Coldplay's biggest hit to date this pop juggernaut manages to marry sweeping melodies with repetitive textures reminiscent of Steve Reich or Philip Glass-esque minimalism. The rich overlapping vocal lines split into as many as nine different parts at times (in addition to the tenor solo) but the repeating patterns keep it from being challenging.

This little tribute to William Ferris and the William Ferris Chorale consists of two sections the first slow and the second quick. The text is simply the two words of the title the Amen being the first section and (with minimal overlap) the Alleluia the second. In each part the relevant word is gradually built up from its component syllables or sounds and the second section is a gradual progress from a quiet light texture to a blazing final cadence. Commissioned by the William Ferris Chorale for their 20th Anniversary Season and first performed by them on 27 March 1992 at Mount Carmel Church Chicago Illinois conducted by William Ferris.

This work was commissioned by St Dunstan's College South-East London for the celebration of its centenary in 1988. It is an anthem and uses a setting of Psalm 100. The work has three main sections (fast-slow-fast) and is essentially jubilant in nature. After a brief instrumental introduction the choir enters using as its text the first two verses of the Psalm. This reaches a climax on the word singing after which the music subsides into the serene key of C major for female voices only to sing a reflective tune on the words Know ye surrounded by various counter melodies on solo horn and trumpet. Male voices then take over this tune (inverted) and the final comment isleft to unaccompanied choir leaving sopranos on a held low D. At this point the last section begins. The mood is set by Organ and Percussion the style takes off its hat to minimalism with multi-layered textures underpinning the choral unison on the word Enter. Eventually the tonality heads towards G major and a reprise of the opening music with a coda full of energetic exuberance.

Kane Bradley is a Junior and Senior high choral director and a relatively new composer on the scene. His De Profundis employs minimalism and contemporary harmonies that are quite compelling. He builds walls of sound in repeated phrases that enable less experience choirs to enjoy the power of modern music in a satisfying way. Both high school and college choirs will enjoy this work.

From Einstein On The Beach-Einstein On The Beach the opera from which Knee Play 3 was extracted was a seminal work that broke all the rules being non-linear non-narrative episodic dreamlike and five hours long.Knee Play 3 is one of the number songs composed for scene changes using numbers and solfege syllables as text. American composer Philip Glass is widely known as one of the most celebrated influential and prolific of the modern composers. He is frequently referred to as a minimalist though he prefers to call himself a composer of ‘music with repetitive structures.' Glass' operas among them therenowned Einstein On The Beach are performed across the globe and he has created work for small and large ensembles film and experimental theatre and founded his own performing group The Philip GlassEnsemble.This eight minute piece is the third Knee Play from Einstein On The Beach and is scored for unaccompanied SATB chorus.

This spirited setting of Ave Sancta Etheldreda exhibits the hallmarks of Matthew Martin’s fresh and vibrant compositional style. Scored for SATB voices with minimal divisi this festive work features a striking organ accompaniment and would make an excellent addition to the repertory of any aspiring SATB choir.

Sing shout dance rejoice! Here is an anthem that will make your choir sound fantastic with a minimal amount of rehearsal time. Lilting joyfully in a neo-classic style the piece almost dances off the page! This song of praiseand thanksgiving is uplifting and fun to sing! Written for the First Baptist Church in Grand Cayman British West Indies “Sing Out with Splendor” will be a “splendid” addition to your repertoire. It is ajubilant expression of love and adoration for our Creator.

The accompanied version of this prayer has been very popular with choirs since first introduced in 1986. Here Robert Delgado arranges the original Allen Pote composition for mixed voices a cappella (minimal divisi).

Sing a new song is the translation of this song's Latin text and appropriate in this minimalistic setting. The short motives pulsate with energy building in dynamic chord clusters and vibrancy. A great concert opener for high school college and community choirs!

An inspiring selection of new works from a range of contemporary composers the Novello New Choral Series offers pieces for all types of choirs including sacred and secular works from simple four-part settings to more expansive yet accessible repertoire in an exciting variety of styles.Ubi caritas et amor is a simple reflective anthem for mixed-voice choir and organ.Brian Easdale was educated at Westminster Abbey Choir School and attended the Royal College of Music where he won the Foli Scholarship for composition. He wrote his first opera Rapunzel when only 17 and went on to composer many other dramatic andorchestral works including the chamber opera The Sleeping Children. The Missa Coventriensis is one of his larger choral works composed for the consecration of Coventry Cathedral in 1962. Easdale is perhaps most famous for his film music including Black Narcissus and The Red Shoes for which he won an Academy Award for best original music score in 1948.'Ubi Caritas is the work of a craftsman steeped naturally in the musical culture of the inter-war years. It commends itself in its quiet yet muscular and expansive response to the text. With minimal divisi it is within the capability of a good church choir.' - Howard Layfield Mastersinger

Weary With Toil I Haste Me To My Bed is a work by Pawe ukaszewski for Unaccompanied SSATBB Choir. A setting of William Shakespeare's Sonnet 27 a full performance lasts around 4 minutes. A review in the July/August issue of Choir and Organ magazine stated that 'the composer manages to allow the sonnet to unfold as a single utterance with minimal repetition...resulting in one of [ ukaszewski's] most imaginative choral scores.

A Musical Story for Young Choirs-What is that I hear whispering in the wind? Can you hear it too? Capture the dreams of the children and the wisdom of the Dreamcatcher as told in this original musical story of peace harmony love joy hope and charity. But watch out! For the Trickster is always lurking close by ready to crush these fragile dreams. This enchanting 30-minute musical is ideal for upper elementary through middle school performers and features eight original songs and a narrative script of poetry and dramatic prose. Dreamcatcher is designed to be performed in a concert setting with young singers on choral risers and minimal staging or use your imagination and stage it more elaborately. The castincludes an adult storyteller and multiple children's speaking parts that can easily be adapted to fit a variety of performance options. Listen to your heart and discover how your dreams can come true. Available: Teacher Edition Singer Edition 5-Pak Preview CD (with vocals) Performance/Accompaniment CD. Performance Time: Approx. 30 minutes. For Gr. 4-8.

Out of the Ruins touches on Gregorian chant and sacred music of the Baroque. This is a slowly evolving requiem that draws on Armenian traditions with no hint of Nyman’s signature propulsive rhythms.Some of the music can be heard in different form in Nyman’s third Quartet and the soundtrack for Carrington. In 1988 Armenia suffered a devastating earthquake in which caused widespread destruction and killed more than25 000 people. BBC director Agnieszka Piotrowska asked Michael Nyman to write a work to accompany a documentary she was making for the first anniversary and offered text from 10th century poet Grigor Narekatsi’s Book ofLamentations. Nyman is a contemporary British composer of richly layered modular minimalist pieces often incorporating period instruments or instrumentation outside the normal Orchestral offerings. He isparticularly well known for his film scores including The Piano The Cook The Thief His Wife and Her Lover Prospero’s Books and The Claim among many others. His work is widely performed and recorded.

Six Motets Op.169 for Mixed Chorus Based on texts by Franz Kafka and scored for mixed chorus (SATB). Ernst Krenek (1900-1991) “One need have no hesitation about designating my writing of the past ten years as dodecaphonic since the twelve tones are always in close proximity. It is atonal since it rejects tonal centers. I only occasionally employ the stricter disciplines of the dodecaphonic and serial techniques since I am more interested in a suppler writing style. I have nothing to do with new tendencies like ‘New Simplicity’ ‘Neoromanticism’ ‘Minimalism’ and so forth.” (Ernst Krenek 1989) Evenduring his lifetime Ernst Krenek who left behind an oeuvre of more than 240 works when he died at the age of 91 held quite an extreme position in music history. Because of his great versatility critics in Europe often spoke of him as constantly changing his “style of composing ” tacitly implying that a creative life must be stylistically uniform. In the United States however he was deemed the “one-man history of twentieth-century music ” a unique and nearly unbelievable fact Krenek lived up to through his creation of work that spans more than seven decades of the twentieth century from the end of the 1910s until the end of the 1980s. When taken seriously this bon mot does not refer to the temporal concordance of his works or his participation in the latest developments in music throughout his life; it rather points to his role as a twentieth-century contemporary.