The text of this work was written by a young junior high Irish boy who very soon after lost his life in a street shooting. And so the poem became the voice of all children victims in a world of war and violence and for their universal longing and hope for peace. Available: SATB a cappella SSA a cappella.

Music runs through the story of Arion which begins with a singing competition in Sicily. Arion wins the prize and this puts his life in danger: his newfound wealth excites the greed of the sailors who are supposed to be bringing him back to Corinth and they threaten to kill him. They allow Arion to sing one last song and the power of his singing attracts dolphins to the ship.  At the end of his song he jumps overboard and one of the dolphins carries him to safety.  So Arion’s musical gift gets him into trouble but it is also his salvation.   The idea of being rescued by a music-loving dolphin is very appealing. In Robert Graves’account of the myth the dolphin could not bear to be parted from Arion and accompanied him back to court where “it soon succumbed to a life of luxury.”  However Herodotus says that after his rescue and return to Corinth Arion failed to return the dolphin to the sea and it died there.  Apollo placed the dolphin among the stars and next to it Arion’s lyre in recognition of his musical skill.  This is one of the mythical explanations of the origins of the constellations Delphinus and Lyra. It seems natural to sing a story that has singing at its heart. When I was asked by the Nicholas Berwin Charitable Trust to write a choral work for Making Music something that would be within reach of many choirs and involve children this story struck me as ideal: the men of the chorus could be the bloodthirsty sailors and the women could create an atmosphere of mystery for the arrival of the dolphins represented by children’s voices. There would be one solo voice: Arion the marvellous singer. Andrew Fardell the conductor who was advisor to this commission had suggested that I might use the same instrumentation as a popular arrangement of Orff’s Carmina Burana a work that as well as using children’s chorus features a solo countertenor. I thought the magical otherworldly quality of this

James Whitbourn's Beatus Vir for SSATB choir with a Piano accompaniment for rehersal. Commissioned for the Choir of St Matthew’s Church Northampton. First performed on StMatthew’s Day 21 September 2017 conducted by Justin Miller. 'With the wedding season soon to be upon church musicians James Whitbourn’s new five-minute wedding anthem  Set me as a seal upon thineheart deserves a warm welcome. It would be easy to learn quickly if rehearsal time is limited with vocal lines that are not demanding and helpfully supported by the organ. But the music itself has a haunting intense beauty thatis very special. Judge for yourself with the performance on YouTube that appears to have been made at the wedding for which it was written. St Matthew Northampton for which Walter Hussey commissioned so notably continues an enterprising music commissioning policy most recently with Whitbourn’s setting of Beatus Vir. The commission was for the feast day of St Matthew last September and the published score describes the text asbeing the Gradual for St Matthew. But that rather limits what is simply the first two verses of Psalm 112 and deserves to be sung throughout much of the church year. Forget Monteverdi and other lively settings of Beatus vir:here we have a contemplation on how blest is the person who trusts in the Lord. Despite a dramatic outburst on ‘potens in terra’ (‘mighty in the land’) the work ends as it began with an extended gentlesetting of the word ‘Beatus’.' - Sunday by Sunday

Wow! This is a must-have anthem for every choral library. Joseph Martin provides two great texts – one for Easter and one for general worship – both of which are brimming with dazzling imagery and unbounded joy. Thelilting dance-like accompaniment moves the piece along so deftly that the song seems to end too soon. “A Resurrection Acclamation” is a thrill for both choir and congregation.

The popular hymn text and tune serves as the basic foundation for the new chorus “Come Thou Fount Come Thou King” in this invitation for God to come into our presence as precious Prince of Peace. Very inviting andcomforting you will find this useful as a call to worship or quiet anthem of praise. Orchestration includes score and parts for Flute 1 2 Oboe Clarinet 1 2 Trumpet 1 2 3 Horn 1 2 (Alto Sax) Trombone 1 2 (TenorSax/Baritone TC) Trombone 3/Tuba Percussion 1 2 Harp Rhythm Violin 1 2 Viola (Clarinet 3) Cello/Bassoon (Bass Clarinet) String Bass and Keyboard String Reduction. CD Accompaniment Trax also available. Duration: Approx.5:15

In dark and lonely hours when problems fill the mind when we are lost in hopelessness – God is there. The hymn phrase “Jesus Jesus how I trust Him” completes the thought that we should trust God in everysituation. Orchestration includes score and parts for Flute 1 2 Oboe Clarinet 1 2 Trumpet 1 2 3 Horn 1 2 (Alto Sax) Trombone 1 2 (Tenor Sax/Baritone TC) Trombone 3/Tuba Percussion 1 2 Timpani Harp Rhythm Violin1 2 Viola (Clarinet 3) Cello/Bassoon (Bass Clarinet) String Bass and Keyboard String Reduction. CD Accompaniment Trax also available. Duration: Approx. 4:30