for SATB (with divisions) and piano This arrangement of Gruber's timeless carol is warm and gentle. The first two verses are accompanied by gentle arpeggiated figures, leading to a third and final verse which is given profound depth through its largely unaccompanied scoring. The carol was recorded by the Cambridge Singers, directed by John Rutter, on the The John Rutter Christmas Album (Collegium Records CSCD510). Conductor's scores and instrumental parts are available from the publisher, as is Rutter's alternative unaccompanied arrangement.

for CCBar and piano This arrangement of the well-loved spiritual celebrates gospel style in all its colours, through rhythm, close harmony, memorable melody, and piano riffs. Ian Crawford is Director of Music at The King's School in Macclesfield and musical director of Cambiata North West.

for SSATB unaccompanied Setting part of a Eucharistic hymn text by Thomas Aquinas, Adoro te devote is a beautiful, devotional piece suitable for liturgical or concert use. Flowing and expressive, it features homophonic sections, melismatic lines, and optional soaring soprano solos. Adoro te devote was written for Martin Baker and Westminster Cathedral Choir and is dedicated to the memory of the victims of the Nepalese Earthquake in April 2015.

for SATB and piano or chamber ensemble Written in 1978 for the choir of Clare College, Cambridge, this gentle, dreamy lullaby has gone on to become one of John Rutter's most popular carols. Full scores and instrumental parts (flute, oboe, harp, and strings) are available on hire and on sale. Also available in a version for SSAA.

for SATB (with divisions) and organ, with optional congregation Here John Rutter follows Vaughan Williams' precedent in setting this text from the fourth-century Orthodox liturgy of St James of Jerusalem to the French carol melody 'Jesus Christ shabille en pauvre'. The result is a hymn which is in turn haunting and powerful, with a modal tonality that evokes the timeless sound-world of plainchant.

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 SATB and piano or organ First published in Carols for Choirs 5, this is a beautiful and touching setting of the well-known fifteenth-century words. The contours of Stroope's melodic writing perfectly mirror the narrative from the manger scene, while the simple refrain highlights the Christ-child's innocence as his mother lulls him to sleep.

for SATB and piano Composed in celebration of David Willcocks's 95th birthday, Jonathan Willcocks sets a suitably uplifting traditional text from Cornwall, the county of his father's birth. Telling the story of the shepherd's and wise men's visits to Jesus, this carol is both joyous and sprightly, and would be suitable for both Christmas and Epiphany.

for SSSAA unaccompanied Sanctum is a captivating setting of four movements of the Requiem text, inspired by the landscape of the west coast of Canada. Each movement depicts an aspect of Vancouver Island (the water, mountains, wind, and sky), exploring landscape as a place of healing and sanctuary. The combined effect is some of Quartel's most atmospheric and dramatic writing to date.

for CCBar and piano This arrangement meets the demand for timeless popular songs, designed to appeal to teachers and students alike. For three-part choir, it contains that memorable tune, Joel's clever lyrics, riffs associated with the original, and an exciting piano part that supports the singers and provides short interludes.

for SATB, piano, and optional saxophone, bass, and drum kit Ophelia, Caliban, and Miranda puts a jazzy twist on three Shakespearean characters. With newly written texts by Charles Bennett, each of the three movements focuses in on Ophelia from Hamlet and Caliban and Miranda from The Tempest. In the funky opener, 'River Bride', the upper voices take the part of Ophelia, while the tenors and basses play a lover figure. Caliban's song, 'Ariel taught me how to play', is a reflective ballad in which the slave tells Miranda, who has escaped his advances, about the spirit helper Ariel teaching him to play the saxophone. The final movement, 'All good things come to an end', is a sassy yet tender number, where Miranda bids farewell to her beloved husband Ferdinand, declaring: 'I've gone back to the island to remember who I am'. The piano part may be played as written or serve as a guide, and a part for saxophone, bass, and drum kit is available separately for jazz quartet accompaniment.

for SATB and organ or piano Horatius Bonar's well-known hymn Beloved, let us love is a perfect text for wedding services, expressing the belief that it is only through loving others that we can know God's love for us. Bullard's celebratory and emotive setting begins by offsetting male and female voices, before exploring full-choir textures, rich harmonies, and contrasting keyboard accompaniments. Both affirmatory and exultant and reflective and wondrous, the anthem should find a place in church services and concerts throughout the year.

for SATB and piano or piano four-hands or orchestra Wilberg's arrangement of the Christmas favourite Deck the hall is bright and energetic from beginning to end. After an uplifting introduction going through several keys, the choir sings the three carol verses in up to seven parts. The accompaniment provides both a harmonic underpinning and almost continuous flourishing semiquaver movement. Further modulations throughout the piece lead to an extended 'fa la la' section to bring the piece to an exhilarating close.

for SATB (with divisions) and harp or piano This is a simple and gentle setting of the popular American folk hymn. Beginning softly with the sopranos accompanied by piano/harp in the first verse, Rutter explores a wide variety of textures, building to a powerful final verse before ebbing away in a poignantly quiet close.

for SATB and organ Rutter composed this elegant setting of the Evensong canticle Nunc Dimittis in homage to and in the style of composer Sir Charles Villiers Stanford, whose own Magnificat and Nunc Dimittis settings are staples of the English sacred choral repertoire. An accompanying setting of the Magnificat (My Soul Doth Magnify The Lord) is also available from Oxford University Press.

for SATB (with divisions) unaccompanied This festive arrangement of a traditional German carol features an English text, translated and adapted by John Rutter himself. The first two verses are sung by soloists (or alternatively by a semi-chorus over a background of choral hums) before all singers come together in the final verse and then fade into solemn stillness.

for SATB and optional congregation with two keyboards, timpani, and percussion, or full orchestra or concert band Setting this classic American patriotic song, which dates back to the Civil War, Rutter makes prominent use of trumpets and percussion to create a rousing arrangement. The setting is equally effective when accompanied by the two keyboard parts of the reduced vocal score, which may be performed by two pianos, piano and organ, piano and synthesiser, or two synthesisers. Orchestral and band parts are available on hire.

for SATB double choir and piano or small ensemble Another winning collaboration between Bob Chilcott and author Charles Bennett, this work was commissioned by Age UK Oxfordshire as part of a project to highlight and combat loneliness. The singers assume the role of narrator, guiding the listener on a journey made by boat, with nine choral songs presenting their own stories within this larger excursion. The outer movements provide a watery framework with rippling figures and gentle choral waves. An air of nostalgia pervades 'My father's boat' and 'What we did on our holiday', while the central songs use naval and meteorological imagery to speak of some of life's difficulties. Soliloquies between the choral songs highlight a variety of solo instruments, but these may be omitted if performing with piano.