This Christmas cantata is an uncanny recapture by Maxwell Davies of a relatively simple modal style: luminous sometimes plaintive sometimes rapturous. A linked series of George Mackay Brown settings designed to give pleasure (ifsometimes strenuous pleasure) to a non-professional choir. A spiritual mystery is glimpsed in an Orcadian setting. Commissioned by the London Symphony Chorus to commemorate its 30th anniversary with additional funds from theArts Council of Great Britain.The first performance was given in October 1995 by the London Symphony Chorus and the London Symphony Orchestra conducted by Richard Hickox.Vocal score.

The sense of rare and beautiful magic encountered in the early verse of Yeats is perfectly captured in this setting of He Wishes For The Cloths Of Heaven which like the no less evocative texts selected by Warlock for 'The Curlew' is among the outstanding items from the early collection 'The Wind Among The Reeds'. To the rich symbolism of the poet's work smoothly euphonious and finely balanced choral harmonies add their own 'golden and silver light' making in words and music a sonorous image of the profound vision part romance part mystery at the heart of this unique poem.

The Novello Book Of British Folksongs For Mixed-Voice Choirs is an enjoyable collection of diverse tunes that have descended from the folksongs across the British Isles. A variety of arrangements are included, both old and new, of well-loved tunes as well as some lesser-known pieces. All 34 tunes are arranged for SATB Chorus with Piano accompaniment, making this a brilliant way to enhance your choir's repertoire.This Book Of British Folksongs offers a grand selection of favourite folk tunes arranged by composers such as Ralph Vaughan Williams, Gustav Holst, Paul Mealor and George Dyson. Tunes like A-Hunting We Will Go, Auld Lang Syne, Bonny At Morn, Come Lasses And Lads and Scarborough Fair suggest the sheer diversity on offer here. From sad tunes to happy songs, the arrangements here are at once beautiful and touching, coming truly to life when sung by a Mixed-Voice Choir. These thirty four folk songs will enrich a performance programme, whether as one part or the entirety. Choirs of all types and abilities will be able to discover their favourite arrangements, either the most beautiful, the funniest, or the most enjoyable to sing. With the country experiencing a revival in singing traditional folksongs, this collection is a great way to experience the unabashed joy that performing these British tunes can bring. With a great number of favourite tunes as well as some lesser-known songs, this collection includes songs like There Were Three Ravens, Yarmouth Town, My Love Is Like A Red, Red Rose, Dance To Your Daddy and The Rio Grande, as well as an extensive and fascinating introduction by Jeremy Summerly.The wonderful thing about singing folksongs is they are like a window into our country's history. They are occasionally funny, often dramatic, but always enjoyable to sing, and their diversity reflects the different people, landscapes and cultural history of the British Isles. These folk tunes can be traced back through British history, evolving through the oral tradition, continually changing lyrics and melody, being amended and sculpted according to the people who sung them. These timeless tunes have been recorded in this innovative Novello Book Of British Folksongs For Mixed-Voice Choir, however, the joy of these songs is you can put your own spin on them, adapting them to how you want them sung and continuing their legacy. This wonderful collection is a fantastic addition to any choir's performance repertoire, and is sure to lead to success for the choir and audience for many years to come. / Choeur Mixte (SATB) Et Piano

If you are looking for a festive work with optional brass and handbells this is it! Performed either separately or together the two songs include the gate of heaven and song of praise. Try them for concert or in a worship setting.

The text of Susanni is a translation of Martin Luther’s hymn of 1535 Vom Himmel hoch. The music is based loosely upon the well-known chorale melody which at times is quoted in full in both voices and organ. Except where indicated singers should adopt a legato style especially in the repeated quaver patterns. In the bars which appear to be in compound time conductors should beat in crotchets.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 yetaccessible repertoire in an exciting variety of styles. Bill Ives has spent his life in choral music as a singer conductor teacher and composer (writing as Grayston Ives). He was a chorister at Ely Cathedral and later studied music at Cambridge taking composition lessons with Richard Rodney Bennett. After Cambridge he sang in Guildford Cathedral Choir before joining the King’s Singers with whom he recorded and performed worldwide.For eighteen years he directed the Choir of Magdalen College Oxford. During his tenure the choir earned a Grammy nomination for a disc of music by Orlando Gibbons and gave the première of Paul McCartney’s Ecce Cor Meum written especially for them. In 2008 his work as a composer and conductor of church music was recognised with the award of a Lambeth DMus and a Fellowship of the Royal School of Church Music.

(Edition 1842-1880)-This new publication presents Wagner’s much-loved opera in its entirety with a detailed preface by Egon Voss. The new Urtext Edition replaces the familiar edition by the conductor Felix Weingartner published in 1897 and it was this version that which all later editions were based upon. Throughout its creation both during Wagner’s lifetime and thereafter The Flying Dutchman has gone through many revisions making this new edition essential to any opera lover and a welcome addition to the repertoire.

Today's Choral Classics is a special collection of pieces from the most exciting talents in choral composition today. From the church to the concert hall it is the perfect volume for choruses seeking a contemporary choral repertoire rich in accessible modern arrangements in a variety of styles. Featuring Paul Mealor's Wherever You Are a Christmas No. 1 for The Military Wives choir and Ubi Caritas his specially commissioned piece for the royal wedding of the Duke and Duchess of Cambridge; serene miniatures by John Tavener and Eric Whitacre; simple gems by Richard Rodney Bennett and Richard Blackford; and more substantialworks by Judith Weir James Whitbourn Tarik O'Regan and Nico Muhly; choirs of all styles sizes and abilities will discover a wealth of variety of inspiring pieces to delight singers and audiences alike. Today's Choral Classics is a fantastic addition to any music library or choral resource and provides a solid and accessible basis for any contemporary choral concert programme.

Music played an enormous role in the works of William Shakespeare while his own sonnets poems and soliloquies have provided continuing inspiration for many composers through the years. The Novello Shakespeare Choral Collection inspired by the 400th anniversary of the Bard's death in 2016 is an exciting anthology of choral works that are settings of Shakespeare's words. For choirs of all types and abilities this collection has been edited by David Wordsworth so that all the pieces are fantastic both to sing and hear. The collection features some beautiful settings that have well and truly stood the test of time such as Thomas Arne'sBlow Blow Thou Winter Wind and Henry Leslie's How Sweet The Moonlight Sleeps. More recent settings from 20th century and contemporary composers include Ernest Moeran's Sigh No More Ladies Gary Carpenter's Lo Here The Gentle Lark and John Tavener's Fear No More and Look In Thy Glass. Not only this the Shakespeare Choral Collection boasts several works that were specially commissioned including John Joubert's Be Not Afeard Richard Sisson's Light Thickens and Pawel Lukaszewki's Weary With Toil I Haste Me To My Bed. Some pieces have never appeared before in print such as those by Kevin Olson Bernard Hughes and John Gardner. These songs truly are a joy to perform with some relatively simple arrangements that are purely fun to sing while some more complex settings that will be thoroughly rewarding for choirs and audiences alike. A total of 26 fantastic works comprise The Novello Shakespeare Choral Collection which would work as a wonderful concert programme on its own or could provide a wealth of options for choirs looking to expand their repertoire with a range of unique settings. Also included is a fascinating

We Will Remember Them: Music For Remembrance is a collection of some of the finest pieces of choral music on the theme of remembrance.We Will Remember Them: Music For Remembrance is suitable for church cathedral school youth and community choirs. It contains music appropriate for Remembrance Sunday services and beautiful pieces suitable for concerts memorial and funeral services and other acts of remembrance and reflection.We Will Remember Them: Music For Remembrance includes classic choral works such as Samuel Barber’s Agnus Dei Edgar Bainton’s And I saw a new heaven and WilliamHarris’s Bring us O Lord God alongside other works by well-loved composers including John Tavener Richard Rodney Paul Mealor and Eric Whitacre.New arrangements such as David Hill’s choral reworking of Edward Elgar’s Nimrod are included with other new works by some of the best contemporary composers.In a glowing review in the January/February 2015 edition of Choir & Organ Jeremy Summerly writes of the appropriateness of many of these works for Remembrance concert programmes and the effectiveness of a great number of these choral pieces.

The original mixed voice divisi setting served as THE festival anthem for the latter half of the 20th century. Now this popular anthem has been revoiced for 4 parts making it accessible to smaller choirs for the first time. Richard Nichols has done a miraculous job of staying true to Thomas Cousins' original setting and the accompaniment remains the same.

Scored for unaccompanied SSATB and SATB choirs this works was commissioned by Westminster School London.