for SATB (with divisions), oboe, and organ The text combines the nineteenth-century poet and Christian minister George MacDonald's emotive poem Lost and Found with the 'In paradisum' antiphon from the Burial Service in the Liber Usualis. The music is at times ethereal, melancholic, poignant, and life-affirming. The solo oboe and organ writing is integral to the emotive character of the piece, and the word-painting and angelic chorus moments encourage the listener to reflect on the subject at hand. The Quest is featured on the Collegium Records CD The Gift of Life. An orchestration for chamber ensemble (solo oboe, harp, and strings) is available on hire/rental.

(Music Sales America). The world-famous Novello choral edition of Handel's beautiful masterpiece. Arranged for SATB with piano part. Edited with piano reduction by Watkins Shaw.

Union and Distinction in the Thought of St Maximus the Confessor presents the writings of a key figure in Byzantine theology in the light of the themes of unity and diversity. The principle of simultaneous union and distinction forms the core of Maximus' thought, pervading every area of his theology. It can be summarized as: Things united remain distinct and without confusion in an inseparable union. As Melchisedec T r nen shows, this master theme also resonates in contemporary theological and philosophical discussions.

for SATB, piano, and optional bass and drum kit The Nidaros Jazz Mass draws on a variety of jazz styles to present a fun and innovative setting of the Latin Missa brevis. With a gentle Kyrie, funky Gloria, ballad-like Sanctus, laid-back Benedictus, and passionate Agnus Dei, this work breathes new life into familiar words, perfectly combining the contemporary with the ancient. Recorded by a professional jazz trio (piano, bass, and drums), this backing track is a useful tool for rehearsal and performance, and is compatible with both mixed- and upper-voice versions.

for baritone solo, SATB chorus, children's choir (or semi-chorus), and small orchestra (or piano/organ) McDowall's setting of the Stabat Mater has been described as 'an outstanding work of great solemnity and poignancy' (Tempo, 2013). The work comprises seven movements in a symmetrical structure-from the impassioned choral opening, through two intense yet diverse baritone solos and contemplative plainchant chorales, to the stately finale uniting all the voices. The optimistic central movement, in a major tonality, may be performed by children's choir or a semi-chorus of sopranos and altos from the main group. A plaintive meditation on the sorrows of the Virgin Mary as she stands by the Cross, McDowall's Stabat Mater is a sophisticated modern alternative to more well-known settings, ideal for performance at non-liturgical Lenten services. The piano reduction in the score, which can be adapted for organ, may be used for concert performance if an orchestra is not available.

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 organistas library.

for SATB and organ Archer's setting of this well-known Christmas text is lilting and buoyant, with a memorable melody and charming organ interludes. Suitable for liturgical or concert use, the carol features great textual variety, building to a rousing finish that is sure to fill audiences with Christmas cheer!

This comprehensive re-evaluation of John Stainer's life and work demonstrates that there was a great deal more to admire beyond The Crucifixion. The thoroughness of the research is impressive, based on profusion of sources, many of them little used until now.... A text that carries great authority, plus (almost equally important) a new and generously annotated list of Stainer's works both musical and literary. At last, Stainer has got his due, once and for all.'NICHOLAS TEMPERLEY, Professor of Music Emeritus, University of Illinois. One of the most important musicians of the Victorianera, Stainer is known for his considerable influence as a composer of Anglican liturgical music, and his corpus of secular works - madrigals and songs - presents many surprises. He was a brilliant organist, a fine scholar, theorist, pedagogue and teacher - multifarious attributes which this study elucidates and understands as part of his wider musical personality. Stainer's life is a story of extraordinary social mobility. From lowly origins he rose to become organist of St Paul's Cathedral and Professor of Music at Oxford. Yet after his premature death in 1901 he suffered almost immediate neglect except for the popularity of a handful of works, among them I saw the Lord and The Crucifixion. In rehabilitating Stainer and the crucial contribution he made to musical life, this book examines the breadth of his work as a composer, and the important role he played in the regeneration of sacredand secular musical institutions in Victorian Britain. JEREMY DIBBLE is Professor of Music at Durham University. His previous books include studies of Parry and Stanford and he is the author of numerous articles on British music. He is currently working on a dictionary of hymnology.

for SATB and piano or orchestra Written for the Mormon Tabernacle Choir, this new arrangement of the well-known spiritual is presented in two versions: one for mixed chorus and the other for men's voices. Each version opens gently with an effective unaccompanied unison section, and the accompaniment and further choral parts are gradually added. In classic Wilberg style, the piece builds up verse by verse with expanding textures, via two upward modulations, towards a grand and triumphant climax, leaving no doubt about the joy expressed in the text. Orchestral material is available on hire/rental.

for TTBB and piano or orchestra Written for the Mormon Tabernacle Choir, this new arrangement of the well-known spiritual is presented in two versions: one for mixed chorus and the other for men's voices. Each version opens gently with an effective unaccompanied unison section, and the accompaniment and further choral parts are gradually added. In classic Wilberg style, the piece builds up verse by verse with expanding textures, via two upward modulations, towards a grand and triumphant climax, leaving no doubt about the joy expressed in the text. The male-voice version of He's got the whole world in his hands features on the CD 'Men of the Mormon Tabernacle Choir', with the Orchestra at Temple Square, conducted by Mack Wilberg (SKU 5053126). Orchestral material is available on hire/rental.

for soloists, SATB, and organ Written for the Choir of Wells Cathedral, of which Matthew Owens is Organist and Master of the Choristers, this setting of the St Matthew Passion is ideally suited to liturgical performance during Holy Week. The principal role of the Evangelist is taken by a baritone soloist, who narrates the story of Christ's trial and Crucifixion in unaccompanied chant. The other, smaller, solo roles of Judas (tenor), Pilate (tenor), Jesus (bass), and Pilate's wife (alto) continue in the same vein, with four-part choral interspersions from the crowds, soldiers, and priests providing a contrast in texture. The hymn 'When I survey the wondrous cross', set to the Rockingham hymn tune, appears twice throughout the work, and the congregation are encouraged to join in on both occasions. The simple organ part supports the voices for the hymn, and may also optionally double the choir during the narrative.

for TTBB and piano or organ or small orchestra Originally published in versions for SA and SATB voices, this classic Rutter anthem has now been adapted by the composer for performance by male-voice choirs. The flowing choral melodies perfectly complement the positive message of the well-known thanksgiving text by F. S. Pierpoint, and the gentle, arpeggiated keyboard part provides a supportive harmonic accompaniment.

In Singing the Glory Down, William Lynwood Montell contributes to a fuller understanding of twentieth-century American culture by examining the complex relationships between gospel music and the culture of the nineteen-county study area in which this music has flourished for a hundred years. He has recorded the memories and feelings of those who were young while the movement gathered steam and who remember it at its high point, and stories about those who have passed over that river about which they loved to sing. In the early 1900s, a singing school or gospel convention was a major social event that enticed people to walk for miles to learn to sing or to hear someone who already had. The shape-note teachers of those days conducted days or even weeks of nightly practice, which culminated in a performance that confirmed the teacher's skill. Quartet music originated in these settings. Today, some area quartets still sound much like those early groups; others teach themselves to sing by imitating their favorite professional gospel ensembles.They travel every weekend in buses emblazoned with the names of their groups, with tapes and albums to sell. Through all the changes, the four-part southern harmony of Kentucky gospel music has remained the same. In the words of these performers, through letters, diaries, and interviews, Montell details the attitudes and joys of those involved most deeply in the gospel music scene. He also brings the reader into their personal relationships, their professional jealousies, and their struggles to keep alive the music they love.

for TTBB (and two soloists) unaccompanied This is a stirring arrangement of the gospel classic for unaccompanied male voices, with two idiomatic solos. The popular text uses the imagery of combat to express faithfulness to God, and Jefferson's characterful arrangement of the familiar melody features swing rhythms, jazz harmonies, and scat-style accompaniments. Also available in an SATB version.

for SATB and organ or chamber orchestra This offering from Mack Wilberg is a joyful yet graceful arrangement of the well-known hymn tune by Conrad Kocher. Featuring a lyrical accompaniment and variations in choral textures, this piece is ideal for Harvest or Thanksgiving celebrations, but can also be used all year round. An orchestral accompaniment is available on hire/rental.

A survey of the huge importance of Thomas Tallis, the `Father of Church Music', on Victorian musical life. In Victorian England, Tallis was ever-present: in performances of his music, in accounts of his biography, and through his representation in physical monuments. Known in the nineteenth century as the 'Father of English Church Music', Tallis occupies a central position in the history of the music of the Anglican Church. This book examines in detail the reception of two works that lie at the stylistic extremes of his output: Spem in alium, revived in the 1830s, though generally not greatly admired, and the Responses, which were very popular. A close study of the performances, manuscripts and editions of these works casts light on the intersections between the antiquarian, liturgical and aesthetic goals of nineteenth-century editors and musicians. By tracing Tallis's reception in nineteenth-century England, the author charts the hold Tallis had on the Victorians and the ways in which Anglican - and English - identity was defined and challenged. Dr SUE COLE is a research associate at the Faculty of Music, University of Melbourne.

Fiddled out of Reason is a study of several poems spanning the life and career of Joseph Addison, who, along with John Dryden, Alexander Pope, Ambrose Philips, Isaac Watts, and many British poets of the turn of the eighteenth century, helped to cultivate a broad new current of nonliturgical "hymnic" verse that became immensely popular across that century, though it has eluded critical notice until now. The texts the book examines-Addison's St. Cecilia's Day odes (1692, 1699), his libretto for the opera Rosamond (1707), and a sequence of five hymnic works in The Spectator (1712)-precede by twenty-five years John Wesley's publication of the first hymnal for use in the Church of England. The book argues that "secular" hymnic works such as Addison's emerged alongside religio-political controversies and anxieties about British national identity, morality, and expressions of "enthusiastic" passions. Church and Tory interests largely rejected hymnic verse, claiming it would only "fiddle" unwitting readers "out of their reason" and reignite the dangerous fervor of Revolution-era Nonconformity and Dissent. As is evident from his poetry, Addison, a moderate Whig, ardently opposed this view, arguing that the hymnic could in fact be a portal to national and individual amelioration. After an introductory chapter exploring period conceptions of hymnic poetry and the highly contested term "hymn" itself, the argument proceeds through three sections to trace the hymnic's upward trajectory through Addison's early, mid-period, and mature verse. The book devotes the lion's share of its attention to the last of these three, which includes the five-poem Spectator sequence (a poem from the sequence, "The Spacious Firmament on High," will be familiar to many readers). Indeed, in addition to offering new readings of hymnic works by Dryden and Pope, Fiddled out of Reason provides the first extended critical treatment of these five important poems. Publication of the book coincides with the 300th anniversary of Addison's death and with the appearance of a new Oxford edition of Addison's nonperiodical writings.

for SSATB and organ This attractive and uplifting anthem sets the text of the Eastertide Vidi aquam antiphon. Different parts of the text are treated to contrasting musical ideas, including extended melismatic upper-voice passages and mainly homophonic full-choir sections, and the undulating organ part represents the flowing water of the text. A welcome addition to a service or concert programme for all fans of Gabriel Jackson's music. Commissioned by the Friends of Lincoln Cathedral for their 75th anniversary and first performed by the Choir of Lincoln Cathedral with Charles Harrison (organ), directed by Aric Prentice, on 25 June 2011.

For SATB (divisi) with 2 soprano solos

for SATB unaccompanied Let nothing trouble you is a striking and atmospheric setting of a prayer by the Spanish mystic, St Teresa of Avila. This work is both comforting and meditative, reflecting the mood of the text, and the music adds a beautifully haunting quality, through the use of a murmuring two-note motif, widely arching melodies, and reflective imitation. Commissioned by The Genesis Foundation for Harry Christophers and The Sixteen, this piece has been recorded by them on the disc 'O Guiding Night' (COR16090).