for SATB and organ or piano How excellent is an upbeat and celebratory work setting the composer's own paraphrase of Psalm 8. It features exciting and declamatory opening and closing sections with a contrastingly calm and legato central section, evoking this well-known scriptural text. The accompaniment should ideally be played on organ, but piano may be used if necessary.

for alto solo, SATB (with divisions), and guitar Following a collaboration with Katie Melua on her 2016 album 'In Winter', on which she worked with the Gori Women's Choir from her native Georgia), Bob Chilcott has created ans evocative and stirring arrangement of Rachmaninov's celebrated fifth movement of the Vespers (or 'All-Night Vigil'), which may be performed in Russian or in English.

for SATB double choir unaccompanied or SATB (with divisions) and organ This anthem is a tender setting of a prayer by the 13th-century bishop St Richard of Chichester. It features on The King's Singers' albums High Flight (SIGCD262) and Christmas Presence (SIGCD801).

for SATB, violin, and piano A Prophecy of Dawn is an artfully crafted setting of a beautifully descriptive poem by Matthew Meiklejohn, who was awarded the Victoria Cross for his actions in the Second Boer War. The piece is rich in contrasting material, some of which recapitulates, and many of the text's images are apparent in the music, for example lively birdsong in the violin and a radiant shift into a major key at the poet's first mention of dawn. The violin part contributes much to the setting, and is permitted moments of virtuosity amidst the energetic piano writing and expansive choral textures.

for SATB double choir unaccompanied This optimistic and affirmatory anthem sets a useful service text of general thanksgiving from the Book of Common Prayer. Chilcott makes full use of the imitation and antiphonal effects that these forces enable, while keeping the vocal lines and part-writing well within the capabilities of most church choirs.

This delicate, spring-like poem, by poet Kevin Crossley-Holland, is an affectionate salutation to a newborn babe. The poet tells that the parents couldn't decide on a name for their baby, and that instead of imposing an inappropriate name on her, they will welcome her into the garden of the world and wait for her to 'declare' herself. After a hushed introduction of whispered welcomes, the voices burst into a dance-like song in celebration of the new arrival's homecoming.

for SATB double choir and organ or orchestra or brass ensemble This renowned anthem was written for the coronation of Edward VII in 1902, and has been performed at all subsequent British coronations. This edition presents the 1911 version prepared by the composer for the coronation of George V, with the 'Vivats' as written for that occasion and an alternative editorial text by John Rutter that enables the anthem to be performed in its complete form on any suitable occasion. Rutter's fascinating editorial preface provides interesting contextual notes and informative performance considerations. Orchestral scores and instrumental parts for full and reduced orchestrations and for a version for brass, organ, and optional timpani are available on rental.

for children's choir (SS) and piano These charming settings of riddles by Bob Chilcott's long-term collaborator Charles Bennett were originally published as part of the environmental cantata The Angry Planet. Simple, yet highly effective, each has a subject taken from nature. Here rescored for two-part children's choir (SS) and piano, they may be performed individually or as a set.

for unison upper voices, solo violin, and organ or piano Bednall's beautiful setting of this much-loved prayer is warm, simple, and immediate. The vocal line is expertly lyrical and the accompaniment suitably supporting, with a serene line for solo violin that soars above the texture. Ave Maria was recorded by Benenden Chapel Choir, conducted by Edward Whiting, Jennifer Pike (violin), and David Bednall (organ) on the CD 'Stabat Mater' (Regent, REGCD481).

for SATB and organ/piano with optional congregation Paul Drayton's setting of three stanzas from Laurence Binyon's poem 'For the Fallen' is poignant, dignified, and atmospheric. A serene and expressive refrain for unison voices (which the congregation may join in if desired) is interposed between evocatively turbulent passages for SATB choir. The accompaniment should ideally be played on the organ, but may be performed on the piano if organ is not available.

These four splendid anthems were composed for the coronation of George II in October 1727 and have since retained a position at the heart of the English choral tradition. The popular anthem Zadok the priest has been performed at all subsequent coronations, and Handel's other contributions to the royal occasion - Let thy hand be strengthened, The King shall rejoice, and My heart is inditing - have the same majestic grandeur, with affecting contrasts between different sections of the sacred texts. The editor, Clifford Bartlett, has corrected various inconsistencies in Handel's score, and complete details of sources and editorial method, additional performance notes, and a critical commentary can be viewed in the companion full score available on hire. This continuo part is also available as part of the wind set.

for SATB unaccompanied Following a collaboration with Katie Melua on her 2016 album 'In Winter', Bob Chilcott has made a choral arrangement of this traditional Ukrainian carol, first introduced to the English-speaking world as 'Carol of the Bells', with lyrics that link it to Christmas. Here the original is presented in Ukrainian and English, with haunting and atmospheric folk motifs distributed between the parts.

for SATB unaccompanied This gentle anthem is built around a warm, hymn-like refrain, which gives way first to a free-flowing and expressive section and then to a more sombre section. With a Latin text from Ruth 1, this affecting piece with highly-expressive harmony will serve well for weddings, services, and concerts.

for SATB (with divisions) and piano The Music of Stillness is a beautiful and emotive setting of Sara Teasdale's poem 'There Will Be Rest'. Sonorously scored choral phrases conjure up images of 'stars shining, rooftops covered with snow, crystal peace...finding the music of stillness'. Following a serene opening, the piece rises and falls through both affecting climaxes and passages of great tranquility, ending with the same sense of stillness with which it begins.

for SATB (with divisions) unaccompanied This piece sets a poem by Amy Lowell, vividly conveying the effect of the wind through a moving tapestry of eighth notes/quavers intertwined between the different voices. The melody floats over this breeze-like ostinato, sometimes effervescent, sometimes reposed. The piece concludes much like it begins, with a sense of calm and restfulness towards the nocturnal journey.

for SA/SATB and organ with optional percussion This is a jaunty and original setting of the popular carol 'Rejoice and be merry', flexibly scored so that the tenor and bass parts are optional. It has been recorded by Tenebrae (conducted by Nigel Short) on the album A Very English Christmas (SIGCD902).

for SATB unaccompanied with hand drum Sing, my Child sets a joyful text celebrating the beauty found all around us in everyday life. Characterized by tight harmonies and a dynamic percussion line, the buoyant 7/8 metre of the opening drives the piece forward. Lush harmonies colour the hymn-like B section as the text evolves into a call for strength despite the troubles that may come. Commissioned for a mass choir of over 700 singers, this piece is well-suited for combined choir projects or as a rousing and meaningful close to a concert.

for SSAA unaccompanied, with optional handbells This compelling a cappella setting of Henry Van Dyke's poem has a continual sense of motion, created by the 7/8 metre and scat singing style that is passed around the parts. This is a powerful and uplifting anthem for general worship.

for SATB and piano or orchestra Setting two verses of the Irish traditional carol, Wilberg's version opens simply with unaccompanied unison men, before the piano creeps in gently. Upper voices take over and an imitative section leads to a more dramatic, thicker-textured section. The carol melody's slightly haunting, modal qualities are complemented by colourful harmonic touches, and a final statement of the melody in the piano brings the piece to a calm close. The Mormon Tabernacle Choir and Orchestra at Temple Square have recorded this piece with orchestral accompaniment on the CD Hallelujah! (SKU 5157246).

for SATTBB unaccompanied With a text by the composer, this secular carol is a true celebration of all that we love about the festive season. Owain Park's arrangement presents a new take on this Christmas classic, drawing on Rutter's evocative orchestral colours to create this characterful and heart-warming arrangement for a cappella voices. This arrangement of The Very Best Time of Year has been recorded by The Choir of Trinity College, Cambridge, conducted by Stephen Layton, on the album Yulefest! (Hyperion, CDA68087).

Flute and harp parts for Bob Chilcott's easy and original setting of the well-known Rossetti text.

for SATTBB unaccompanied This lively and joyous arrangement of the folksong 'Montagnarde' from the Haute-Auvergne region of France makes playful use of the call of the cuckoo in a catchy refrain. 'Montagnarde' is featured on the Tenebrae CD Sun, Moon, Sea, and Stars (Signum, SIGCD903).

for SATTBB unaccompanied Chilcott's arrangement of 'Viens par le pre', a folksong from the Haute-Auvergne region of France that presents a heartfelt expression of love, is tender and expressive, with rich, warm harmonies. 'Viens par le pre' is featured on the Tenebrae CD Sun, Moon, Sea, and Stars (Signum, SIGCD903).