for TTBarBB and percussion
This is a powerful setting of a darkly vivid poem by Edwin Brock, which explores the theme of the futility of war. Scored for male voices, with jumpy rhythms and chromatic harmonies, the music is vigorous, exciting, and menacing.

for SATB choir (with soprano solo) and strings or keyboard This beautiful and moving piece in seven sections combines text from the Ave maris stella antiphon and Psalms 26 and 106. Starting and finishing in a mood of peace and certainty, the work is structured around a turbulent middle section anticipating the gathering storm. Orchestral material and vocal scores are available on hire/rental.

for SATB (with divisions) and viola obbligato Beach is taken from the song cycle 'Songs for Seven Storeys', which Bob Chilcott wrote to celebrate the opening of the New Evelina Children's Hospital. Combining a nostalgic melody with a haunting viola obbligato, this introspective song beautifully captures the memory of the seaside.

for SATB, baritone solo and orchestra A newly engraved edition of this vibrant choral work and fully compatible with the new Walton Edition full score. There are minor adjustments to the piano reduction to improve playability and the text underlay is now English only, as Walton's original.

for unison children's choir, SATB choir, and piano or strings This beautiful song combines a melodic setting of Christina Rossetti's 'A Birthday' with Robert Burns's 'A Red, Red Rose', sung to the tune of a traditional Scottish ballad. Both themes are imbued with a sense of happiness and contentment with the world, and the interplay between the melodies results in a truly stirring finish. Also available for SATB and piano or strings.

for SATB choir, cor anglais (or clarinet in A or viola) and organ This reflective setting of verses from Psalm 139 opens with a folk-like melody from the cor anglais. The work grows in intensity with sombre choral harmonies, leading to an ecstatic climax; it then gently subsides, tailing into silences with a return to the opening cor anglais melody. The work is a highly effective Lenten or contemplative anthem.

SATB (with divisions) unaccompanied Am Abend is a setting of 'Grodek', which is thought to be the last work of the Austrian poet Georg Trakl. Written in 1913, the year before Trakl committed suicide at the age of 27, the poem is set in the town of Grodek on the Eastern Front, where he had served as a medical officer. Jackson's setting is agonizingly moving, opening with an eerie alto melody before the rest of the choir enter with haunting harmonies and cluster chords, reflecting the darkness of the text. Grace notes and glissandi add an Eastern flavour and evoke the 'wild lament' and 'dark flutes' of Trakl's poem. Jackson's setting builds to a powerful climax, before the altos close with a quiet, repeated fragment on 'die ungebornen Enkel' ('the unborn grandsons'). First performed by the BBC Singers, directed by Paul Brough, at Milton Court Concert Hall, London, on 11 February 2016.

for SSA and piano or string orchestra or full orchestra This is an exuberant and animated chorus from the cantata In Windsor Forest, which was itself adapted from the opera Sir John in Love. The text is from Act II, Scene 3 of Shakespeare's Much Ado About Nothing, and features the women's chorus gleefully denouncing men as 'deceivers'. The colourful orchestral accompaniment is available on hire in versions of full orchestra or string orchestra and piano.

The Campaign Choirs Network is a loose affiliation of like-minded choirs across the UK sharing a belief in a better world for all and dedicated to taking action by singing about it; the Campaign Choirs Writing Collective is a part of that network. The book intends to inspire the reader to engage with this world: to find out more, to join a choir in their community, to enlist their local street choir to support campaigns for social change and, more generally, to mobilize artistic creativity in progressive social movements. It is an introduction to street choirs and their history, exploring origins in and connections with other social movements, for example the Workers Education Association, the Clarion movement, Big Flame and the Social Forum movement. The book identifies the political nodes where choir histories intersect, notably Greenham Common, the Miners' Strike, anti-apartheid and Palestinian struggles. The title of the book is taken from a song by the respected American musician and activist Holly Near, and is popular in the repertoire of many street choirs. Exploring the role of street choirs in political culture, Singing For Our Lives introduces this neglected world to a wider public, including activists and academics. Signing for Our Lives also elaborates the personal stories and experiences of people who participate in street choirs, and the unique social practices created within them. The book tells the important, if often overlooked, story of how making music can contribute to non-violent, just and sustainable social transitions. www.singing4ourlives.net/about.html

The Campaign Choirs Network is a loose affiliation of like-minded choirs across the UK sharing a belief in a better world for all and dedicated to taking action by singing about it; the Campaign Choirs Writing Collective is a part of that network. The book intends to inspire the reader to engage with this world: to find out more, to join a choir in their community, to enlist their local street choir to support campaigns for social change and, more generally, to mobilize artistic creativity in progressive social movements. It is an introduction to street choirs and their history, exploring origins in and connections with other social movements, for example the Workers Education Association, the Clarion movement, Big Flame and the Social Forum movement. The book identifies the political nodes where choir histories intersect, notably Greenham Common, the Miners' Strike, anti-apartheid and Palestinian struggles. The title of the book is taken from a song by the respected American musician and activist Holly Near, and is popular in the repertoire of many street choirs. Exploring the role of street choirs in political culture, Singing For Our Lives introduces this neglected world to a wider public, including activists and academics. Signing for Our Lives also elaborates the personal stories and experiences of people who participate in street choirs, and the unique social practices created within them. The book tells the important, if often overlooked, story of how making music can contribute to non-violent, just and sustainable social transitions. www.singing4ourlives.net/about.html

for SATB with optional bass solo and piano or orchestra This chorus, brimming with melody, rhythm excitement, and orchestral color, has been extracted from Borodin's opera. A Russian transliteration has been included along with an English singing translation. Orchestral material is available on rental.

for SATB (with divisions) and small orchestra This setting of a song from Act II of Shakespeare's As You Like It was originally published as part of John Rutter's cycle of six choral settings with small orchestra When Icicles Hang. This set contains: 1 x fl 1, 1 x fl 2, 1 x hp, 1 x hpschd, 4 x vln 1, 4 x vln 2 3 x vla, 2 x vc, 1 x db

Ever since its premiere in 1994, Thomas Ades' first string quartet, Arcadiana has been captivating audiences with its evocations of vanishing, vanished, and imaginary idylls. Of all the work's movements it is O Albion that has most captured the imagination of listeners: seventeen sighing, devotissimo bars that, in only three minutes, conjure a whole emotional world. This arrangement for SSAATTBB voices was created by Jim Clements for vocal group Voces8, who recorded it for Decca in 2018. It sets a line from William Blake's Visions of the Daughters of Albion: 'The Daughters of Albion hear her woes, and echo back her sighs.' A piano part is included for rehearsal.

for SATBarB unaccompanied The shades of Finzi and Vaughan Williams are strongly present in these three delightful unaccompanied choral settings, and yet the style and execution are wholly Rutter's own. O mistress mine is a jaunty jazz waltz, Be not afeard casts a dreamy spell with dusky sonorities and magical harmonies, and Sigh no more, ladies brings the set to a cheerfully melodious and high-spirited conclusion.

In this unaccompanied motet Vaughan Williams sets a text by the English poet John Skelton (c.1463-1529). The music captures the spirituality of the text with floating choral lines and a sophisticated harmonic language, employing eerie dissonances to create a sense of otherworldliness. The work carries the following dedication: 'To the memory of my master Hubert Parry not as an attempt palely to reflect his incomparable art, but in the hope that he would have found in this motet (to use his own words) 'something characteristic'.'.

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 are included.