Mass for Mariazell-Missa Cellensis Hob.XXII:8 'Mass for Mariazell'Urtext: J. Haydn Werke Henle Verlag Score containing alsoMissa brevis Sti Joannis de Deo (Little Organ Mass) (Hob.XXII:7)Missa in Tempore Belli (Pauken Mass) (Hob.XXII:9)Missa Sti Bernardi von Offida (Heilig Mass) (Hob.XXII:10)Appendix: Inter alia the version of the Gloria from (Hob.XXII:7) from Michael HaydnIn March 1781 one of Haydn’s friends Anton Liebe a member of an old and distinguished Austrian military family was raised to the nobility. He seems to have asked his friend Joseph Haydn to write a festive “thankoffering” in the form of a Mass for the famous pilgrimage church of Mariazell in Styria. Haydn began the work in 1782 and recently the original parts to the Missa Cellensis were found in the organ loft of the splendid baroque church at Mariazell.Haydn’s “Mariazellermesse” has always been one of his most popular works. The “Volkstümlichkeit” (which one might translate as “down to-earthiness”) the miraculous fusion of polyphonic forms with the language and form of the Vienna classical school – note that the Kyrie is in sonata form with shortened recapitulation and coda – the brilliant orchestration to which the trumpets and drums contribute so much festive joyousness: all these have won the hearts of audiences everywhere whenever the Mass was given.- Urtext from Joseph Haydn Werke- Full score parts and vocal score available for sale

Gabriel Jackson's Cantate Domino for SATB and Organ.This setting of Psalm 95 written for Truro Cathedral Choir was shortlisted for a BASCA British Composer Award 2013. Evocative and subtle in its use of colour and texture the piece has independent Organ passages an intense musical climax and a last verse akin to a gentle chorale.

Michele Weir has given this 1967 pop hit by Dionne Warwick a fresh treatment that is ideal for jazz pop solo and group concert choirs!Cascading vocal phrases and a contemporary Keyboard part add an interesting twist on this 60's classic!

Commissioned by Marty F. Myers for John Scott and the choir of St Thomas' Church New York. First performance on 23rd December 2006 at the 4pm Festival of Nine Lessons and Carols given by the choir of St Thomas' Church conductedby John Scott.

Veni Sancte Spiritus composed by Howard Goodall for SATB choir was commissioned by Tim Hastie-Smith for the meeting of the Headmasters and Headmistresses' Conference in 2008. The first performance was given by Dean Close Chamber Choir conducted by Benjamin Nicholas at the Conference Service in Westminster Abbey on Tuesday 30th September 2008.   This piece is from Faber's Choral Signature Series which introduces a wealth of new or recently written choral music to choirs in search of fresh repertoire. the series draws in a rich diversity of living composers and includes both lighter and morechallenging contemporary works offering a thrilling array of varied styles.

This 2-minute work for choir SATB was first performed by the Cumnock Tryst Festival Chorus conducted by Eamonn Dougan on 6 October 2019 at the Cumnock Tryst Festival.

Ave Verum Corpus Re-imagined. This beautiful 5-minute piece takes William Byrd?s famous motet and re-imagines it for 3 unaccompanied SATB choirs, with opportunity to space the choirs at a distance from each other.

Written for SATB choir and organ.Commissioned by the Norfolk and Norwich Festival and first performed on Saturday 6 May 2006 by the Festival Chorus and Academy of Ancient Music conducted by John Aplin at Norwich Cathedral.

Vocal Score to Malcolm Archer's setting of Jesus Christ The Apple Tree for SATB choir and Organ. Archer's beautiful version of this well-known text provides a wonderful alternative to more familiar versions. This charming Advent carol is also available in a version for upper voices.

Anthem taking words translated from the Proper of the Sunday after Ascension for SSATB Choir and Organ ad lib. Edited by William McKie.

For 11 voices in 3 choirs instruments and continuo.The Scala Aretina is Valls' best-known work taking its name from the Guidonian hexachord upon which it is constructed. The mass gave rise to one of the most contested controversies in the history of music: in the Qui Tollis of the Gloria the entry of the 2nd choir soprano forms an unprepared ninths - certainly an infringement of the rules of harmony. This sparked off an unprecedented battle among Spanish musicians as to the value of rules in musical composition and the value of pleasing the ear as an aesthetic principle as opposed to artistic freedom.