for SATB double choir unaccompanied Lightly come or lightly go is a playful setting of James Joyce's poem of the same name for SATB double choir. The second choir carries the titular words as an arching ostinato, while choir one presents the main body of the text through characterful melodies and word painting. The two choirs portray the conflicting emotions expressed in the poem demonstrated by the closing line: "Love and laughter song-confessed When the heart is heaviest".

for SATB (with soprano solo) and harp or organ or percussion or orchestra Written for Suzi Digby and her choir Ora, this gentle, sacred, and lyrical setting complements the well-known 15th-century text from the Sloane MS: 'A babe is born all of a may, to bring salvation unto us'. The carol may be performed with accompaniment of harp, organ, percussion, or orchestra: the vocal score carries the organ part; the harp and percussion parts are available separately for purchase; and the orchestral material is available on hire/rental.

for SSATB unaccompanied This simple and exquisite miniature keeps the text, the fourth-century Latin Hymn to the Virgin Mary, at the fore, with instructions from the composer to accent the melodic lines according to word stress rather than position in the bar. The musical style is a fusion of old and new, with plainchant-like melodies and tonality set against expressively dissonant contemporary harmonies. Tota pulchra est was recorded by The Epiphoni Consort on the CD David Bednall: Sudden Light (Delphian, DCD34189)

for SATB and organ or piano Chilcott's setting of St Benedict's sixth-century prayer begins with a gentle recurring figure in the keyboard, graduallly building to a rousing climax. The primarily homophonic texture allows the timeless text to shine through, while the expansive vocal writing and expressive use of harmony create a sense of awe towards the Almighty God.

for SATB and organ Chilcott's setting of Psalm 96 is bright, optimistic, and celebratory. The sparkling organ part and fluctuation between 7/8 and 4/4 metres give the opening and closing sections a dance-like feel, while the central section is still, soft, and reflective.

for SATB and organ Francis Jackson's spirited setting of Psalm 150 is steeped in the English choral tradition. With contrapuntal writing, engaging interplay between choir and organ, effective word painting, and virtuosic organ writing, O praise God in his sanctuary is a welcome addition to the service repertory.

for SATB unaccompanied This setting of a tune from The Sacred Harp is strong and march-like, with accented rhythms and percussive vocal lines contributing to a rousing overall effect. It was originally published as part of Mack Wilberg Anthems and is also available in a version for TTBB unaccompanied.

for SATB unaccompanied A partner antiphon to Bednall's Ave Regina caelorum, Alma Redemptoris Mater is a tender and expressive setting. In turn, this pair of antiphons compliments Herbert Howells's setting of the other two Marian antiphons (Salve Regina and Regina Caeli), making for compelling programming. Triplet movement and changing metre create a sense of ebb and flow and harmonic and melodic interest provoke a sense of peaceful expectancy.

for SATB unaccompanied This high-energy, majestic setting of well-known words from the psalms is a welcome addition to the service repertory. The changing metre brings the text to the fore, and the semiquaver movement that passes between parts creates a sense of motion and drive that is fitting for this uplifting and joyous hymn of praise.

for SATB (with divisions) unaccompanied Ethan McGrath's setting of this well-known fourteenth-century macaronic text is expressive and rich, both harmonically and emotionally. The melodies have a chant-like quality and the metrical changes create a compelling ebb and flow. This carol is evocative of an ancient choral tradition, while at the same time offering a fresh choral sound.

for SATB (with divisions) and piano This dramatic and majestic anthem sets verses from Isaiah, starting with an appeal to God to show himself and his power, followed by an admission of human sin, finishing with an affirmation that we are all God's people. The choral parts are largely homophonic, except for an effective unaccompanied fugal central section, and optional high soprano notes are included towards the end for added dramatic effect. The piano part makes full use of the instrument's range and features vibrant scalic and arpeggiated flourishes, tremolos, and rhythmic, accented chords.

for SSA and piano Grow is a warm and heartfelt setting of words by the composer that celebrate human personal growth, comparing this to the season change from winter to spring. A rocking piano part underpins the eminently singable vocal lines, and a scat section draws the piece to a reflective close.

for SATB unaccompanied This lively reimagining of the traditional hymn is a thrilling a cappella arrangement which pairs the soaring legato melody with a rhythmic vocal accompaniment. Together, these elements capture both the gentle hope and the profound joy contained in the text. Also including moments of tenderness and reflection, the piece comes to a rousing close with an energy that engages singers and audience alike. Also available in a version for SSA unaccompanied.

for SATB and piano or orchestra This setting of Adolphe Adam's beloved Christmas carol employs rich choral textures and a flowing piano accompaniment to create a rousing overall effect. Opening gently, the intensity builds gradually towards a stirring, powerful ending. Also in the anthology, An American Christmas.

for SSA and piano This original suite sets anonymous instructions found in packaging to general household goods, providing amusing and theatrical highlights as well as musical interplay and formal episodes. The three contrasting movements are contemporary yet accessible in style, with catchy melodies and jazz-inspired harmonies.

for SATB and piano or organ This light-hearted arrangement of Sussex Carol is a guaranteed crowd-pleaser and perfect encore. The familiar tune comes with a modern twist, with a driving rock beat, innovative harmonisations, and playful imitation. Accessible for choir and accompanist alike, Crawford's arrangement is suitable for all types of ensemble.

for SATB and organ This lively piece sets the first six verses of Psalm 105 in a song of praise packed with energy and fervour. A dazzling and spirited organ part is present throughout, featuring spritely triplet figurations set against long, melodic lines in the voices. Suitable for both church and concert use, this piece will inject joyful vigour into any programme.

for SATB (with divisions) unaccompanied Based on Frances Anne Kemble's poem 'An Entreaty', this enchanting piece describes the experience of leaving a beloved time and place. Lush, expressive harmonies and lyrical melodies create a touching musical manifestation of Kemble's poignant words.

for SATB, flute, clarinet, and piano The snow is fled is a beautiful setting of an English translation of one of Horace's Odes. Chilcott employs a variety of choral textures, crunchy harmonies, and a rippling triplet piano accompaniment to complement the imagery of Horace's ode to nature and the cycle of the seasons. Mellifluous countermelodies from the flute and clarinet add further colour to the overall picture.

for SSAA and piano This serene, reflective anthem is a rich addition to the Choral Evensong repertoire. Chilcott artfully entwines an original setting of William Fuller's 'Evening Hymn', most famously set by Henry Purcell, and the plainsong melody for the Latin hymn 'Te lucis ante terminum', in J. M. Neale's English translation. Grounded in minor tonalities, the anthem makes use of a semi-chorus of altos and sopranos for the hymn tune, juxtaposed with compelling and complementary melodies in the other parts, building to a resolute final section before a peaceful 'Amen'.