You'll be in the mood for a great holiday with the Brian Setzer adaptation of the famous swing classic recently released on his Dig That Crazy Christmas album. A great opener or concert theme!Available separately: SATB SAB SSA ePak(C) and ShowTrax CD. Performance Time: Approx. 3:05.

The cherished words from Charles Moody are given a new touch from Ruth Elaine Schram in this anthem of peace and assurance. The 3/4 meter gives gentle expressiveness to the text while the music encourages true musical and spiritual interpretation. Available: SATB.

Andrea Ramsey Choral Series-This beautiful Wendell Berry poem sets a mood of quiet and serenity. This piece captures this same mood through the music. The added cello will assist in capturing the long lines and quiet stirring.

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

# 1 Hits Made in the U.S.A.-Celebrate the vast and varied music of America with this 30-minute choral tribute. From the uplifting Only in America opening singers and audiences will enjoy over 25 #1 hits from the big band era through the present day. With choreography and performance suggestions by John Jacobson it's easy to involve the entire school to make your show a tribute to our America's musical heritage. With six flexible sections you can perform it as a whole or as individual medleys. Songs include: Only in America Solid Gold Sentimental Journey Tuxedo Junction Cheek to Cheek Pennies from Heaven Gettin' in the Mood Tennessee Waltz Always on My Mind I Hope You Dance The Music Goes'Round and Around Sixteen Tons Itsy Bitsy Teeny Weeny Yellow Polkadot Bikini Dominique Who Let the Dogs Out Purple People Eater We Will Rock You At the Hop Jail house Rock Good Vibrations I'm a Believer Respect Night Fever Smooth Ain't No Mountain High Enough I Will Remember You Let it Be Turn the Beat Around. Available SATB Director SATB Singer SAB Director SAB Singer 2-Part Director 2-Part Singer ShowTrax CD and Preview CD. Performance Time: approx. 30:00.

Johannis Cantabrigiense-Nico Muhly's Third Service (Magnificat & Nunc Dimittis) is a work for SATB Choir and Organ Accompaniment. Commissioned by the Master and Fellows of St John's College Cambridge it was first performed by St John's College Choir on 29th May 2016. A full performance lasts around 7.5 minutes. 'The American composer Nico Muhly has often spoken of his love of the early English church music which he sang as a choirboy and his recent choral works include a Third Service composed for St John's College Cambridge. (Given his love of music by Thomas Weelkes we can perhaps hope for at least six more.) This setting though has nothing to do with the early English repertoire and is in a bold modern idiom more akin to Tippett's famous setting for St. John's. The Organ plays a varied and independent role throughout sometimes with dynamics that are quite different to those in the voice parts. The Organ part is sometimes written on two staves without further comment and it's not entirely clear what is required between pages 3 and 4 where three staves become two. The vocal parts include some modest vocal effects and there are Soprano and Alto solos in the Nunc dmittis. The Gloria of the Nunc is a varied repeat of the Magnificat Gloria together with a subtly reworked conclusion to match the general mood of the movement. - Geoffrey Webber Choir & Organ Magazine 

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)

The text of this song is an intimate cry to God to search and know our hearts. Use this choral prayer in a variety of settings for a mood of introspective and personal commitment. Available separately: SATB ChoirTrax CD. Scoreand parts (fl 1-2 ob cl 1-2 tpt 1-3 hn tbn 1-2 tbn 3/tba perc rhythm vn 1-2 va vc db) available as a CD-ROM and as a digital download. Duration: ca. 4:30.

from American Song-This original work by John Leavitt is part of American Song a choral song cycle featuring texts of distinctive American poets. A stunning mood piece of contrasting musical elements. Available: SATB. Performance Time: Approx. 3:00.

Music for the perfect wedding day... religious service civil ceremony & reception-Whether it be a traditional white wedding in church or a contemporary civil ceremony in non-religious surroundings everyone wants their wedding day to be perfect. The pieces in the Confetti and Cake volume will help wedding couples and choirs alike choose the most appropriate and effective music for any occasion.There is music that caters for all tastes and abilities offering plenty of balance and variety. Pieces range from very simple to the somewhat more complex. Standard sacred repertoire (Bach Gounod Mozart Walford Davies etc.) is followed by some contemporary church anthems one (by Will Todd) written specially for this book; favourites such as theperennial Flower Duet appear alongside other enticing non-religious music; finally we have some secular romantic love songs (Jerome Kern Swingle numbers and even some G&S!) which cannot fail to capture the mood of the day. Sing these either at the ceremony itself or perhaps later at the reception.There are notes at the end of the book which provide very brief background information: eg texts (with translation where appropriate) dates and approximate timings so the ceremony can be planned meticulously.Whatever the circumstances and size of your choir there will be a something within this volume that will suit you. But more than that the versatility of the Concerts for Choirs series is such that it can be used as an invaluable resource for choral material whatever your requirements.

A meditative soothing mood piece or choral benediction suitable for worship or concert which can be accompanied by harp or keyboard this approachable setting is accessible to choirs at many levels. Duration: approx. 3:00. Recorded by the Vancouver Chamber Choir Jon Washburn conductor.

This arrangement is dedicated to the 15oth anniversary of St. Paul's United Church of Belleville IL. This lively hymn creates a victorious mood. Recommended for choral groups with advanced technical skill. Includes: Full Score 4 Tpt 2 Tbn Bass Tbn Tba Timp and Organ.

This work was commissioned by St Dunstan's College South-East London for the celebration of its centenary in 1988. It is an anthem and uses a setting of Psalm 100. The work has three main sections (fast-slow-fast) and is essentially jubilant in nature. After a brief instrumental introduction the choir enters using as its text the first two verses of the Psalm. This reaches a climax on the word singing after which the music subsides into the serene key of C major for female voices only to sing a reflective tune on the words Know ye surrounded by various counter melodies on solo horn and trumpet. Male voices then take over this tune (inverted) and the final comment isleft to unaccompanied choir leaving sopranos on a held low D. At this point the last section begins. The mood is set by Organ and Percussion the style takes off its hat to minimalism with multi-layered textures underpinning the choral unison on the word Enter. Eventually the tonality heads towards G major and a reprise of the opening music with a coda full of energetic exuberance.

Judith Clurman Rejoice: Honoring the Jewish Spirit Choral Series-Setting the poetry of Israeli heroine and poet Hannah Senesh this is a song of hope. Those who were lost in the death camps are stars whose light is with us long after their light life has been extinguished. The music reflects this hope as Broadway legend Jonathan Tunick employs his masterful abilities to create the mood.