This is one of Fred Bock's all-time greatest classics. Composed for the a cappella choir the bass and tenor parts divide and the results are a rich luscious texture. The Isaac Watts text of praise soars to new heights with thisbrilliant composition. Available: SATB.

A Fred Bock classic this exceptional Christmas piece utilizes Choir Youth Choir or select voices and keyboard to celebrate the warmth of the Christmas season. Fred's distinctive writing style made this selection a must for hisClassic series. This gentle lullaby perfect for Christmas Eve.

This famous Christina Rossetti poem has been set to music by many. Donald Bailey choral chair at Baylor University and director of the Chamber Singers has created a contemporary madrigal setting that is superb. In the traditionof his predecessor Robert Young Dr. Bailey uses the colors of the vocal ensemble to give new hues to this time-honored text. Available: SATB divisi a cappella.

Klavierauszug-Vivaldi's Credo for SATB and Piano.The Credo belongs to that large group of church works which Vivaldi composed in Venice between 1713 and 1717 for the Ospedale della Piet then his primary place of employment. The composition conceived solely for choir and strings is characterized by a two-layered formal design: a continuous basic motivic idea i.e. a constant rhythmic impulse with rapid tone repetition builds an instrumental layer while on the other hand the writing for choir renders the text in a blocklike structure in chordal declamation. This structure will only be abandoned briefly in the concluding section of work where the text 'Et vitam venturisaeculi' is embedded in a concise fugue.

The familiar and well-loved words of Robert Burn's poem “My Love Is Like a Red Red Rose ” are set to the Irish folk song “The Salley Gardens ” creating this lovely and moving choral work by Joseph Martin.The orchestration lifts this choral to new heights and allows the singer to fully understand the depth of the poem and appreciate a melody often lost in familiarity. Truly breathtaking!

From the new Sanctuary Praise and Worship Choral Series, this setting of a praise and worship modern classic is well-crafted. This anthem can be sung by choir and praise team (utilizing Alfred Music's 'Sanctuary Praise and Worship? songbook) if so desired. / Choeur Mixte (SATB)

The Novello Book Of British Folksongs For Mixed-Voice Choirs is an enjoyable collection of diverse tunes that have descended from the folksongs across the British Isles. A variety of arrangements are included, both old and new, of well-loved tunes as well as some lesser-known pieces. All 34 tunes are arranged for SATB Chorus with Piano accompaniment, making this a brilliant way to enhance your choir's repertoire.This Book Of British Folksongs offers a grand selection of favourite folk tunes arranged by composers such as Ralph Vaughan Williams, Gustav Holst, Paul Mealor and George Dyson. Tunes like A-Hunting We Will Go, Auld Lang Syne, Bonny At Morn, Come Lasses And Lads and Scarborough Fair suggest the sheer diversity on offer here. From sad tunes to happy songs, the arrangements here are at once beautiful and touching, coming truly to life when sung by a Mixed-Voice Choir. These thirty four folk songs will enrich a performance programme, whether as one part or the entirety. Choirs of all types and abilities will be able to discover their favourite arrangements, either the most beautiful, the funniest, or the most enjoyable to sing. With the country experiencing a revival in singing traditional folksongs, this collection is a great way to experience the unabashed joy that performing these British tunes can bring. With a great number of favourite tunes as well as some lesser-known songs, this collection includes songs like There Were Three Ravens, Yarmouth Town, My Love Is Like A Red, Red Rose, Dance To Your Daddy and The Rio Grande, as well as an extensive and fascinating introduction by Jeremy Summerly.The wonderful thing about singing folksongs is they are like a window into our country's history. They are occasionally funny, often dramatic, but always enjoyable to sing, and their diversity reflects the different people, landscapes and cultural history of the British Isles. These folk tunes can be traced back through British history, evolving through the oral tradition, continually changing lyrics and melody, being amended and sculpted according to the people who sung them. These timeless tunes have been recorded in this innovative Novello Book Of British Folksongs For Mixed-Voice Choir, however, the joy of these songs is you can put your own spin on them, adapting them to how you want them sung and continuing their legacy. This wonderful collection is a fantastic addition to any choir's performance repertoire, and is sure to lead to success for the choir and audience for many years to come. / Choeur Mixte (SATB) Et Piano

The most famous American Christmas carol family is undisputably the Burt family. The carols of Bates and Alfred Burt and the Christmas carol cards they sent are now part of our hymnody and folklore. Abbie Burt Betinis is the greatgranddaughter of Bates and grand niece of Alfred and is continuing the tradition with freshness and craftsmanship. A noted and often commissioned composer in her own right she brings skill and talent to this unique genre in away no one else could. The verse and chorus form reminds us of an English carol but the text taken most often from other Burt family members are very American. Enjoy this energetic carol with sacred text by John Harris Burt.

Cantata for string orchestra and chorus. Triptych represents the concatenation and re-orchestration of two extant works. Movement I was commissioned with funds from The RVW Trust for the inaugural concert of the Choir of London conducted by Jeremy Summerly in Christ Church, Spitalfields on 18th December, 2004 - the work, premièred as Threnody, was subsequently toured by the Choir to Jerusalem and the West Bank from 19th-26th December, 2004. Movements II and III, commissioned by Portsmouth Grammar School with financial support from the PRS Foundation, were premièred as And There Was a Great Calm in a contiguous version for lower strings and upper voices by the Portsmouth Grammar School Chamber Choir and the London Mozart Players in a concert at Portsmouth Anglican Cathedral on 13th November, 2005 conducted by Nicolae Moldoveanu. The title of this latter section is taken from Thomas Hardy's poem of the same name, written at the signing of the Armistice on 11th November, 1918 - a couplet from which is set, in a moment of tranquillity, in the final movement. Relatively new to living in New York, I am much more aware of the independent, vibrant cultural plurality that exists today - it's probably the single most dazzling facet of the City and is largely responsible for the infamous 'edginess' that pervades daily life there. With this in mind, I set to work on Threnody (movement I here) in 2004 - I wanted to write something that was relevant to the Israeli/Palestinian issue without losing that City 'edge'. The texts, in English, are excerpted from a variety of sources: William Penn, William Blake, the Psalms of David and Muhammad Rajab Al-Bayoumi, an Egyptian poet of the early twentieth-century. Fast and rhythmically influenced by the music of North Africa in its syncopations, this movement was the first composition that evolved entirely from my New York perspective. From the moment that the commission for And There Was a Great Calm (movements II and amp - III here) was offered, I knew the piece I was about to embark upon would end up being linked with Threnody in some way. I realized that what I had been aiming for in Threnody served as a template for this new piece, originally composed for a Remembrance Sunday concert. Musical works connected with commemoration or memorials are often suitably pensive and slow - I wanted to start with that concept, but to bring in some of the relentless urban rhythms that had been such a large influence on my life in the preceding two years. The result is that that the second movement is quiet and gentle (a moment of recollection), while the final movement is much faster and vibrant, returning to a more openly elated rendering of the start of Triptych (the texts here dealing with transmigration and the future). and nbsp - I gratefully acknowledge the assistance of Bruce Ruben and Judith Clurman, as well as that of my parents, with the collation of the texts. Tarik O'Regan New York, February 2006 / Soprano, SATB Et Orchestre De Cordes