for SSSSAATBB unaccompanied In this haunting arrangement of the well-known carol, Higgins creates a mystical soundscape by layering a single motif in a four-part soprano canon. These repetitions echo throughout and support the various textures explored in each verse, producing a dramatic and atmospheric setting of the Basque carol. Suitable for chamber and concert choir.

The archconfraternity of SS. TrinitA was one of the less well-known institutions for musical patronage in sixteenth-century Rome. Yet in focusing on its activities in the period 1550-1650, this book sheds light on networks of urban patronage that were equally important in commissioning the sacred music of the period as the Cappella Pontificia and the Cappella Giulia at St Peter's. Not only did SS. TrinitA provide Palestrina with his only known major involvement in sacred music outside the Cappella Giulia after 1571 it also employed at some time or another every major composer active in the city. Noel O'Regan discusses the importance of SS. TrinitA in the sphere of Roman sacred music during this period and the ways in which this music was affected by social and religious factors in the play for power and prestige in post-tridentine Rome.

This companion volume provides organists with new, dedicated three-stave accompaniments to twenty-four of the twenty-eight choruses in the main Sacred Choruses volume. In every case, these organ transcriptions, made by John Rutter, are based directly on the original orchestral versions and will facilitate church performances without orchestra.

for SATB (with divisions) and piano This sombre and evocative 'Stabat mater' is taken from Passion Music, a concert and liturgical work that continues Todd's fusion of jazz and choral music so successfully blended in his Mass in Blue. The delicate piano part often falls away to spiritual a cappella sections, and a soaring line for solo soprano rises out of the texture to draw the setting to a close.

for SSATB and piano Reginald Unterseher has adapted his much-loved lower-voice arrangement of this well-known hymn by John Adam Granade for mixed-voice choir. The arching vocal lines are accompanied by a rhythmic, undulating piano part evocative of the rivers the hymn-writer describes.

for SATB unaccompanied This short sacred work for unaccompanied mixed choir is a highly atmospheric setting of the poet Henry Vaughan's mystical and enigmatic poem of the same name. Written for the choir of St Peter's College, Oxford, the work has a sonorous quality and uses extended harmonies to great effect.

for SATB and organ Chilcott's setting of Psalm 96 is bright, optimistic, and celebratory. The sparkling organ part and fluctuation between 7/8 and 4/4 metres give the opening and closing sections a dance-like feel, while the central section is still, soft, and reflective.

for unison or 2-part choir and organ or piano This setting of the well-known hymn text 'Christ the Lord is risen again!' features bright vocal lines and an energetic accompaniment. The scoring is flexible, allowing performance with either one or two vocal parts made up of upper, lower, or mixed voices. Offprinted from The Oxford Book of Easy Flexible Anthems.

for SATB and organ This radiant anthem explores the theme of light, with luminescent harmonies, a virtuosic organ part, and soaring vocal lines. The text is by Dr Marcus Tomalin, after Dante's Paradiso, and Bednall's word painting is highly effective. A compelling climax as the singers tell of the 'pure living light shining' falls away to a powerful unaccompanied moment, before the organ picks up a motif and develops it in a majestic interlude. This is a highly rewarding anthem for performer and audience alike. Pure Living Light was recorded by The Epiphoni Consort on the CD David Bednall: Sudden Light (Delphian, DCD34189).

O Antiphon Sequence was conceived as a recital piece, although each of its individual movements would also work in a liturgical context. Each movement is a response to a short extract of liturgical text taken from the 'O Antiphons', which are the Magnificat antiphons used at Vespers during the last seven days of Advent in Western Christian traditions. The work was commissioned by the American Guild of Organists for performance at the 2018 AGO National Convention in Kansas City, Missouri.

for SATB unaccompanied A partner antiphon to Bednall's Ave Regina caelorum, Alma Redemptoris Mater is a tender and expressive setting. In turn, this pair of antiphons compliments Herbert Howells's setting of the other two Marian antiphons (Salve Regina and Regina Caeli), making for compelling programming. Triplet movement and changing metre create a sense of ebb and flow and harmonic and melodic interest provoke a sense of peaceful expectancy.

for SATB (with divisions) unaccompanied Ethan McGrath's setting of this well-known fourteenth-century macaronic text is expressive and rich, both harmonically and emotionally. The melodies have a chant-like quality and the metrical changes create a compelling ebb and flow. This carol is evocative of an ancient choral tradition, while at the same time offering a fresh choral sound.

for SATB 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. Also available in a version for SSA unaccompanied.

for SATB and piano or orchestra This setting of Adolphe Adam's beloved Christmas carol employs rich choral textures and a flowing piano accompaniment to create a rousing overall effect. Opening gently, the intensity builds gradually towards a stirring, powerful ending. Also in the anthology, An American Christmas.

for SATB and organ This lively piece sets the first six verses of Psalm 105 in a song of praise packed with energy and fervour. A dazzling and spirited organ part is present throughout, featuring spritely triplet figurations set against long, melodic lines in the voices. Suitable for both church and concert use, this piece will inject joyful vigour into any programme.

for SSATB unaccompanied Love Incorruptible sets words from Ephesians that explore the themes of love and kindness. The anthem begins with the directive 'Let all bitterness and wrath and anger be put away, awake!', set by the composer in a way that engenders a mood of reflection and hopefulness. The tender central section is built around the words 'Be kind, tender-hearted, one to another', while the closing section presents a compelling contrast of emphatic 'awake!' declarations in the upper voices and punchily rhythmic repetitions of the titular words in the lower voices.

for SATB and organ or orchestra This is an arrangement of the 19th-century hymn by Philip Bliss, with words written by Horatio Spafford following several personal tragedies. Despite having lost his first son to scarlet fever, most of his assets in the Great Fire of Chicago, and then his four daughters in a shipwreck, Spafford's enduring faith inspired him to write this hymn, which speaks of an internal, spiritual calm in the face of life's difficulties. Wilberg's arrangement of Bliss's tune keeps the first two verses in unison, first women and then men, before allowing fuller textures to take over. The choir is accompanied throughout, and two upward major 3rd modulations lead to a triumphant close.

for SATB unaccompanied Pete Churchill's thrilling arrangement of this traditional Cornish carol has a gentle South African feel and features 'scat' singing and chromatic shifts in harmony. The traditional melody in 6/8 time is set against a jazz-waltz rhythm, giving a contemporary twist to this Christmas classic.

for SATB and organ or piano This simple and attractive carol sets a little-known text by the Rev. Canon John Gray (1866-1934). With an accompaniment for either organ and piano and optional soprano solos, this piece is accessible to a wide range of choirs and would be an excellent addition to either a Christmas concert or service.

for SATB unaccompanied Aspire to God, my soul sets a macaronic text by Canon John Dilnot, with the titular words recurring throughout the setting as an emphatic refrain. This short anthem is optimistic and uplifting in tone, with frequently changing time-signatures that convey a rhythmic fluidity and the flexibility to follow the declamation of the words.