled biblical concepts with the words of Beatles tunes to be used as a road map to living well, and to Christ. Readers will find this writing to be a unique religious approach to contemporary issues of everyday living and spiritual growth. This is an inspirational writing for our time.

After decades of prohibition, Mevlana ceremonies of whirling dervishes attract renewed interest as forms of sacral music, both in formal and popular genres. This trend runs parallel to an increasing concern for cultural, ethnic and religious identities, where the rising tide of religious revivalism sets the tone.

for SATB and organ or orchestra This bright and exultant arrangement of Michael Praetorius's melody 'Puer nobis nascitur' is presented with two text options: 'O splendor of God's glory bright' for general worship and 'That Easter day with joy was bright' for use at Easter. Sparkling organ interludes, characterised by flutes and piccolos in the orchestral accompaniment, punctuate the lilting melody, which is given contrasting treatment in each of the verses, from presentation in unison to rich four-part harmony.

for SATB (with divisions) unaccompanied With a text by the composer, 'My Love has Died for Me' is taken from Passion Music, a concert and liturgical work that epitomizes Todd's love of blending jazz and choral music. Recurring melodies, changing metres, and extended harmonies combine to explore the theme of loss in this powerful and expressive lament.

for SATB unaccompanied With a text by Thomas Campion, View me, Lord is a tender prayer characterized by its sensitive text-setting. Each verse features a change in voicing, rhythm, and harmony, while the ever-changing metre provides a feeling of fluidity. The tension built throughout the work is finally resolved in the last chord, bringing this contemplative anthem to a peaceful close.

for SATB and piano or organ or orchestra This sprightly setting of a sixteenth-century English text tells the tale of a jolly shepherd named Wat. With an upbeat triple metre and a joyful swing feel, this carol has imaginative, contrasting textures, a memorable refrain, and a rousing finish. Two versions of the vocal score are available: one with piano accompaniment and one with organ accompaniment. Full scores and parts are available for purchase or hire.

for SATB and piano or harp Higgins's arrangement of Away in a manger is beautiful and delicate. The first verse is taken by unison upper voices; the second is a cappella, with a soloist (or small group) on the melody accompanied by sustained 'ooh's; and the last verse features fresh, homophonic harmonies. The piano/harp accompaniment twinkles gently around the voices, contributing towards the magical character of the arrangement.

for SATB (with S. solo) unaccompanied This thought-provoking carol takes up the topical theme of the plight of refugees, drawing parallels with the stories and reception of Christ's birth. The text, by the composer, alludes to familiar lines from the Coventry Carol, rooting the piece in tradition while encouraging us to consider our present. The verses feature contrasting textures and changing metres, while a soft, reflective refrain stands steadfastly in triple metre.

for SS and organ This movement from Make We Merry sets the words of the seventeenth-century Christmas text 'Sweet was the song' to a straightforward and lyrical solo line in the first soprano part, with an imitative second soprano part joining towards the end. The organ accompaniment gently underpins the tender vocal lines throughout.

for SATB and piano or organ or orchestra This sprightly setting of a sixteenth-century English text tells the tale of a jolly shepherd named Wat. With an upbeat triple metre and a joyful swing feel, this carol has imaginative, contrasting textures, a memorable refrain, and a rousing finish. Two versions of the vocal score are available: one with piano accompaniment and one with organ accompaniment. Full scores and parts are available for purchase or hire.