NEW! Written for the 2000 Convention of the American Guild of Organists An American Kedushah is a monumental piece. Working closely with Eleanor Epstein conductor of the Zemer Chai Chorale of Washington D.C. the world-renowned Parker sets the entirety of the Shabbat Shacharit Kedushah text in both English and Hebrew. A must for concert programs. For SATB soli a cappella.

Pyotr Ilyich Tchaikovsky's Hymn To The Trinity (Blessed Angel Spirits)M for SATB Choir.

This emotional song was written by Tchaikovsky while he was on an extended stay in the United States. It is an outpouring of his feelings about being away from home. It is in English and Russian (in IPA format). For mixed voices a cappella.

(Novello New Choral Series)-There is no rose of such virtue is an anonymous mediaeval text already well known through beautiful settings by Britten (in his Ceremony of Carols) John Joubert and others. The poem is ‘macaronic’ (it presents a verse in English followed by a varying Latin refrain). This new version follows the illustrious examples above by remaining strophic and presenting broadly the same music in a succession of slightly different guises. The first verse is a straightforward four-part setting the second gives the melody to the tenors and surrounds them with hushed wordless writing for the other parts and the third explores a freely canonic relationshipbetween the tenor and soprano lines before carrying the previous verse-endings to a higher more exalted pitch and mood. The fourth verse then expands its texture in a free climactic passage evoking the songs of praise sung by the angels. This subsides towards the final verse where the texture of the music attenuates again to four parts and canonic writing (based on the first four notes of the original melody) permeates all of them. This slightly extended statement leads to a hushed final cadence.Francis Pott (b. 1957) began musical life as a chorister at New College Oxford. He held open music scholarships at Winchester College and at Magdalene College Cambridge where he studied composition with Robin Holloway and Hugh Wood while pursuing piano studies privately in London with the distinguished British artist Hamish Milne. Throughout the 1990s Francis was John Bennett Lecturer in Music at St Hilda’s College Oxford and a lay clerk in the Choir of Winchester Cathedral. In 2001 he became Head of London College of Music University of West London later leading research across the University’s Faculty of Arts and acceding in 2007 to its first Chair in Composition. Francis Pott has become recognised particularly for his sacred choral and organ music. This has been performed in concert and on radio in

There is no rose of such virtue is an anonymous mediaeval text, already well known through beautiful settings by Britten (in his Ceremony of Carols), John Joubert and others. The poem is 'macaronic' (it presents a verse in English, followed by a varying Latin refrain). This new version follows the illustrious examples above by remaining strophic and presenting broadly the same music in a succession of slightly different guises. The first verse is a straightforward four-part setting, the second gives the melody to the tenors and surrounds them with hushed, wordless writing for the other parts, and the third explores a freely canonic relationship between the tenor and soprano lines before carrying the previous verse-endings to a higher, more exalted pitch and mood. The fourth verse then expands its texture in a free climactic passage evoking the songs of praise sung by the angels. This subsides towards the final verse, where the texture of the music attenuates again to four parts, and canonic writing (based on the first four notes of the original melody) permeates all of them. This slightly extended statement leads to a hushed final cadence. Francis Pott (b. 1957) began musical life as a chorister at New College, Oxford. He held open music scholarships at Winchester College and at Magdalene College, Cambridge, where he studied composition with Robin Holloway and Hugh Wood while pursuing piano studies privately in London with the distinguished British artist, Hamish Milne. Throughout the 1990s Francis was John Bennett Lecturer in Music at St Hilda's College, Oxford, and a lay clerk in the Choir of Winchester Cathedral. In 2001 he became Head of London College of Music, University of West London, later leading research across the University's Faculty of Arts and acceding in 2007 to its first Chair in Composition. Francis Pott has become recognised particularly for his sacred choral and organ music. This has been performed in concert and on radio in over three dozen countries worldwide, published by four major UK houses and released extensively on CD. Winner of four national composition awards, in 1997 he received first prize in the piano solo section of the S. S. Prokofiev Composing Competition, Moscow. In 2006 and 2011 he was a nominated finalist in the BASCA/BBC Annual Composer Awards. In summer 2012 he was winner of the international composing competition of the Cheltenham Festival, which sought new piano variations on the arioso song Bist du bei mir, well known in the arrangement by J. S. Bach. Francis lives with his wife and two children on the outskirts of Winchester. 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. / Choeur Mixte (SATB)

Following the publication of Francis Jackson's organ reduction of Finzi's Requiem da Camera in 2014, Robert Gower, chairman of the Finzi Trust, recitalist and organist of Nottingham Cathedral, has created reductions of the full orchestra accompaniments to two more of Finzi's choral works. These reductions broaden the reach of these works to choirs which do not wish to present the works with orchestra, as with other standards from the sacred repertoire such the Requiems of Fauré and Duruflé. The reductions sympathetically recreate the orchestra scoring for a three-manual organ. Ingeniously, the manual couplings (II to III, II and III to I) are unaltered throughout, with pedal coupled to manuals as appropriate. Detailed registrations are not indicated as these are best left to the performer, taking into account the unique circumstances of the particular instrument, size of choir and acoustic setting at each performance. The scores are user-friendly, in landscape format and with at least one principal vocal line cued throughout, and a cappella choral passages are reproduced in full. The reductions are fully compatible with the published piano vocal scores of the respective works which the singers will use. For St Cecilia, Ceremonial Ode for tenor solo, chorus and orchestra - words by Edmund Blunden. The original work was commissioned by the St Cecilia's Day Festival Committee for the 1947 celebration of music's patron saint. The ceremonial mood is established with fanfares, and the sonorous sweep of the choral writing reflects Finzi's admiration for Parry and Elgar. The 'catalogue' of saints, shared between the soloist and chorus, are deftly delineated: St Valentine, St George, St Dunstan, St Swithin and St Cecilia herself. In rapt stillness, the English composers of the past - Merbecke, Byrd, Dowland and Purcell - are summoned. To close, Finzi creates a festal summation with exultant counterpoint and the saint's name pealing around the chorus. / Choeur Mixte (SATB) Et Orchestre

He's rescued us from all our fears and loosed the chains of wasted years. He's our Savior Redeemer Rebuilder Restorer... our Savior. J. Daniel Smith has provided us a terrific setting of this powerful worship song. Availableseparately: SATB CD Accompaniment Trax Orchestration. Duration: ca. 4:20.

Magnificat & Nunc Dimittis-Nico Muhly's Second Service (Magnificat & Nunc Dimittis) sheet music arranged for SATB (Soprano/Alto/Tenor/Bass) Chorus and Organ accompaniment. This piece was originally commissioned by the Choir of Christ Church Christiana Hundred from Delaware USA and was first performed on 19th October 2014 by them. After its various premieres internationally the Second Service was met with resounding warm reviews praising its percussive qualities beautiful melodies and dynamic rhythms. The work is a pleasure to sing especially when beneficial acoustics complement the warmth of the vocalharmonies. Nico Muhly is a composer of many talents lending his skills to a number of diverse genres including Orchestra Choral and even Film Music. This work is arranged for SATB Chorus and Organ accompaniment and lasts around 14 minutes. With this composition Muhly has set the traditional Magnificat also known as the 'Song of Mary' joining the long list of composers who have set this work such as Mozart Tchaikovsky and Schubert. Next comes the Nunc Dimittis similarly a canticle found in the gospel of Luke. The Second Service (Magnificat & Nunc Dimittis) is presented here in an accurate transcription for SATB Chorus and Organ. Audiences will love this innovative and contemporary setting of such traditional words. 

Five dance-inspired movements for SATB and Piano-Written for SATB choir and piano with optional audience participation Pas de deux is a work consisting of five movements by Paul Smith the co-founder of VOCES8 and author of The VOCES8 Method. The movements can be performed individually or as one complete work. Pas de deux is inspired by the dance duet found in ballet and the music takes the duet element of the dance to create a relationship between the performers and audience enabling interaction between them and giving the option for performers and audience to make music together. Suitable for all ages this piece offers opportunities both to create and to perform informed by Paul Smithâ??s expertise in leadingparticipatory music events with hundreds of thousands of people around the world. A five-movement work inspired by the dance pas de deux Incorporates a wide range of musical styles from contemporary classical to traditional Zulu Encourages a musical interaction between performer and audience Suitable for singers (and audiences) of all ages Incorporates well-known themes from the ballets of Tchaikovsky Paul Smithâ??s Pas de deux is part of the Edition Peters Choral Workshop Series.

Cadre contemporain de Jay basé sur ce texte intemporel et poignant mérite une place dans votre prochaine saison de concerts. Littérature chorale superbe, garantie de toucher tous ceux qui l'entendent. Comme une addition spéciale, projeter des images animées de la VideoTrax DVD sur grand écran lors de l'exécution. / Choeur Mixte (SATB)

Awake my soul. This short, approachable piece by Owain Park sets Psalm 57 and is scored for four part choir unaccompanied. The score includes a piano reduction for rehearsal purposes. Awake, my soul was given its first performance on Thursday 17th October 2019 by Wells Cathedral Choir, conducted by Jeremy Cole, in the presence of the composer during new music wells 79-19. The work was commissioned by Cathedral Commissions of Wells Cathedral (cathedralcommissions.co.uk), with the generous support of patrons and commissioners. It is dedicated to Iain Ball MBE, Chairman of the Wells Cathedral Chorister Trust 2004-2015.

Spiritual-This spiritual is quite unique-unaccompanied mixed chorus with baritone solo along with auxiliary percussion of heavy chains and bass drums two pitches. The work could play a pivotal role in a_x000D_group of selections during black history month.

Commande du Festival d'Art Sacré de la Ville de Paris 1992 et de Stéphane Caillat. Je me suis beaucoup intéressé dans les années 80 aux différentes liturgies chrétiennes notamment à l'emploi du chant grégorien dans la liturgie catholique des chorals (M.Luther J.Crüger) et du psautier genevois dans la liturgie protestante que j'ai souvent cités dans mes partitions écrites sur des textes religieux (Requiem Magnificat Nunc dimittis).Pour l'Ave verum qui fait allusion à la transformation par le prêtre de l'hostie en véritable chair du Christ ilétait hors de question d'utiliser des fragments de chants de la Réforme puisque le protestantisme réfute la 'transsubstantiation'. Comme je n'y crois pas non plus j'ai donc choisi le texte de l'Ave verum uniquement pour sa simplicité et son aspect sonore mais peut-être aussi son mystère.J'ai écrit ici en outre pour la première et la dernière fois 'a cappella' un exercice délicat qui requiert beaucoup d'attention dans l'écriture et j'ai emprunté à la mélodie grégorienne correspondante la quasi totalité des parties de ténors (la 'teneur') mélodie sur laquelle j'ai construit toute la polyphonie de la partition.J'ai cependant fait appel vers le milieu de celle-ci à la vois de soprano soliste sur le texte en grec (langue originale du Nouveau Testament) du verset 34 du chapitre XIX de l'évangile de Jean : '... un des soldats lui perça le côté avec une lance et aussitôt il en sortit de l'eau et du sang...' dont on retrouve ensuite l'idée au verset 6 du chapitre V de la Première épître à Jean : '... c'est lui Jésus-Christ qui est venu avec de l'eau et du sang...' deux récits auxquels fait écho le texte

An old 'Marian? prayer, realized in a modal, archaic musical language, without forgetting expressive contemporary solution. 'Very early music, very calm and harmonic?, following the definition of a choir director. / Choeur Mixte A Cappella (Satb)