The Sarah Quartel Songbook brings together a selection of the composer's best-loved pieces for mixed voices, including favourites such as Sing, my Child, Voice on the Wind, and Swept Away. This is an invaluable resource both for choirs looking to explore the work of this fine choral composer for the first time and for admirers of Quartel's style hoping to find staple repertoire conveniently gathered together in one volume.

for SATB and piano In this passionate four-movement work, composer Bob Chilcott and lyricist Delphine Chalmers explore themes of inclusivity, identity, and unity. The middle movements, 'Harmony' and 'Rhythm', have strong grooves and rhythmic drive, while the outer movements, 'Unison' and 'Resolution', are steadfast and uplifting. Songs my Heart has Taught Me brings singers and audience together in a celebration of all that unites us.

Breath of Song brings together ten exquisite works by contemporary women composers. Compiled and edited by Sarah Quartel, the collection features an eclectic mix of styles and colours, specially selected with modern concert programming in mind - from settings of hymn-like simplicity and a rich choral sound to works featuring theatrical body percussion and a fresh close-harmony style. Secular and sacred texts from across the centuries are given fresh life, and new words and sounds are introduced to the repertoire, including the onomatopoeic echoes of Hindustani classical instruments in Esmail's 'TaReKiTa' and the whistling of the wind and birds in Hawley's 'The Arrow and the Song'. Scored for unaccompanied mixed voices, this collection of ten compelling works is fresh, dynamic, and exciting - a long-awaited celebration of some of today's most inspirational voices in choral composition.

for SATB and organ or orchestra Vaughan Williams wrote the hymn tune 'Sine Nomine' in 1906 for The English Hymnal, setting Bishop W.W. How's existing hymn text. Its gently rousing simplicity has firmly established it as a popular processional hymn across various denominations. Two different orchestral accompaniments are available as alternatives to the organ only accompaniment.

A second collection of 50 carols, mostly for SATB, some unaccompanied, and some having accompaniments for piano, organ, orchestra, or brass ensemble. Many of the carols are from traditional sources, rearranged, as well as carols written especially for this volume by composers including William Walton, Benjamin Britten, Richard Rodney Bennett, and William Mathias. Instrumental material for most of the accompanied items is available on hire. Eight Carols for Brass for 5 and 8 part brass (to accompany carols from Carols for Choirs 1 and Carols for Choirs 2) are also on sale.

for SATB and organ, and optional brass ensemble and timpani Make We Merry is an eight-movement piece which sets texts from the 15th to 19th centuries to a variety of choral textures with a highly characterful accompaniment. A vast array of sentiments is depicted, from quiet expectance and gentle wonder to boisterous jubilation, and the different movements provide a wonderfully paced journey through these moods. The final movement brings back motifs from the opening and grows to a thrillingly climactic ending to this exciting Christmas concert work. This piece was originally commissioned in a version for upper voices by Benenden School.

For this beloved Cantata, the classic vocal score arranged by Bernhard Todt as a companion to the renowned Bach Gesellschaft Ausgabe was re-engraved by G. Schirmer in the early part of the 20th century with Henry Drinker's English translation added beneath the original German text. Now available in an easy-to-use, convenient size designed to fit comfortably in choral folders.

for upper voices with piano accompaniment or unaccompanied A compelling collection exploring different times of the day and the four seasons, Times and Seasons presents a fruitful collaboration between Bob Chilcott and poet Delphine Chalmers. Four of the pieces are unaccompanied, while the remainder have characterful and supportive piano accompaniments; the voices sing in unison or two parts, making this collection eminently accessible. Suitable for performance as a suite or as stand-alone pieces, these charming songs will be a welcome addition to the repertoire of any children's or upper-voice choir.

A leading British composer of the twentieth-century, Ralph Vaughan Williams was a lifelong exponent of choral music and singing. This two-part collection of new arrangements and editions features well-loved and lesser-known Vaughan Williams songs, anthems, and carols - for today's mixed-voice choir. It presents unison or treble pieces scored for SATB, creating new repertoire, and provides new accompaniment options and durations that widen the appeal of the pieces for church or concert use. The adaptations may introduce or give new light to the repertoire, yet are complementary to the original settings published as single pieces. John Leavitt, being an experienced conductor, composer, editor, and champion of Vaughan Williams, brings great sensitivity to this process, and knows how best to maximize rehearsal time with choirs of various types and sizes.

Providing a detailed analysis of Bach's Passions, this 2010 book represents an important contribution to the debate about the culture of 'classical music', its origins, priorities and survival. The angles from which each chapter proceeds differ from those of a traditional music guide, by examining the Passions in the light of the mindsets of modernity, and their interplay with earlier models of thought and belief. While the historical details of Bach's composition, performance and theological context remain crucial, the foremost concern of this study is to relate these works to a historical context that may, in some threads at least, still be relevant today. The central claim of the book is that the interplay of traditional imperatives and those of early modernity renders Bach's Passions particularly fascinating as artefacts that both reflect and constitute some of the priorities and conditions of the western world.

for SSA, piano, and optional guitar, bass, and drum kit Samba Mass is a joyous and colourful setting of the Latin Missa brevis. The work is framed by the gentle bossa nova style of the warm Kyrie and relaxed Agnus Dei, which is prefaced by a funky Benedictus. The compelling rhythms of samba come to the fore in the second movement, a vivacious Gloria, which is followed by a beautiful Sanctus that offsets a steady flow of quavers with rhythmic syncopations. The stylistic piano part can be played as written or serve as a guide, and an optional guitar, bass, and drum kit part is available separately for band accompaniment. Performers will enjoy exploring the interplay between voices and the rich, warm colours of the samba and bossa nova styles.

for SATB (with divisions) and organ or chamber ensemble This is an uplifting and celebratory setting of the Latin Missa brevis. The choir may be accompanied by organ, chamber ensemble, or a selection of ensemble instruments in combination with organ, opening up several compelling performance options. Four French carol melodies are woven into the music, and performance with glockenspiel and trumpet bring these particularly to the fore. The chosen carol melodies are often associated with hymns from other Church seasons, making the work suitable for performance throughout the year.

Contents: 1. Magnificat Anima Mea (Coro) 2. Et Exultavit (Aria) 3. Quia Respexit (Aria) 4. Omnes Generationes (Coro) 5. Quia Fecit Mihi Magna (Aria) 6. Et Misericordia (Duetto) 7. Fecit Potentiam (Coro) 8. Deposuit (Aria) 9. Esurientes (Aria) 10. Suscepit Israel (Terzetto) 11. Sicut Locutus (Coro) 12. Gloria Patri (Coro) Unabridged digitally enhanced reprint of the vocal score prepared by musicologist Karl Straube and published by C.F. Peters, Leipzig in the late 19th century. Bach composed the initial version in E flat in 1723 for the Christmas Vespers in Leipzig which contained several Christmas texts. Over the years he removed the Christmas-specific texts to make it suitable for year-round performance, transposing it into D major to provide better sonority for the trumpets. The work is divided into twelve parts which can be grouped into three movements, each beginning with an aria and completed by the choir. This large-format, easy-to-read vocal score, a welcome addition to the libraries of choruses and orchestras everywhere, is completely compatible with the widely available orchestra material reprinted by E. F. Kalmus.

London Town was commissioned and written to be performed by the combined forces of unison children's choir and SATB mixed voices, with piano. The vividly communicative six-movement work, which is accompanied throughout, is full of musical contrasts from the jaunty 'London Zoo' to the solemn 'Lines written in the Tower of London'. The work celebrates London through its six songs and contains texts by Rudyard Kipling, Walter Raleigh, and William Wordsworth alongside new material by Delphine Chalmers and the composer. It has sections for adult voices alone and sections for children's voices alone alongside passages for the two forces to combine as a full choir.

for soprano and baritone soloists, SATB chorus, and orchestra This significant seven-movement work from Cecilia McDowall presents an imaginative pairing of extracts from The Notebooks of Leonardo da Vinci with texts from the Latin Missa pro defunctis. Da Vinci's reflective and penetrating insights into the nature of mortality and all that it encompasses cast new light on the familiar Requiem texts, and McDowall employs her orchestral forces to create a rich, atmospheric backdrop to the profound narrative presented by the chorus and soprano and baritone soloists. Dark, sonorous writing precedes an energetic 'Sanctus', and the closing bars of the luminous 'Lux aeterna' create a powerful allusion to da Vinci's concept of 'The Perspective of Disappearance'.

for SSAA and organ, and optional brass ensemble and timpani Commissioned by Benenden School, Make We Merry is an eight-movement piece which sets texts from the 15th to 19th centuries to a variety of choral textures with a highly characterful accompaniment. A vast array of sentiments is depicted, from quiet expectance and gentle wonder to boisterous jubilation, and the different movements provide a wonderfully paced journey through these moods. The final movement brings back motifs from the opening and grows to a thrillingly climactic ending to this exciting Christmas concert work.

for SATB, piano, and optional guitar, bass, and drum kit Samba Mass is a joyous and colourful setting of the Latin Missa brevis. The work is framed by the gentle bossa nova style of the warm Kyrie and relaxed Agnus Dei, which is prefaced by a funky Benedictus. The compelling rhythms of samba come to the fore in the second movement, a vivacious Gloria, which is followed by a beautiful Sanctus that offsets a steady flow of quavers with rhythmic syncopations. The stylistic piano part can be played as written or serve as a guide, and an optional guitar, bass, and drum kit part is available separately for band accompaniment. Performers will enjoy exploring the interplay between voices and the rich, warm colours of the samba and bossa nova styles. This work was originally commissioned in a version for upper voices by the New Orleans Children's Chorus, Cheryl Dupont, Director, in celebration of the 20th anniversary of the Crescent City Choral Festival, June 2019.

This volume comprises twenty-eight of the finest oratorio choruses, complete short choral works, and movements from masses or requiems from the seventeenth to the twentieth centuries. Drawing repertoire from Britain and mainland Europe, the volume features renowned choruses and familiar cornerstones of the repertoire, as well as some choral discoveries, all in new, carefully researched, and practical editions. Playable piano reductions for rehearsal use are included in the main volume, with a separate volume of purpose-made three-stave organ accompaniments, and newly typeset orchestral material available on rental. Intended for choral societies and cathedral, church, and concert choirs, this is a unique collection of choral classics for mixed voices and orchestra, and an invaluable practical addition to any choir's library.

for upper voices with piano accompaniment and unaccompanied A celebration of Oxford's popular Songbird series, this collection of nine original works for upper voices in two, three, and four parts meets the need for fresh concert repertoire for youth and women's choirs. Featuring well-known composers such as Kerry Andrew, Cecilia McDowall, and Sarah Quartel, the collection includes a variety of styles and moods and a selection of pieces that are all melodically appealing and immediately approachable, with a contemporary twist. Texts from across the years touch on a range of themes, from the empowering to the quirky, with a particular emphasis on the natural world. Performance notes from compilers Neil Ferris and Joanna Tomlinson provide invaluable tips for rehearsal and performance, making this a complete and practical collection for contemporary upper-voice choirs.

Choral Music: A Research and Information Guide, Third Edition, offers a comprehensive guide to the literature on choral music in the Western tradition. Clearly annotated bibliographic entries guide readers to resources on key topics within choral music, individual choral composers, regional and sacred choral traditions, choral techniques, choral music education, genre studies, and more, providing an essential reference for researchers and practitioners. Covering monographs, bibliographies, selected dissertations, reference works, journals, electronic databases, and websites, this research guide makes it easy to locate relevant sources. Comprehensive indices of authors, titles, and subjects keep the volume user-friendly. The new edition has been brought up to date with entries encompassing the latest scholarship, and updated references and annotations throughout, capturing the continued growth of literature on choral music since the publication of the second edition.

for upper voices, SATB, and piano (with snare and tenor drums and solo cello) or chamber orchestra This profound setting of poems by Wilfred Owen explores the idea of the sun as a redemptive force. The sense of human connection and vivid imagery of the natural world imbued in Owen's poetry is perfectly conveyed in Chilcott's music, which is rich in highly effective word painting and melodies as visceral as the poetry itself. The first movement, 'Song of Songs', sets the tone for the work, balancing a sense of reverence and solemnity with hopefulness and optimism, and a poignant and moving setting of Futility is a powerful focal point. Chilcott supplements the choral texture to great effect, with snare and tenor drum creating a mood of expectancy in 'Spring Offensive' and a middle movement for tenor and cello soloists that inhabits a stark musical landscape that blossoms harmonically as the soldier tells of the 'fellowships' and 'beauty' they have found.

Passion Music continues the fusion of jazz and choral music so successfully blended in Will Todd's Mass in Blue. The structure highlights different points in the Passion story, beginning with a new setting of 'Greater love has no man' and including an evocative Stabat Mater, a movement focusing on the seven last words of Christ, and a setting of 'Were you there when they crucified my Lord?'. While some sections are reflective, Todd also makes full use of his understanding of energetic jazz and gospel. The vocal soloist is given plenty of expressive freedom, singing both with the choir and independently to achieve the characteristic jazz-soul style. The seven-piece jazz accompaniment, which is presented in the vocal score as a piano reduction for rehearsal only, completes the ensemble. The vocal score is available on sale and hire. A complete backing track and individual rehearsal tracks for the vocal parts are also available to download.

for sopranos, altos, and unison men with piano or organ or orchestra This collection includes nine of John Rutter's most popular Christmas carols, re-scored by the composer into three parts: for sopranos, altos, and unison men. From 'Star Carol' to 'All bells in paradise', these festive favourites continue to delight choirs and audiences across the world.