Teach Us O Lord is the fifth of Five Easy Hymn Anthems on Original Texts and Tunes a collection created as a somewhat delayed reaction to 9/11. It is for two-part choir (any configuration of high/low) and organ and composed in the style of traditional Protestant hymn tunes. The text a prayer of supplication asks God to teach us how to properly serve Him in the pursuit of peace justice and brotherhood. Congregational participation is optional.

The cantata is one of the few surviving vocal works which Wilhelm Friedemann Bach composed during the eighteen years which he spent as organist and director of music at the Marktkirche in Halle [1746?1764]. This cantata published here for the first time in more than 250 years was written to introduce the autumn sermons in 1752. A musically and technically demanding composition it consists of two substantial choral movements partly concertante and partly polyphonic based on two biblical utterances. They surround a sensitive while at the same time strictly contrapuntal duet for soprano and alto with basso continuo in which ?God?s sweet teaching for the soul? is described as thetrue ?manna? of the faithful forming a link with the sermons which are to follow. In the compactness of the musical construction and its intensity of expression W. F. Bach was clearly following in the footsteps of his father in this work.

For Mixed Chorus and Piano or Amplified Guitar-Beautiful poems by American poets Sara Teasdale and Phyllis McGinley each telling a very human Christmas story. Teasdale's Carol contrasts the magnificence of the songs of angels and kings with the baby Jesus who fellasleep before the song was done. McGinley's Ballad is a retelling of the ancient legend of Befana the Housewife always too busy to greet the new-born babe until it is too late.For SATB chorus with Piano oramplified Guitar.

The dramatic text from Isaiah “Surely He Hath Borne our Griefs ” is vividly conveyed in the interplay between the two solo voices and powerful choral support. For Holy Week or Good Friday use the moving chamberorchestration for pageants or concerts. A tender offering for this most reverent time in the church year.

Anthem by Thomas Attwood for SATB Choir and Organ. Text: From Psalm 119. Short Chorus from Handel's Oratorio Joseph.

Master of the Queen’s Music Judith Weir was commissioned by St Paul’s Cathedral in London to write a piece for SATB choir and organ in celebration of HM The Queen’s 90th birthday in 2016.The piece is now available from Chester Music so that choirs all over the world can join in with the festivities. Churches and other local organisations are planning events on Sunday 12th June and many may want to include thisapproachable setting of Robert Bridges’ poem.Directed by Andrew Carwood the St Paul’s Cathedral Choir performed I love all beauteous things as part of the National Service of Thanksgiving whichtook place on at 11am on 10 June 2016 in the presence of HM The Queen and HRH The Duke of Edinburgh. At the service the Archbishop of Canterbury gave the address and the Prime Minister read a lesson.  Judith Weircomments:'It is a particular honour to contribute new music for this great occasion and a pleasure to write a choral version of Robert Bridges’ beautiful verse.'COMPOSER’S NOTEAt the suggestion of Michael Hampel Precentor of St Paul’s Cathedral I have set words by Robert Bridges who was Poet Laureate from 1913–1930. Bridges was an outstanding humanitarian and writer whose poetry hasinspired me before in The Voice of Desire a song-cycle for mezzo-soprano and piano. This short fast-tempo setting aims to emulate the swift fleet-footed rhyme and metre of the two-verse poem with its unobtrusive but tellingreference to ‘man in his hasty days’.J.W.Commissioned by the Chapter of St Paul’s Cathedral to mark the 90th birthday of HM The Queen generously supported by the Boltini Trust. Performed at theNational Service of Thanksgiving for HM The Queen’s birthday at St Paul’s Cathedral London on Friday 10th June 2016 in the presence of HM The Queen and HRH The Duke of Edinburgh.Music by Judith Weir Master of

The poem I Sing Of A Maiden is one of the best known of the anonymous medieval hymns deceptive in its simplicity and full of grace and faith. The setting by Lennox Berkeley also has a deceptivesimplicity but reveals on repeated listenings or performances a harmonic integrity and subtlely that has made it a work that will continue to be performed and enjoyed for a long time to come. Lennox Berkeley wascomposing and having his works performed before he finished school then upon meeting Ravel was introduced to legendary teacher Nadia Boulanger in Paris with whom he studied. He mixed with the great artistic and musicalnames of prewar Paris before returning to Britain where he later met and lived with Benjamin Britten before the arrival of Peter Pears in Britten’s life. Berkeley was professor of composition at the Royal Academy of Musicand himself composed more than two hundred works of music many of them of enduring value.

Par BRUCKNER ANTON. Anton Bruckner's Te Deum - a high point in the composer's output and one of the most important works of the sacred choral repertoire in the 19th century - is now available in a modern, scholarly edition. The Carus edition draws on both the two sources regarded as important, the autograph score and the first printed edition, with careful consideration given to variant readings. And so a music text has been prepared which reflects the composer's intentions as closely as possible. Great emphasis has been placed on a clear-to-read layout of the full score pages, as well as excellent legibility for the parts, which are available on sale. With current performance practice in mind, the clarinet parts are notated in B flat instead of A, corresponding with the first printed edition. The vocal score has been newly prepared to reflect current practical requirements. As an economical alternative, a chorus score is available. Bruckner's Te Deum is also available in carus music, the choir app. The app contains the music and a recording, as well as a coach to help with learning each choral part. In preparation: arrangement of the Te Deum for soli, choir, brass quintet and organ./ Répertoire / Choeur Mixte (SATB) et Orchestre

POD-Richard Allain's The Magi's Gifts for SATB choir unaccompanied. This work was commissioned by Merton College Oxford as part of the Merton Choirbook a collection of music being assembled to celebrate Merton College's 750th anniversary in 2014. The Magi's Gifts was first performed on 19th January 2014 in Merton College Chapel by the Choir of Merton College conducted by Benjamin Nicholas. This work is a setting of text by Thomas Allain: The StarThat lights our steps our minds;Our scholarly caution we leave behind.To journey to believe. TheChildWho holds our tearful gazeIn helpless divinity human grace We rest our quest achieved. The DreamThat steers a safe returnTo tell - and still in truth ourselves to learn;To journey to believe. How poor the gifts we offered How precious those we received.   'The music is unaccompanied in six parts (two soprano lines and a baritone line enrich the harmony) quite slow and with rich harmony requiring fine tuning from the choir. This is an imaginative addition to the Epiphany repertoire in both words and music'. 'Sunday By Sunday' December 2017

SATB-From the inspired pen of Joseph Martin comes a new sacred work that will be a true inspiration to your walk of faith. Tracing the steps of the Savior from Galilee to Emmaus this new cantata can be presented during Holy Week or atEaster services by using the extended ending. Footprints in the Sand has a gently contemporary flavor and incorporates two narrators well-known hymn tunes newly composed anthems and several best-selling choral songs. Afull-line of support products is available including a brilliant orchestration by Brant Adams in traditional format or on the “print-your-own” iPrint CD ROM (the instrumental scores in PDF format that allows extraflexibility and savings when performing this work with orchestra).

Acallam na Senórach by Tarik O'Regan was co-commissioned by the National Chamber Choir of Ireland The DeBartolo Performing Arts Center at University of Notre Dame Indiana and Peak Performances at Montclair State University Montclair New Jersey.First performed on 25 November 2010 at St Ann’s Church Dublin by the National Chamber Choir of Irelandwith Stewart French (Guitar) directed by Paul Hillier.The Guitar part was edited by Stewart French.Tarik O'Regan on the music:In writing this musical setting of Acallam na Senórach I was drawn to the evenness of the dialogue. Instead of St Patricksimply converting the pagan warriors he is encouraged to listen to Ca lte’s stories and poems of an earlier time in which the saint delights.This secular/sacred osmosis is maintained unwaveringly throughout the entire text. By the end of the narrative one has witnessed not only the arrival of a new religion in Ireland but also a richly-recounted secular narrative map of the entire island: the peaceful and enriching shaking of two great hands.In preparing the libretto (the sung text) I have focused on only a few of the shorter constituent tales. This decision was born of the practical constraints of duration. I have however kept the skeleton albeit smaller of the overall frame in place. Finally for the sake of simplicity Ois n is removed from the primary narrative.The characters are not assigned specific voices. The narrative as a whole is carried by a persistently changing combination of voices and guitar. The one exception is Cas Corach the musician of the s d (underworld) who is most closely embodied throughout this setting in the solo interludes for guitar.The music itself is not ethnographically inclined; that is I have not attempted to reconstruct theories on Irish music of the period from which Acallam stems. However the score generally and especially in the guitar writing is imbued with an air

Commissioned by The Manchester Grammar School to celebrate its quincentenary in 2015. First performed on 16 April 2015 at the Bridgewater Hall Manchester by The Manchester Grammar School Choir Hallé Youth Choir and Hallé Orchestra conducted by Mark Elder. Composer’s Note: 'A Celestial Map of the Sky commissioned by The Manchester Grammar School on the occasion of its quincentenary takes its cue from two woodcuts engraved by the German polymath Albrecht Dürer in 1515 the same year in which school was founded. These two groundbreaking polar projections of the northern and southern celestial hemispheres are the oldest printedEuropean star charts. Whereas prior celestial projections sometimes depicted allegorical figures looking over the skies Dürer instead honoured four ancient astronomers by depicting them at their work overseeing his maps. The various texts I have chosen (mostly extractions from larger works) reflect the changing worldview hinted at in Dürer’s charts. His inclusion of the four astronomers was a signal that the universe could be comprehended through human intervention rather than solely through spiritual or symbolic means.' - Tarik O’Regan

Uses: General Evangelism Ascension Youth Choir Praise Team Scripture: Matthew 5:14 - John 8:12 - II Corinthians 4:4-6 A scintillating coupling of two beloved hymns explodes from the pages of this new octavo. Syncopating the traditional rhythms of these two evergreens really creates a new experience for listeners and energizes the spiritual concept of sharing the good news with the world. Add the brass for an even more uplifting effect and engage more of your musicians with sacred purpose. The final ostinato is awesome!

As a singing teacher choir director and not least as a passionate professional choir singer Irina Rebhuna is perfectly familiar with the possibilities of the human voice. And so it is hardly surprising that the Latvian musician born in 1988 has devoted herself especially to the composition of vocal music. Her sacred choral work Libera me Domine for mixed a cappella choir (SSAATTBB) won the special prize for the 'best composition for 4-6 voices' at the International Composition Competition 'Musica Sacra Nova' 2016. This church music gem in which the eponymous Gregorian chorale is intonated by one of the (two) bass baritone sections at the beginning over a musicaltapestry woven by the remaining voices - and taken up again by all tenors at the end is ideal for ambitious amateur choirs.The idea behind this work says the composer is 'the human reflection on the uncertain on death on Judgment Day or on what is inexplicable to us. Such as humility excitement fear and atonement. The chant ends without ending there is no solution. Life goes on because we ask the following question again and again: What will happen next?'