for SATB unaccompanied and optional flute This warm and tender carol sets an evocative text by Norman Nicholson depicting Mary's gentle nurturing of her child. There is a beautiful simplicity in Chilcott's setting, which features sumptuous harmonies, lyrical melodies, and an optional part for flute that weaves in and out of the texture. The flute part is printed in the vocal score.

for SSATB unaccompanied Commissioned by Ralph Woodward and the Fairhaven Singers in memory of Dora Kemp, one of the choir's sopranos, God is Light sets lines from Psalm 139, 1 Thessalonians, and 1 John. It moves from an unsettled tonality at the beginning, through anguished false relations and wistful expressivity, to find triumphant resolution in a blazing A major at the end. Like all of McDowall's music, it is well crafted and singable. God is Light was first performed on 12 November 2016 in Queens' College Chapel, Cambridge, by the Fairheaven Singers and Perse Prep Senior Choir (director Paul Harris), conducted by Ralph Woodward.

for SATB (with divisions) unaccompanied First performed by the Choir of St Luke's Episcopal Church, Evanston, Illinois, in 2016, this powerful motet sets a reflective text by Augustine of Hippo. Connoisseurs of Jackson's music will recognise the hallmarks of his highly accessible style: inventive harmony that is largely diatonic but never plain, and textures that encompass the blazingly sonorous and the expressively intimate.

for SATB unaccompanied This anthem for unaccompanied choir juxtaposes the words of the Antiphon for the Washing of Feet on Maundy Thursday with 'The red rose whispers of passion' by the poet John Boyle O'Reilly. Jackson combines lyrical polyphonic phrases for upper and lower voices with atmospheric passages for full choir, frequently accompanied by repeated half-whispered text in free time.

for SATB and piano/orchestra Wilberg's arrangement of Robert Lowry's text and melody is a beautifully reflective take on the well-known hymn. Simple vocal lines are enhanced by a gently flowing accompaniment, rich in suspensions and harmonic interest. This part can be played on the piano, or by the unusual combination of flutes, cors anglais, harp, and strings.

for SATB and piano four-hands or orchestra This short, energetic piece sets words by contemporary hymn-writer Mary Louise Bringle. The text is full of positivity and hope, and Wilberg's use of a 7/8 time signature keeps the verses propelling forward joyously, while undulating quavers shape the refrains. Several key changes are supported by a continuously rhythmic accompaniment in the form of piano duet or large orchestra, and an instrumental interlude precedes the third and final verse.

for soprano solo and SSATB unaccompanied Cecilia, Busy Like a Bee is a reflective and reverential setting of a text adapted from the Divine Office for St Cecilia's Day. The influence of plainchant is particularly apparent in the soprano solo, and McDowall intersperses effective imitative passages amidst homophonic writing with rich harmonies.

for SATB and organ Setting the George Herbert poem 'Whitsunday' from the 1633 collection The Temple, this lilting, gentle anthem is particularly useful for Whit Sunday services. Syncopations and duplets provide rhythmic interest, with memorable melodies, sumptuous harmonies, and contrasting textures making this a rewarding anthem for performer and listener alike.

for SATB or unison voices and organ This joyous, celebratory introit sets well-known words from Psalm 95 and features appealing recitative-like melodies, striking harmonies, and fluctuating metre. The flexible scoring facilitates performance by SATB choir, unison voices, or high voices, and the organ part provides a supportive yet compelling accompaniment. O come, let us sing has been recorded by Wells Cathedral Choir, conducted by Matthew Owens, on the CD 'Flame Celestial' (REGCD320).

for SATB unaccompanied (with divisions) Three Prayers, with a Vision of Light sets early Christian texts by St Augustine of Hippo, Baldwin of Forde, and St Mary Magdalene de Pazzi alongside words by Estonian poet Doris Kareva. Each movement offers a change of mood, from the reflective 'Conversi ad Dominum' to the more urgent and pleading 'Aufer a me, Domine' and serene 'Veni, Sancte Spiritus', with 'He who lives in light' offering an expressive and contrasting central movement.

for SATB and organ or orchestra John Rutter's original setting of this popular Easter hymn is resplendent and celebratory, with frequent metre changes that give a fresh feel to these historic words. Also available in Anthems for Choirs 4 and Ash Wednesday to Easter for Choirs, with a version for SSA and organ available in Anthems for Choirs 3. Orchestral scores and parts are available on hire/rental: 2fl, 2ob, 2cl, 2bsn, 2hn, 2tpt, timp, perc, hp, str.

for SATB and piano or orchestra Tree of Life is an expansive setting of an evocative text by David Warner that depicts the sacred archetype of the life-giving tree through the cycle of all four seasons. The lyrics, coupled with simple, memorable melodies, speak of spiritual planting and growth, nourishment, and an abundant harvest; each observation is punctuated by an 'Alleluia' as an expression of praise and gratitude. Wilberg's imaginative orchestration creates an abundant soundworld, with arching woodwind phrases, sweeping strings, and a cacophony of handbells that lifts the closing alleluias skywards in celebration. This is the title track on the Tabernacle Choir's 2018 CD release.

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 SSA(A)TB unaccompanied This attractive motet was written for performance alongside Brahms's Requiem, following the precedent of Handel's famous setting of the same text being sung at the premiere of the Brahms in 1868. The gracefully sculpted music clothes the text with touching melodies, expressive harmonies and varied sonorities.

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.

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) 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.