There's a place for heavy souls where grace abounds and healing flows and the lost are welcomed home - at the cross. Available separately: SATB CD Accompaniment Trax Orchestration. Duration: ca. 3:50.

Peter Lawson's Tunes From The Trenches - Songs From World War One for Choir and Orchestra or Concert Band or Choir and Piano.A non-stop medley of tunes from World War One from recruiting through to the Last Post. This arrangement can be performed by a Choir with either an Orchestra band or piano accompaniment. There are different choral versions available for Mixed Voice Choir - both SATB (GM131) and for those with a shortage of male voices SA Men (GM134) - for Upper Voice Choir (SSA - GM132) and for Male Voice Choir (TTBB - GM133). The orchestra score and parts (GMCP020) can be used either on its own or to accompany a choir.Therecruiting song 'Your King and Country Want You' starts us off followed by 'Goodbye Dolly Gray' as the soldiers leave for war. 'Belgium put the Kibosh on the Kaiser' is followed by some proper trench songs - various lyrics were improvised by the soldiers!! - 'Three German Officers crossed the Rhine' and 'They were only playing Leap-Frog'. 'The Bells of Hell go Ting-a-ling-a-ling' leads to strains of 'Stille Nacht' recalling the Christmas truce. 'When this Lousy War is Over' and 'There's no place like Home' are balanced by 'Land of Hope and Glory' before the Americans arrive with 'The Caissons go Rolling Along' and 'Over There'. 'It's a Long Way to Tipperary' brings us towards a rousing finish save for an optional 'Last Post-lude' to end reflectively.

Smooth and elegant vocal styles featuring two short solos and a lush piano accompaniment and orchestration are in this arrangement of the classic holiday song Home for the Holidays. Just what you would expect from Mark Hayes - apicture-perfect musical postcard for your holiday concert.

Blake Fragments was written for performance in Frank Lloyd Wright's iconic Guggenheim Museum in New York City and calls for the solo voices to be placed in various positions on the concentric rings that rise up from the central rotunda. In subsequent performances this configuration will generally be impossible but the soloist arrangement that was used is included should performers like to respond in some fashion to the original arrangement. The piece may be performed with the four soloists singing within the main chorus though some spacial separation on a single level or additionally using a balcony or backstage might better dupicate the original intentions. To allow fordifferent positions the four solo parts may be sung by more than four choral members (in the premiere there were two different sopranos covering the soprano part.)

In his use of authentic Englsh folksongs Gnostic texts and Vedic hymns one can discern Holst’s search for a compositional Voice beyond the constraints of the European canon in the early 1900’s. In 1916 hepublished Six Choral Folk Songs of which Hampshire folk tune The Song of the Blacksmith is the fourth.Holst uses the power of his mixed Voice Chorale to set the song among onomatopaeic syllables to evoke the smithy. The song isone verse long which Holst repeats not quite completely three times like the endlessly spinning thoughts of a rejected lover. There are many time signature changes between 4/4 and ¾.Gustav Holst has earned a place amongthe most revered of late 19th and early 20th century composers and is best known for his enduring Orchestral suite The Planets.

Teaching his disciples about service and servanthood Christ gently bathed the feet of his followers and bid them to do the same. “A Servant's Song ” from the cantata Colors of Grace moves from the belovedAmerican folk hymn “What Wondrous Love ” into a moving and inspiring retelling of Christ's incredible gesture of love toward the disciples. Beautiful imagery in the text calls all Christians to take the towel andbasin and use them well. Taking up a tattered garment Jesus laid aside His crown. There before His own creation Jesus took a servant's place... What an amazing lesson in grace.

Uses: Reflection ConcertScripture: Isaiah 40:31Once you begin hearing this piece you are drawn in...you want to sing it. The “eagle's wings” text is one of the most frequently set tomusic and yet this one sounds like it has always been there but not revealed until now. The essence of “wait” is captured in the opening section which gives way to a new tempo building with the “mounting onwings.” The true soaring takes place with a 12/8 meter the voices building in triumph. A final return to the “waiting” theme provides an assurance that has permeated the entire composition. Excellent for churchand school.

Uses: General LentScripture: Psalm 22:4-5 Ephesians 1: 12-13There is a timeless quality to the message of this well-known hymn text and when lifted from the pages of the hymnal and placed in thisnew musical framework it becomes an expressive testimony of faith to the grace of the Savior. Rich melodic lines and luxurious harmonies move the anthem into the listener's heart with a sacred word of assurance.

Music runs through the story of Arion which begins with a singing competition in Sicily. Arion wins the prize and this puts his life in danger: his newfound wealth excites the greed of the sailors who are supposed to be bringing him back to Corinth and they threaten to kill him. They allow Arion to sing one last song and the power of his singing attracts dolphins to the ship.  At the end of his song he jumps overboard and one of the dolphins carries him to safety.  So Arion’s musical gift gets him into trouble but it is also his salvation.   The idea of being rescued by a music-loving dolphin is very appealing. In Robert Graves’account of the myth the dolphin could not bear to be parted from Arion and accompanied him back to court where “it soon succumbed to a life of luxury.”  However Herodotus says that after his rescue and return to Corinth Arion failed to return the dolphin to the sea and it died there.  Apollo placed the dolphin among the stars and next to it Arion’s lyre in recognition of his musical skill.  This is one of the mythical explanations of the origins of the constellations Delphinus and Lyra. It seems natural to sing a story that has singing at its heart. When I was asked by the Nicholas Berwin Charitable Trust to write a choral work for Making Music something that would be within reach of many choirs and involve children this story struck me as ideal: the men of the chorus could be the bloodthirsty sailors and the women could create an atmosphere of mystery for the arrival of the dolphins represented by children’s voices. There would be one solo voice: Arion the marvellous singer. Andrew Fardell the conductor who was advisor to this commission had suggested that I might use the same instrumentation as a popular arrangement of Orff’s Carmina Burana a work that as well as using children’s chorus features a solo countertenor. I thought the magical otherworldly quality of this

The offertory “Misericordias Domini” K.222 (205a) has a special place among Mozart’s minor ecclesiastical works. A letter from Wolfgang to Padre Martini dated 4 September 1776 informs us that the piece was written in January or February 1775 in Munich at the request of the Prince Elector of Bavaria and was performed there on 5 March. Drawing closely on the carefully wrought works of Mozart’s Salzburg predecessors and incorporating a motif from Johann Ernst Eberlein’s “Benedixisti Domine” this contrapuntal masterpiece unites polyphony with expressive tension-laden harmonies. Unfortunately as the copy sent to Padre Martinicannot be located in Bologna the authenticity of the viola part is still open to question.- Urtext of the New Mozart Edition- Full score performance material (BA4789) and vocal score (BA4789-90) available for sale.

Composed for the Eucharist of Christmas Night 2004 at the Cathedral Church of Christ and the Blessed Virgin Mary Rochester in the year of the 1400th anniversary of the cathedral's foundation.Missa Carolae wascommissioned for Rochester Cathedral and first performed there on 24 December 2004 by the Rochester Cathedral Choirs directed by Roger Sayer.Missa Carolæ was written for the 1400th anniversary of Rochester Cathedral thesecond oldest cathedral in England. Performances there begin with a ceremonial procession that follows the movement of a boy chorister accompanied by pipe and drum from the High Altar to a large crib placed in the Nave gathering the choirs (singing from different parts of the cathedral) and principal clergy in the course of the procession. The work though not literally for dancing is intended to invoke a dance-like spirit which is true to theorigin of the carol as a simple dance form. The choir parts should be very well known so that the singers can sing with the whole of their bodies and not just their voices. It is suitable for liturgical or concert use.