The Manchester Carols is an inspired collaboration between composer Sasha Johnson Manning and Poet Laureate Carol Ann Duffy. A collection of 12 carols linked with a gentle entertaining narration which reshape and modernise the Christmas story. Its creators wanted to write something that is relevant to and reflects modern society and which acknowledges the fact that even though someone might not subscribe to the religion behind the Nativity story they can still appreciate it as an inspiring magical tale. The carols are for everyone believers or not. Duffy uses the Christmas story as a metaphor for human experience giving usup-close and personal insights into the central characters of the nativity – Mary Joseph a newborn baby and a ‘golden youth’ (aka the Angel Gabriel). As Duffy herself says: 'I think the story is wonderful. There’s a lot we can take from it on a human level even if we don’t take the divine element.' There are hints too of the darker grittier side of the Nativity story – refugees poverty giving birth on the road; and looking further forward there are hints of Jesus’ fate on the cross. These carols were written in Manchester in 2007 and first performed by children from several Manchester schools at The Royal Northern College of Music (and again in 2008). All of us who worked on them – librettist composer artist conductor teachers musicians and singers – live and work in that great city. And so these are and will forever be  The Manchester Carols'.

Matthew Martin's setting of Adam Lay Ybounden was first performed by the Choir of Westminster Cathedral at St. George's Hanover Sqaure London on December 19th 2006.  You can purchase the sheet music arranged for Mixed Voices and Piano Accompaniment released as part of the Faber Choral Signature Series.  Matthew Martin was educated at Magdalen College Oxford and at the Royal Academy of Music London. He subsequently held positions at New College Oxford and Canterbury Cathedral before moving to Westminster Cathedral as Assistant Master of Music in 2004. He is an active composer organ recitalist improviser and conductor. Recent commissions have come from The Cardinall's Musick Westminster Abbey Westminster Cathedral and St. Paul's Cathedral. 

Matthew Martin's setting of Ecce Concipies was written for Andrew-John Smith and the Choir of St. Peter's Church Eaton Square London.Matthew Martin was educated at Magdalen College Oxford and at the Royal Academy of Music London. He subsequently held positions at New College Oxford and Canterbury Cathedral before moving to Westminster Cathedral as Assistant Master of Music in 2004. He is an active composer organ recitalist improviser and conductor. Recent commissions have come from The Cardinall's Musick Westminster Abbey Westminster Cathedral St. Paul's Cahedral and St John's College Cambridge.This piece is from Faber's Choral Signature Series whichintroduces a wealth of new or recently written choral music to choirs in search of fresh repertoire. the series draws in a rich diversity of licing composers and includes boith lighter and more challenging contemporary works offering a thrilling array of varied styles.

Included In Collection: 1. O Lord Of Every Shining Constellation.2. True-Hearted Whole-Hearted (HMC1484).3. There Is A Green Hill.4. In Full And Glad Surrender.5. Once In Royal Davids City.6. Away With Our Fears.7. Take My Life.8. All Things Bright And Beautiful.9. Who Is On The Lords Side.

An oratorio for SATTB soli SATB chorus and orchestra edited and the piano accompaniment arranged by Vincent Novello.

Brahms' famous German Requiem held by some to have been written in memory of Schumann by others in memory of the composer's mother. This work was written for Soprano and Baritone soli SATB chorus and orchestra. Edited with a new English translation by Michael Pilkington.

Edited with a new English translation by Michael Pilkington. The English translation in this edition is entirely new and attempts to provide a translation of van Swieten's text that fits Haydn's music. The style used tries to give some flavour of eighteenth-century language while being easily intelligible today being an eighteenth century work.Arranged for soprano tenor and bass soloists SATB and orchestra. English/German edition.

Schubert’s simple yet poignant setting of the first four stanzas of the Passiontide text is a gem. Brian Newbould’s edition prepared from the composer’s original manuscript will be welcomed by choirs large and small seeking fresh repertoire for concert or church use.Available here is the Vocal score for SATB Choir with Piano or Organ accompaniment as edited by Brian Newbould. Latin text.

Psalm 109 for SSAATTBB soli and chorus instruments and organ continuo.This version is edited from the Selva Morale Et Spirituale Venice (1641) by John Steele.Vocal score with organ/piano accompaniment.

For SAATBB soli SSAATB chorus and instruments. Edited by Peter Dennison.This vocal score includes a piano reduction of the instrumental score.

Edited with additional material from the Salzburg version“In Italy nowadays this term (motet) is applied to a Latin sacred solo cantata consisting of two arias and two recitatives concluding with an Hallelujah and sung during the Mass following the Credo generally by one of the best singers.” One composition matching this description is the solo motet Exsultate jubilate K. 165/158a which Mozart wrote in Milan early in 1773 following the highly successful performance of his opera Lucio Silla.In 1978 when the music manuscripts in Bavaria were being sorted and cataloged in a project sponsored by the Deutsche Forschungsgemeinschaft a set ofmanuscript parts for a previously unknown second version was discovered in the town parish church of St. Jakob in Wasserburg am Inn. The music and text of the concluding Alleluja movement were written out by the Salzburg court bassoonist and copyist Joseph Richard Estlinger (c. 1720–1791) who frequently worked for Mozart and his father.The vocal text of this Salzburg manuscript departs from that of the Milan version in the first aria and in the recitative. It was entered in a different hand. The Salzburg version of the text is clearly related to the feast of the Holy Trinity. There is much evidence that this version was sung for the first time in the Dreifaltigkeitskirche on 30 May 1779 (i. e. Trinity Sunday) by the Salzburg male soprano Francesco Ceccarelli during a service mentioned by Nannerl Mozart. On that day Leopold and Wolfgang Mozart together with Ceccarelli were invited to the church’s vicarage at midday. The additional text underlaying of the first aria enabled the solo motet to be employed for the Christmas service as well.- Urtext of the New Mozart Edition- Full score performance material (BA4897) and vocal score (BA4897-90) available for sale

Fifty Nifty United States is a distinguished “Shawnee Classic” from the Shawnee Press educational catalog. It is a perennial best-seller that is as delightful today to hear and perform as when it was firstreleased. In upcoming patriotic celebrations Fifty Nifty United States will be just what you need. A delightful patriotic novelty that will remind the audience of all 50 states.