for SSATB & piano or string orchestra The Shipping Forecast is in 3 movements: 'Donegal', 'They that go down to the sea in ships', and 'Naming'. The first and last movement are settings of poems by the poet, broadcaster, and academic, Sean Street. In 'Donegal' snatches of the shipping forecast (spoken) are woven into the atmospheric texture of the poem. The second movement is a setting of the Psalm 107: 23-26 | 28-29: 'They that go down to the sea in ships'. The setting has the feel of a Celtic lullaby, moving from a simple statement to a centre of turmoil then back to overlapping phrases, melting into tranquillity at the end. In the final movement, 'Naming', the text becomes 'a meditation on the fortunes of the sea as reflected in other names, gathered from coastal maps of Newfoundland'. Energetic, in perpetual motion and rhythmic, 'Naming' drives the whole work to an upbeat finish.

for SATB and organ The Missa Sanctae Margaretae is a stunning new setting of the Missa Brevis, showcasing Jackson's mesmerizing choral writing. Scored for SATB and organ, the accessible choral lines move through a variety of textures and harmonies, with linear passages in the Kyrie and Agnus Dei and rich, chordal writing in the Gloria. The idiomatic organ accompaniment brings additional flavour to the music, sometimes answering the choral lines, sometimes offsetting them with fast, rhythmic passages. Ideal for use in services and concerts.

for SATB and organ, or orchestra and organ This invigorating arrangement of a well-loved hymn is the ideal choice for services and concerts throughout the year. Opening with a strong unison melody, each verse is presented in a new vocal scoring, underpinned by a vibrant organ accompaniment. Cleverly balancing full harmonies with accessible vocal lines, Mack Wilberg offers a truly uplifting anthem ideal for the amateur and professional choir alike. Orchestral material is available on hire (3 fl, 2ob, 2cl, 2bsn, 4hn, 3tpt, 3tbn, tba, timp, perc, org, str).

for SSATB unaccompanied This is an innovative yet accessible setting of the well-known Vespers hymn. A meditative rendering of the familiar plainchant is nestled within a lyrical setting of a verse from John Donne's A Litany, making for an intriguing narrative juxtaposition. With unusual harmonic shifts, dynamic contrasts, and rhythmic interest, this motet is sure to maintain the attention of both choir and listener from beginning to end. Veni Creator Spiritus is particularly suitable for Pentecost and other celebrations of the Holy Spirit, but can be used throughout the church year.

for SATB (with divisions) unaccompanied Commissioned by King's College, Cambridge for the 2009 Festival of Nine Lessons and Carols, this beautiful carol sets a well-loved text by G. K. Chesterton. With Jackson's trademark luscious harmonies alongside gentle changes in metre and mode, this piece would make an ideal introduction to Jackson's music for mixed choirs.

Due to popular demand, this exquisite piece has been made available as a separate choral leaflet. It is also in the anthology Weddings for Choirs. Ideal for concerts, and special occasions such as weddings and anniversaries, this choral song sets a beautiful text by Paul Eluard to rich, sumptuous music which will delight singers and listeners alike.

for SATB unaccompanied Meaning 'Souls of the Righteous', this reflective anthem is especially suitable for the Feast of All Saints but may be sung at any time of year. Jackson masterfully balances the still, mesmerizing music of the opening and close with a more agitated and emotionally powerful central section. This piece is suitable for church and secular mixed-voice choirs, and a non-singing translation of the text is included.

for SATB (with divisions) and organ Commissioned by the choir of Merton College, Oxford, In the beginning was the Word provides a welcome musical setting of this iconic biblical text. The choral lines combine plainchant with harmonically intricate passages, and all is complemented by a soloistic organ part. Suitable for use throughout the church year.

unison choir, piano, and cello Orginially scored for solo voice and piano by Peter Warlock, My Own Country has been broadened by David Giardiniere by the addition a cello part, tailored scoring for unison voices, and piano adjustments where appropriate. This new version is great for the school choral market, as a secular octavo with accessible piano, cello, and choral parts.

for SATB and organ or brass ensemble This rousing Jubilate was written in 2009 for Matthew Owens and the choirs of Wells Cathedral as a companion piece to the composer's Winchester Te Deum; it has the same instrumentation. With its strong melody and rich textures and harmonies, this work will prove immensely popular with all lovers of Rutter's music. An accompaniment for brass ensemble is available on hire.

The first thorough examination of the most renowned and influential organist in early twentieth-century Germany and of his complex relationship to his country's tumultuous and shifting sociopolitical landscape. In the course of a multifaceted career, Karl Straube (1873-1950) rose to positions of immense cultural authority in a German musical world caught in unprecedented artistic and sociopolitical upheaval. Son of a German harmonium-builder and an intellectually inclined English mother, Straube established himself as Germany's iconic organ virtuoso by the turn of the century. His upbringing in Bismarck's Berlin encouraged him to develop intensive interests in world history and politics. He quickly became a sought-after teacher, editor, and confidante to composers and intellectuals, whose work he often significantly influenced. As the eleventh successor to J. S. Bach in the cantorate of St. Thomas School, Leipzig, he focused the choir's mission as curator of Bach's works and, in the unstable political climate of the interwar years, as international emissary for German art. His fraught exit from the cantorate in 1939 bore the scars of his Nazi affiliations and issued in a final decade of struggle and disillusionment as German society collapsed. Christopher Anderson's book presents the first richly detailed examination of Karl Straube's remarkable life, situated against the background of the dynamic and sometimes sinister nationalism that informed it. Through extensive examination of primary sources, Anderson reveals a brilliant yet deeply conflicted musician whose influence until now has been recognized, even hailed, but little understood.

for SATB and organ Commissioned by King's College, Cambridge, for the 2016 Festival of Nine Lessons and Carols, This Endernight is a tender, peaceful setting of well-known fifteenth-century words. The recurring melody has an appropriately lilting feel, and Berkeley employs artful textural juxtapositions, with solo lines always opening out into a rich, full-choir sound for the 'lullay, by-by' refrain. The organ part provides colour and support for the voices, with sparkling semiquavers leading into the final, vibrant section.

for SATB (with divisions) and organ This joyous, upbeat anthem sets a compelling poem by contemporary poet Sean Street in response to a text by sixteenth-century Bishop of Norwich John Parkhurst on the subject of 'alma mater'. The text encourages us to appreciate the past, our education, and where it can lead, reflecting on the profound ties we can form to a time or a place. The bright, driving organ part, with solo interjections, is juxtaposed with sustained vocal writing with rich, lush harmonies.

for SS and organ This is an energetic setting of a traditional text, with a memorable tune, attractive sequences, and exciting climax, all in a lilting swing. A version for SATB is also available.

for SATB unaccompanied Helvey sets a combination of sacred texts to beautiful music. Similar to his Cor mundum crea in me Deus, Helvey writes for SATB unaccompanied, mainly in homophonic textures, with thick, lush chords.

This important contemporary Requiem demonstrates Gabriel Jackson's gift for writing mesmerising choral music on a large scale. Combining sections of the traditional Requiem text with poems from other cultures and traditions, Jackson here has created a work which embraces a wide-ranging perspective on human mortality. Each movement is given a different character and musical style, and the result is a unique, sublime work which cannot fail to impress. Vocal scores are available on sale and on hire/rental.

Commissioned by the King's Singers in celebration of their 40th birthday, this work has unusual forces and a comparatively complex nature. Using two texts by Henry Vaughan and John Gillespie Magee, the work charts a journey from a free tempo reflective beginning to a rousing ending, celebratory in tone. The work was first performed by the King's Singers & King's College Choir at King's College Chapel, Cambridge, 1 May 2008.

One of Chilcott's earliest choral compositions, The Modern Man I Sing is a setting of three poems by Walt Whitman. Initially written for the Gustavus Choir, the leading Lutheran choir in Minnesota, it was toured around the US in 1991 by the Gustavus Choir, conducted by Karle Ericksonit. It has also recently been recorded by the BBC Singers, released on CD by Signum Classics (SIGCD100). The vocal score is presented handwritten by the composer.

for SATB or SSA, piano, and optional bass and drum kit ad lib.
This fantastic backing CD, recorded by a professional jazz trio, is ideal for use in both rehearsals and concerts. Compatible with the mixed-voice and upper-voice versions of A Little Jazz Mass, it is sure to inspire breathtaking performances from all choirs