Composed in a set of three pieces the poetry in this piece comes from James Joyce's collection Chamber Music. The music beautifully portrays the imagery of lovers wandering along a river the essence of a cool valley and the falling rain. Combined they leave the listener with the sense of a quiet hushed world full of love and longing as they are led into a dazzling world heavy with memories. Duration: 9:30.

Collection-Bob Chilcott joined the King's Singers in 1987 and sang tenor in the group for 12 years while also serving as their primary arranger. This collection includes 8 favorite North American folksongs now available for the first time in a single volume. Includes: Black Is the Color of My True Love's Hair Feller from Fortune The Gift to Be Simple The Golden Vanity I Bought Me a Cat L'habitant de Saint-Barbe The Lazy Man She's Like the Swallow.The pieces in this collection are for SATB divisi a cappella.

contents: Dixit Dominus [Ps 109] in C major Confitebor [Ps 110] in E minor Beatus vir [Ps 111] in B flat major Laudate pueri [Ps 112] in F major Laudate Dominum [Ps 116] in A major Magnificat in C major [all pieces also available seperately]

Mozart's short (46 bar) motet celebrating the feast of Corpus Christi was composed in 1791 while in the middle of writing his opera Die Zauberflöte. Scored for SATB chorus strings and organ lasting only about 3 minutes its serene simplicity makes it universally popular and it is considered to be one of the most beautiful pieces of music ever written.

O Come Emmanuel is an Advent Celebration suitable for both church and concert choirs. It is based on the 7 Great 'O' Antiphons and fragments of the well-known plainsong hymn permeate the work. To these Bullard has added settings of a number of other Advent texts and hymns including the beautiful 'There is a rose-tree' a rousing setting of 'Chanticleer Carol' and new arrangements of 'Gabriel's Message' and 'Joy to the world!'. The work may be sung throughout by SATB choir or a range of soloists may take some of the lines. The accompaniment - for organ or piano or with small orchestra or chamber group - is equally flexible. A number of themovements make highly effective separate pieces and anthems. Written with the composer's long and practical experience O Come Emmanuel is a strikingly original work for Advent and Christmas that will enhance both liturgical celebrations and concert programmes at this time.For SATB and organ or piano or small orchestra or chamber group

The Vocal score for John Tavener's beautiful work Lament For Jerusalem arranged for Soprano Countertenor and SATB Chorus with a Piano Accompaniment. This score can be used for both the 'Original'and 'Jerusalem' versions of the work. The composition was commissioned by Father Arthur E. Bridge OAM for Ars Musica Australis and was first written in 2002. The 'Jerusalem' version was arranged for theChoir of London in 2004. Tavener himself calls the work 'a mystical love-song' that reflects the 'mystical sacred and sublime nature of the texts'.  Lament For Jerusalem isdivided into seven stanzas each of which contain Christic Judaic and Islamic inspirations making this work truly innovative and interesting. The piece is around 45 minutes long and it is recommended to be performed in a spacein which there are generous acoustics that will allow each individual voice as well as the collective whole to 'breathe' and dissolve into the air.  The work is a wonderful one receiving greatcritical acclaim upon its premiere and impressing audiences the world over for its soaring Soprano melodies and its left-field Middle-Eastern harmonies. The composition is one in a long line of Tavener pieces thatimmediately silences audiences and captivates their attention throughout.  Any performance of Lament For Jerusalem is guaranteed to be a special event and one that audiences willremember for a long time.

Vivaldi's international renown came about largely as a result of his concertos which were collated and of course performed throughout the courts of Europe. Quite unlike the concertos Vivaldi's voluminous output of sacred works was hardly known beyond the purlieus of their original performance. Following the composer's death they became increasingly unknown and even today it is difficult to say how many pieces of church music Vivaldi composed.As few of Vivaldi’s church compositions can be dated on the basis of written or stylistic evidence the origins of the Gloria In D remain shrouded with conjecture.Rather than being conceived aspart of a larger Mass setting the Gloria is an independent work a cyclical composition of broad design consisting of twelve self-contained movements. Stylistically it closely resembles a concertante Mass.This Urtext edition of Vivaldi’s ever-popular work provides you with an accurate realisation of the composer’s original intentions with thoroughly detailed editorial markings and suggestions as edited by Klaus Burmeister.

Uses: Advent YouthScripture: Matthew 24:30; Mark 13:26-27; Revelation 22:20-21Refreshing music and a message of anticipation characterizes this octavo filled with the hope and joy of the season oflights. Written in a contemporary folk idiom this will be welcome in choirs of all ages and is a great traditional/transitional piece. A delightful change of pace from the more reflective Advent pieces. Available separately:SATB LiteTrax CD. Duration: ca. 4:25.

A must-have for your Christmas carol concerts these two volumes contain lovely new carols by Alan Taylor written especially for the Chipperfield Choir Chipperfield Church Hertfordshire. All of the pieces in The Chipperfield Carols - Volume 1 are for SATB choir with Piano or Organ accompaniment.  

Par HINDEMITH PAUL. These canons now published for the first time document Hindemith's fondness of composing little parodistic works with a wink on certain occasions. More than 30 artistic postcard-sized works were written by the composer. In strict counterpoint, he used them to convey season's greetings, congratulations on birthdays and anniversaries, and thanks to friends, colleagues and cultural institutions. Some of these witty and entertaining pieces have been released on recordings several times, but they have not been available in printed editions yet. Our first edition now enables every choir and every small singing group to find a canon of the appropriate level of difficulty and perform it on many occasions with great success with the audience./ Répertoire / Choeur a Cappella

Fragments Of Requiem for 12 Voices was composed by Bent Sørensen in 2007. The Requiem also consists of movements by Johannes Ockeghem from his “Missa pro defunctis” (15th Century). Written for Ars Nova Copenhagen and Paul Hillier with support from The Danish Arts Council. In addition to the Missa Pro Defunctis by Johannes Ockeghem to perform the complete work the following separate pieces by Bent Sørensen are required: KP01307 - Recordare WH29967 - Lacrimosa KP01298 - In Paradisum

A lively rhythmic setting of the evening canticles written for the Southern Cathedrals festival. It's one of those pieces that's difficult to shake from your mind once you've sung it.

This is a wonderful worship musical for the Christmas season. It is ideal for performance at any time from the beginning of Advent until Epiphany and will provide a thrilling experience for both performers and congregation. Graham Kendrick one of the greatest names in contemporary church music provides a challenging scripture-based text and melodies of great beauty and strength. Rumours of Angels has been performedsuccessfully on numerous occasions and we are pleased to publish these entirely reset editions. Rumours of Angels is a continuous work with 11 pieces. It is easily within the competence of the averageworship group or parish choir.

This work for viola chorus and percussion was commissioned by the London Symphony Chorus and was first performed in October 1994 at the Barbican Hall London by Yuri Bashmet and the London Symphony Chorus conducted by StephenWestrop.The remarkable text of the Troparion written by the great Byzantine poetess-nun Cassiana was the inspiration of The Myrrh-Bearer. The text informed the architecture of the music. The viola solo represents MaryMagdalen as the cello solo represented the Mother of God on The Protecting Veil. This is where the resemblance between the two pieces ends.In The Myrrh-Bearer the Chorus symbolises ???us??? the ???sins of the world??? from???stylized dictatorships??? to ???the frivolous inane escapist vanities of the world ??? the to cries of ???help??? after the cosmic catastrophe and finally reaching an apocalyptic climax in the words ???We have no king by Caesar;??? adownright condemnation of God in the Earthly power.In a surreal way the Magdalen???s ???sin??? shines through in the viola music because she recognises the Godhead and the endless ???Kyrie eleison??? chanted by the semi-chorusrepresents her repentance and whatever is left of a ???repentant??? world.The Myrrh-Bearer explores the whole range of the viola climbing from the depths up to the highest notes and then falling again at the end after theMagdalen???s recognition of the Risen Christ ???Rabboni.???The last stroke of the gong in the viola???s final bottom C gives a deliberately ominous end to the piece.This is a special item which is made to order. Please e-mail ourMail Order Department for further information.

Psalm 144: 3-4 Psalm 9: 6-In 2008 Transcontinental celebrated the work of Simon Sargon our Composer of the Year with several new pieces from this prolific patriarch of Jewish music. This flowing somber piece set to the contemplative words of Psalms 90 and 144 is an emotionally latent addition to worship particularly a Yizkor or memorial service but makes just as powerful a choice for a concert performance.