Edited by Thurston Dart and Nigel Fortune13 of the finest settings taken from John Dowland: Ayres for Four Voices originally transcribed as Volume 6 of Musica Britannica by Edmund Fellowes. The Elizabethan and Jacobean lutesongs were often written with alternative versions for voices and lute. This volume is an introductory selection of these ‘airs’ with accompaniment which may be played on guitar or keyboard as well as lute. SATB CONTENTS Burst forth my tears By a fountain where I lay Can she excuse my wrongs Come again sweet love doth now invite Come away come sweet love Come heavy sleep Fine knacks for ladies Go crystal tears If my complaints Now o now I needs must part Sleep wayward thoughts Sweet stay awhile Weep you no more sad fountains

Richard Allain's Night for SATB and Cello. Night Was commissioned by Commotio and recieved its premiere in Merton College Oxford in June 2007 conducted by Matthew Berry and is available on the Herald label (HAVP340). Composer's Note: Given the long phrase lengths of Night it is suggested that choirs Stagger breathing where necessary. The last page of the score requires some explanation. The singers should split into three separate groups: two equal SATB choirs and an SATB solo quartet. Each group sings their own music - each repetition being separated by a long pause - independent of the othergroups. Thus Choir I will begin and as they finish Choir II will commence etc. The music should continue for about two minutes getting gradually quieter with each repetition. Though a common pulse should be kept the groups begin each repetition as they wish: the music should overlap and blur. Against this the solo Cello plays its fragments of melody. The choirs at the conductor's discretion should end in the order they began leaving the cello to play its last notes as the echoes fade. Duration: 20 minutes

John Tavener's Ode Of Saint Andrew Of Crete for SSSATBB. This work was comissioned by the Southern Arts Festival with funds provided by the Southern Arts Council. Composers Note: SaintAndrew of Crete was born in Damascus c. 650 and died in the early 8th century. In the Orthodox Church his Great Canon is appointed to be read in its entirety at the Thursday Morning Service in the fifth week of Great Lent. Inthis work I have set the first Ode of Saint Andrew's great poem with interpolations of the refrain 'Have mercy upon me O God have mercy upon me' in English Greek and Church Slavonic. - J.T. Duration: 20 minutes 

COV \' ne Roll recrée le plaisir et l\'énergie des arrangements de rockabilly des balles de groupe de pop allemand le base-ball trois chansons emblématique par certains des plus notoires d\'aujourd\'hui R\'n\'B et actes pop : parapluie de Rihanna, Crazy In Love et ciseaux soeur I Don\'t Feel Like Dancin \' tout brillamment arrangé pour SATB accompagné de Beyonce chorale par Charles Beale. La série de la chorale Programme Faber musique fournit une multitude de concert précieux répertoire incluant les oeuvres de Brahms, Holst, pont, Standford, Warlock, Faure, SaintSaens, Schubert et Schumann, ainsi que répertoire Noël, choeurs de l\'Evangile, arrangements de chansons folkloriques et les hits de la montre./ Recueil / SATB

Craig McLeish writes of The Negro Speaks of Rivers - Langston Hughes (1902-1967) was the first black American to earn his living from writing. He was an innovator of jazz poetry, becoming part of the Harlem Renaissance in the 1920s and 1930s. He wrote plays, short stories, novels, and his poetry was widely read. He was also a journalist, columnist and lecturer. The Negro Speaks of Rivers was perhaps his earliest published work, written when only 17 and while travelling by train to Mexico to visit his father. As the train crossed the Mississippi he suddenly began thinking about how rivers had impacted on Negro history, particularly in the fight against slavery. The four rivers mentioned in the poem lent themselves to using musical influences from those particular regions. However, I have tried to keep these links fairly tenuous to avoid overt pastiche. A few years ago I was fortunate enough to work with Congolese musicians. These sessions led to the intricate rhythms in The Congo . The Mississippi mentions New Orleans, so a jazz fugue seemed the most appropriate compositional device to weave into the texture. The spirit of The Nile was gauged from many hours listening avidly to Egyptian music. Craig McLeish began his musical life as a chorister at St Paul's Cathedral. As a bass guitarist, conductor, musical arranger and composer, he has worked with a wide variety of groups in several genres, and scored a hit with the cult pop band 'Fat and Frantic'. He is musical director of Young Voices UK, and conducts several youth and community choirs in and around Milton Keynes. / Choeur SATB

John Stainer's I Saw The Lord is a beautiful Anthem for Double SATB Choir and organ.This edition features fresh engravings with the Organ part printed on three staves. It also includes a paragraph explaining the historical background and context of the work.

For SSAA solo / semi chorus and SSAATTBB unaccompanied'The Spirituals represent an extraordinary religious social and musical legacy. They are among the most enduring examples of all vernacular art and their appeal remains undiminished. These poignant expressions of joy and sorrow were crafted with the utmost simplicity and a noticeable absence of sentimentality.' - Richard Allain

Noël! 3 is an exciting collection of Advent, Christmas and Epiphany music for mixed-voice choirs, from the easy to learn to the more challenging and unconventional. The contents range from the Baroque to the present: familiar settings of traditional and lesser-known carols through the ages to Howells, Berkeley and Warlock, and works by today's composers including Richard Rodney Bennett, Paul Mealor, John Tavener, Francis Pott and Richard Allain. Mixed-voice choirs of all levels will enjoy these new arrangements of favourite carols as well as stimulating original works for the Christmas season. / Choeur SATB Et Orgue (Ou Piano)

Compositeur : Piotr Illitch TCHAÏKOVSKI (1840-1893) Nombre de pages : 2 Commentaires : Extrait N°10 de la Liturgie selon Saint Jean Chrysostome Série : Le chant sacré Extrait N° 10 de la Liturgie selon saint Jean Chrysostome, op 41. Cette pièce est extraite de la grande oeuvre liturgique que Tchaïkovski composa pour le service de Saint Jean Chrysostome durant l’été 1878 dans la propriété de Brailov appartenant à son amie Madame von Meck. L’oeuvre fut créée en juin 1879 dans l’église de l’Université de Kiev. Cette oeuvre, en fait, fut une véritable révolution dans l’histoire de la musique religieuse russe : les administrateurs de la Chapelle impériale s’opposaient, en effet, à la publication de toute nouvelle musique sur des textes sacrés qu’eux-mêmes n’auraient pas au préalable approuvés. Tchaïkovski et son éditeur, Jurgensov passèrent outre ce qui suscita une procédure très longue dont ils sortirent vainqueur. Par la suite le Tsar commanda d’autres oeuvres religieuses à Tchaïkovski. Les compositeurs, désormais, avaient plus de liberté pour écrire ce genre de musique. La Liturgie selon Saint Jean Chrysostome est aussi importante pour l’Eglise russe orthodoxe que la messe pour les catholiques romains. Elle est constituée de psaumes, d’hymnes, de répons, de l’oraison dominicale et s’achève par la célébration de l’eucharistie. Son texte a recours à l’ancien slavon ecclésiastique plutôt qu’au russe. Cet extrait est l'une des polyphonies les plus simples de l’oeuvre. Elle convient à toutes les chorales.

This Christmas standard is one of the most recorded holiday songs of our time. This arrangement awakens the beloved song to new possibilities dressing it in a sophisticated suit of traditional choral elements and light jazz. The creative crescendo of the original song unfolds verse by verse as the news of the Christ Child's birth goes from the shepherd boy to the people everywhere. The call and response format is maintained but refreshed by shimmering chords and creative counterpoint. A study in choral color don't miss the opportunity of sharing this wonderful Christmas classic with your audience.

The Festival Anthem I saw the Lord (2012) is a setting of words from Isaiah Ch 6 some of which are perhaps better known in the context of the great Victorian anthem by John Stainer. This Trinitarian/Dedication text (starting with the words ?in the year that King Uzziah died?) is both powerful and full of dramatic imagery - flying seraphim live coals cries of the Tersanctus - as well as containing darker and more reflective passages.