John Joubert's I Will Lift Up Mine Eyes for SSAA choir with Piano accompaniment. Commissioned by Rustenburg High School for Girls Cape Town on the occasion of their 75th Anniversary 1969.

Vocal score for Alex Patterson's Advent Responsory - I Look From Afar for SSAA & Soli unaccompanied.Alex Patterson is a Northern Irish-born composer and conductor based in Nottingham. He is Director of Music at Nottingham Cathedral and conducts many community groups in the region.

This wonderfully evocative a cappella setting of the Irving Berlin classic 'What'll I Do?' features the warm and lovely melody supported by gently pulsing vocal accompaniment sure to create a magical moment in concert! 

Cecilia McDowall's I Know That My Redeemer Liveth for SSA(A)TB unaccompanied. This attractive motet was written for performance alongside Brahms's Requiem following the precedent of Handel's famous setting of the same text being sung at the premiere of the Brahms in 1868. The gracefully sculpted music clothes the text with touching melodies expressive harmonies and varied sonorities.

For Passion in 1680 Dieterich Buxtehude composed his largest work in the style of an oratorio the cantata cycle Membra Jesu nostri and he dedicated it to his friend the Swedish Court Music Director Gustav Düben. In each of the seven separate cantatas which in principle follow the scheme ?instrumental introduction ? choral movement with biblical texts ? vocal soli (aria) with a sacred text from the Middle Ages ? repetition of the choral movement ? the feet knees hands side chest heart and face of the crucified Christ are interpreted allegorically. The original scoring for strings in No. VI ('Ad Cor') consists of a consort of five gambas. If this group of instruments isnot available then violins I/II can be substituted for gamba I/II and the gamba V parts can be played by the violone (the music for these substitute parts is contained in each respective parts) so that in this case only two gambas (III IV) are needed. For such a performance only two copies of the Gamba performance score (Carus 36.013/16) are required.

Composer's notes:The Fool is a time-honoured Orthodox religious figure: a Saint the highest of all who discards everything for Christ's sake. He discards all convention all decency all wealth actual and spiritual and turns himself into a figure of fun - defying all acceptable behaviour - and all religious decency. He stands in the square and lets down his trousers - he stuffs himself with food on Good Friday - he gets drunk - he 'appears'to fornicate wildly. There is a faint possibility (in not the highest of 'Fools') of gaining worldly popularity by such flagrant denial of all moral behaviour. Can such behaviour be too interesting? The true fool however embraces all of this and also (unseen) shrinks before the face of his God. By his behaviour he plucks out all hypocrisy false piety and corruption. He is a figure much needed in our times!!! The way I have tried to tacklethis extraordinary subject is to show him in seven stages from an obscene huge fat traditional clown who is drunk fornicating etc. through a stumbling frail agonized figure to a sallow-faced gaunt business man in a formalsuit staring at an empty glass. Having first revered him then mocked him the 'people' while they get drunk and jabber away at 'Christmas' and at the Feast of Feasts 'Easter' are no longer aware of him. But the audience seeshim - a tiny ragged scrap of mortality lying in a corner and faintly so faintly the voice of the Fool the true Fool for Christ's sake sings above the ribald crowd. 'He has given His life'. The Gogmagogs are the 'people' 'priests' 'singers' etc. and one male singer who can 'create' or 'uncreate' this vast role (singing and acting miming etc.) John Tavener Arranged for SSATBB chorus. Date of composition 2000. Chorus part only.

This work was commissioned by DOM in association with Canty who gave the first performance in York Minster on 23rd October 2008.This brief motet for four voices and renaissance bray harp was written in the South of France inFebruary 2007. It is a setting of two Hadiths or sayings attributed to the Prophet Mohammed. The words convey something of the great mystery of the Absolute and the Beautiful One who is immanent and yet hidden. The music shouldbe performed with great purity in a resonant acoustic. If a renaissance bray harp is not available the harp part may be played on a contemporary instrument. I was a Hidden Treasure; And I longed to be known; So Icreated the world.God is a Beautiful Being And He loves Beauty.

DR Pigekoret-Sange for Pigekor 4 redigeret af Phillip Faber og Jakob Faurholt (2017). Fra forord:Med serien Sange for pigekor ønsker vi at fokusere på bredden i ligestemmig sang og præsentere de bedste satser fra DR PigeKorets repertoire. Vi har samlet nye og gamle danske sange og dette hæfte spænder fra Carl Nielsen til Agnes Obel og Marie Key. DR PigeKoret har siden etableringen i 1938 været formidler af den danske sangskat og har med bestillinger af både originalværker og arrangementer været med til at forny den ligestemmige sang. DRs nodearkiv bugner afværker og arrangementer for pigekor og hvert år kommer der endnu flere til. Et udvalg af disse sange præsenterer vi i denne serie i håbet om at de kan være til glæde og inspiration for andre ligestemmige kor. Alle satserne i serien er blevet sunget af DR PigeKoret eller DR JuniorKoret og bag i hæftet findes der noter til et udvalg af sangene. Phillip Faber og Jakob Faurholt

Incorporating Albert Brumley's ?I'll Fly Away? and the traditional spiritual ?Now Let Me Fly ? this exciting arrangement by Stacey Gibbs for women's choirs offers a sophisticated challenge with dramatic results. A perfect selection for festivals and honor choirs. Jo-Michael Scheibe Choral Series.

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