Orchestral Version-John McCabe's Psalm-Cantata (Orchestral Version). Vocal score for Soprano Baritone and SATB choir.This work was commissioned by the English Baroque Choir and their music director Jeremy Jackman who gave the first performance on 16th March 2013 at St. John’s SmithSquare London.'I’ve wanted to write a choral/instrumental piece based on texts from the Psalms for a very long time so this commission from the English Baroque Choir and their music director Jeremy Jackman (to whom the work is dedicated) was a wonderful opportunity to put this idea into practice. I decided to write a kind of latter-day equivalent to the Bachcantatas with two soloists (soprano and baritone). The texts are derived from a variety of Psalm sources: some in Latin some in English a meditation by Savonarola and a Henry Vaughan poem.' - John McCabe

Paul Mealor's Hush! my dear lie still and slumber for SATB divisi chorus had its World Premiere at St Sepulchre without Newgate London Youth Choir on the 17th March 2014. Rebecca Tavener in the December 2014 edition of Organists' Review writes that with this work 'Mealor continues to prove himself as a composer of reliable craftsmanship' making 'a fine case for the current lyrical accessible tonal zeitgeist in British choral music.'

Beginning with a march-like cadence and hushed choral opening, this anthem soon builds to a triumphant celebration of Christmas. The message to 'Be not afraid' because of the birth of Christ has resonated for centuries, and is presented in a fresh manner in this offering. / Choeur Mixte (SATB)

The apparent simplicity of God Be In My Head with its repetition of the key phrase suddenly gives way to very effective harmonic sophistication on the word ‘heart’ that lays the path for the twilit ambience of the final phrase. H Walford Davies was a composer and musical director at the University of Wales as well as Organist at among others Temple Church where his student Leopold Stokowski (later one of the leading conductors of the 20th century) assisted him. Davies is best remembered for this work and for the march ‘RAF March Past’. Davies also did much to educate the public about serious music through radio programmes and his writings.

The 'Petite Messe solennelle? is the finest work of Rossini's late years. He composed it between 1863 and 1864 at the age of 71 as a commission for Countess Louise Pillet -Will for the consecration of her private chapel, where the work received its first performance in March 1864. Together with the 'Stabat mater?, the mass is one of the composer's mostimportant sacred works.The unusual instrumentation with two pianos and harmonium is entirely in keeping with the Neapolitan keyboard tradition of the 18th century which was cultivated in France in Rossini's day. It forms a distinct contrast to the style of large-scale sacred compositions as written by, for example, Liszt and Bruckner. Rossini explained that he wrote the later orchestral version of the work dating from 1867 out of concern that if he did not do this, other composers might orchestrate the mass too heavily in later arrangements.- Choral score based on the Urtext of the series 'Works of Gioachino Rossini?- Supplements the already existing material available to this work / Choeur Mixte (SATB)

Vocal Score-Nico Muhly's Let All The World In Every Corner Sing for SATB chorus Cello and Organ. Vocal Score.Let All The World In Every Corner Sing was commissioned by Graham Ross and the Choir of Clare College Cambridge and first performed on 27 May 2014 by them with Peter Harrison Organ and Benjamin Michaels Cello.Rebecca Tavener in the March 2015 issue of Organist's Review states that Muhly 'has done more than merely set the text...it is an intriguing fresh response.'

The spirit of Palm Sunday is captured in this festive anthem from David Davenport and Stan Pethel. Waving palms and cheering crowds are portrayed through a sturdy keyboard part and confident choral writing. Consider addingtambourine and hand drums to this easily learned 6/8 song to add an even more spirited effect to this triumphal march. Enter He Triumphantly is brief enough to be used as an introit or call to worship. Unique!

Anthems for the Chapel RoyalO sing unto the Lord a new song HWV 249a for Soloists (AB) Chorus (SATB) Flute 2 Oboes 2 Trumpets Strings Continuo BA 4263I will magnify thee HWV 250b for Soloists (SATB) Chorus (SATB) Oboe Strings Continuo BA 4264As pants the hart HWV 251e for Soloists (SAATBB) Chorus (SAATB) 2 Oboes Strings Continuo BA 4265Let God Arise HWV 256b for Soloists (AB) Chorus (SATB) Oboe Strings Continuo BA 4266Handel?s four anthems were all composed during his London period in the Chapel Royal. ?As pants the hart? his fifth setting of this Psalm text waswritten in March 1738 for performance at a benefit concert for the King?s Theatre in the Haymarket.Until just before Handel?s first visit to England the only instrument permitted to accompany the service in the Chapel Royal was the organ. These four works with their orchestral accompaniments thus represent something akin to a new genre in English church music.The four anthems are presented in clearly laid out vocal scores with straightforward piano reductions based on the Urtext from the Halle Handel Edition. Their enticingly varied and self-sufficient orchestral writing provides a suitable framework for the festive chorus and equally festive solo numbers. Today they sound as splendid as ever!The full scores and vocal scores also contain a German translation along with the original English text.

Gioachino Rossini (1792-1868) referred to his petite messe solennelle as the 'Last mortal sin of my old age'. Written in 1863 for the Countess Louise Pillet-Will and first performed on 14 March 1864 at the consecration of the Countess' private chapel the Mass is one of Rossini's finest achievements and the outstanding work of his 'retirement'. This Vocal score is set for SATB soli SATB chorus Harmonium and two Pianos.

Be Merciful Be Gracious is a chorus from Edward Elgar’s ‘The Dream of Gerontius’ scored for SATB Voices and Organ or Piano accompaniment in this Novello edition.The Dream of Gerontius Op. 38 is a work for Voices and orchestra in two parts composed by Edward Elgar in 1900 to text from the poem by John Henry Newman. It relates the journey of a pious man's soul from his deathbed to his judgment before God and settling into Purgatory. Elgar disapproved of the use of the term 'oratorio' for the work though his wishes are not always followed.The piece is widely regardedas Elgar's finest choral work and some consider it his masterpiece.Sir Edward Elgar was an English composer many of whose works have entered the British and international classical concert repertoire. Among his best-known compositions are orchestral works including the Enigma Variations the Pomp and Circumstance Marches concertos for Violin and Cello and two symphonies. He was appointed Master of the King's Musick in 1924.

The Shadow Of Thy Cross by Paul Mealor was commissioned for the centenary of the First World War service for the commonwealth Glasgow cathedral Monday 4th august 2014.This work is for unaccompanied SATB Choir.In the March 2015 issue of Organist's Review Rebecca Tavener wrote that Mealor's music consistently 'matches the fugitive emotions of a public occasion' and that this piece delivers an 'aura of comfort' for all listeners.

Tarik O’Regan's The Night's Untruth for SATB chorus Brass ensemble and Organ is a co-commission celebrating the 10th anniversary of JAM (The John Armitage Memorial Trust) and the 40th anniversary of VocalEssence. 'The Night’s Untruth explores the use of sleep as metaphor by dint of excerpts from poems written in the 17th to 20th centuries. Death love fear ecstasy isolation dreaming and rest are all textual “variations” on the “theme” of sleep and can be found in the chosen texts. The work’s title is taken from a line in a poem by Samuel Daniel (1562-1619) and speaks tothe composition’s focus on sleep as a parallel possibly dystopian existence to the one experienced in our waking hours.' - Tarik O’Regan March 2010 Scored for brass quintet organ and SATB choir with (minor) divisi and occasional moderately demanding solos for tenor and soprano this evocative 16-minute work probes the mystery of sleep with texts from poems by Keats Samuel Daniel Shakespeare and Hart Crane: 'death love fear ecstasy isolation dreaming and rest' are the themes O'Regan explores through these texts in a work as episodic as a disturbed night with the title creating a 'focus in sleep as a parallel possibly dystopian existence'. - Organists' Review

Video Caelos Apertos (For SATB Chorus Unaccompanied) by James Whitbourn was commissioned for the singers of Medina High School Ohio Tyler L. Skidmore conductor to mark their tour to England andtheir visit to St Stephen’s House Oxford.The March 2015 issue of Organist's Review gave Video Caelos Apertos a glowing appraisal stating that it's 'a youthful joyful and positive workwhich succeeds in capturing the visionary quality of the text.'Duration: c. 4 min

The Maccabaean Revolt in the second century B.C. provided the background to the story that unfolds in Judas Maccabaeus. It is part of the history of the Ptolemaic and Seleucid Empires. This oratorio follows the story from the death of Alexander the Great in 323 B.C. up until Judas' march on Jerusalem in 164 B.C. With a libretto supplied by Thomas Morell Handel's great work was first performed at the Theatre Royal Covent Garden on April the 1st 1747 as part of his annual Lenten season of oratorios. By the time of Handel's death in 1759 Judas Maccabaeus had become the composer's second most popular oratorio having received 33 Londonperformances under the composer's supervision (Messiah had 36).For SATB soli SATB chorus and accompaniment. This version edited by Merlin Channon. Includes historical notes.

c-Moll-Mozart's Missa in C for SATB.The Mass in C minor K. 427 Mozart's 'Great Mass' remaines a torso - a circumstance which is extremely regrettable especially given the monumentality of this work. Mozart finished only the Kyrie Gloria Sanctus 'Osanna' and Benedictus of the Mass. For two movements from the Credo he only completed sketches without instrumentation. In March 1785 Mozart arranged Kyrie and Gloria supplemented by a tenor and a soprano aria for the Italian oratorio 'Davide penitente'. In his arrangement of the Mass in c minor Richard Maunder added Creed wind and brass instruments to the Credo sketches.