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 CBar and piano This original composition combines several traditional proverbs (Good things come to those who wait, What goes up..., Where there's a will...), a quirky melody, a laid-back swing feel, a whispering section, and an immediate melodic 'hook'. Sufficient unison writing supports effective learning, for this age group, and challenging duplet rhythms are made accessible within helpful longer phrases. The music is well-suited to the text and displays Bullard's accessible but highly accomplished compositional technique.

for SATB with divisions, unaccompanied This setting of texts from Cymbeline and The Merchant of Venice, and Sonnet 98, is characterised by inventive textures and vibrant word-setting. The harmonic language is for the most part diatonic, but never plain, and there are some pungent dissonances, as the contrasts between and within the texts are laid bare in music of evocative power.

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.

for SATB unaccompanied In this unaccompanied setting of a text by contemporary poet Thomas A. Clark, Jackson skilfully evokes the magical atmosphere of the onset of nightfall. This is a striking and complex piece, with highly imaginative word setting.

for SA and piano or orchestra With a simple, appealing melody and a flowing accompaniment, The Colours of Christmas evokes a touching sense of longing for the joys of the festive season. An accompaniment for orchestra is available on hire/rental.

for SSA and piano This playful song sets the famous 'Beautiful Soup' poem from Lewis Carroll's Alice's Adventures in Wonderland in a suitably tongue-in-cheek manner. With lilting rhythms, intertwining lines, and opportunities for portamento, Beautiful Soup will make an enjoyable addition to any concert programme.

for SATB and piano As Joseph was a-walking is a lilting and uplifting setting of the well-known traditional text about the prophecy of Christ's birth, as received by Joseph from an angel. The accessible musical language, with interesting harmonic inflections, and attractive piano writing makes this an appealing choice for Christmas concerts and services.

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.

for SATB (with divisions) unaccompanied This serene communion motet sets the last two verses of the Pangue Lingua and oscillates between 3/4 and 4/4 time signatures. The melodic lines are expressive and at times melismatic and the divisi in all parts creates a rich texture.

for SATB double choir, children's choir, and piano Setting a text by Charles Bennett, The White Field presents a dreamlike scene in which blackbirds plant songs in the cold earth and await the growth of their music. Chilcott's melodies echo through the voices, before a climactic tutti central section giving full voice to the idea of renewal and hope in the depth of winter. A wistful coda completes the reverie as the blackbirds settle to await the return of the sun. The piano part provides harmonic support and rhythmic energy to the voice parts with chordal and semiquaver figurations throughout the work. The White Field was commissioned by the Barbican Centre for London Symphony Chorus and BBC Symphony Chorus for Sound Unbound, November 2015.

for SATB and small orchestra Full score for this classic Rutter anthem, which is also available in John Rutter Anthems and in a version for upper voices.

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 TTBB and piano Like the original version for SATB voices, this new male-voice arrangement of Wide Open Spaces reflects on the journeys and adventures to be found in the wide opens spaces within ourselves and in the world around us. The uplifting melody is passed from the tenors to the baritones before the piece opens out into an expansive texture with rich harmonies. Quartel introduces a playful episode of scat singing before a resolute final chorus brings this evocative piece to a peaceful and serene close.

for SATB double choir and organ In this rousing anthem for double choir, Rutter uses frequent time signature changes to breathe new life into Psalm 148. Guiding the two choirs through a series of musical mood changes using intricate call-and-response patterns, the composer steadily builds excitement before bringing them together in a glorious finale. This anthem forms the conclusion to John Rutter's Psalmfest, for which scores and parts are available on hire.

for SATB, organ, and second organ or piano or harp Taken from Rutter's edition of Faure's Requiem, this angelic and widely beloved Sanctus features both the original French words and an optional English text, translated and adapted for singing by John Rutter himself. Although ideal for funerals and All Souls Day services due to it being composed as part of the Requiem, the more general message of praise in the Sanctus makes it equally suitable for a range of other worship services. Its second keyboard part may be performed on an additional organ, piano, or harp. John Rutter's complete edition of Faure's Requiem (1893 version) is available from Oxford University Press.

for SATB and harp or piano In this arrangement of the traditional Irish hymn Be thou my vision, Rutter sets the 8th-century text (in its English translation) to the Irish folk melody known as Slane, the tune to which it has been sung since 1919. Rutter's harmonies and piano/harp accompaniment add to the enchanting Gaelic style. An alternative setting of the same text, to original music by John Rutter, is also available from Oxford University Press.

for SATB unaccompanied Described by Elgar as an elegy for unaccompanied chorus, this mournful, reverent, and dignified setting was composed for a service commemorating Queen Victoria on the anniversary of her death. The text is by Cardinal John Henry Newman, whose poem The Dream of Gerontius was set by Elgar in one of his most enduringly popular works.