Recently recorded by VOCES8 to celebrate the Royal Wedding Ed Newton-Rex's 'This Marriage' is a setting of words by the 13th-century poet Rumi in which blessings are wished on a married couple.Ed Newton-Rex is a composer and arranger based in London. He was a chorister in the Choir of King's College Cambridge went on to the King's School Canterbury and returned to Cambridge as a choral scholar at King's. He graduated with a double-starred First in Music in 2010. He has written for various groups including The King's Singers VOCES8 and the Choir of King's College Cambridge and also recently wrote the music for a West End play directed byTom Attenborough. His music has been played on BBC Radio 3 and 1Xtra. Ed is musical director of the Camden Choral Collective a choir for the contemporary music scene who sang with Dizzee Rascal at the BBC Electric Proms in 2009. He is also a regular contributor to The Spectator.

Drop drop slow tears was written for The Arcadian Singers of Oxford University for a recording in 2002. The work is set in a simple three-verse format beginning with upper voices whose melting harmonies are intended to convey dropping tears. The second verse sung by lower voices is more urgent but subsiding to a serene final verse. Here all eight voice parts sing in rich almost claustrophobic harmonies ending on a blurred final chord that fades gently avoiding a firm conclusion.The Novello New Choral Series is an inspiring selection of new works from a range of contemporary composers offering 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. This collection is perfect for choirs looking to broaden their repertoire and explore some of the best new music around.James Davy (b.1980) has worked with many choirs in churches and cathedrals around the UK most recently as Assistant Director of Music at Blackburn Cathedral. He is a composer with a real affinity for the voice and has developed a keen ear for effective timbres harmony and word-setting. He has had several works broadcast on radio and television and has written for choirs around the UK and USA. In 2010 he won the Choir & Organ Composition Competition.

Latvian composer U is Prauli Å¡' striking setting of the Mass has attracted considerable attention following a recording by The Choir of Trinity College Cambridge under Stephen Layton. (Baltic Exchange Hyperion CDA67747) Scored for SATB unaccompanied and soloists and well within the reach of most choirs it is by turn devotional bold intimate intense and ultimately thrilling from a choral tradition outside the more familiar Western forms. Ugis Praulins - Missa Rigensis by musicroom

Ye Tuneful Muses Raise Your Heads is a work by Henry Purcell for SSCtTB Soli SSATB Chorus Treble Recorders Continuo and Strings. This work is taken from the Purcell Society Edition Volume 18: Royal Welcome Songs Part II edited by Bruce Wood. This is the Vocal Score and lasts around 24 minutes.

Rebecca Clarke's Come oh come my life's delight for SATB.for unaccompanied SATB to words by Thomas Campion.This is a lilting take on the Elizabethan lute-song full of smooth Stanford-like nineteenth-century harmonies exquisitely tempered with modal effects.Rebecca Clarke was born in Harrow in 1886 and died in New York City in 1979. She was one of the finest Viola players of her day and a skilful composer who studied with Stanford at the Royal College of Music in London. Her output as a composer was small comprising about 90 works but all these pieces are brilliant and powerful. Her Piano Trio and Viola Sonata are often playedand recorded and are now widely regarded as masterpieces. However her songs are perhaps her finest body of works and embrace a variety of styles from Blakean simplicity to brutal tragedy and outright farce. Rebecca Clarke's choral music was virtually unknown until Oxford University Press began to publish these works for the first time. She wrote for chorus and other vocal ensembles throughout virtually her whole career from her earliest attempts at composition around 1906 to her final flowering in the 1940s revising and recomposing until as late as 1976.

A collection of five festive anthem settings recorded by the Canadian Brass with the Elmer Isler Singers on the CD People of Faith. The arrangements are for SATB chorus brass and organ. The choral score includes akeyboard part for rehearsal or performance without brass. Includes: Come Thou Almighty King How Firm a Foundation Beautiful Saviour People of Faith All Creatures of Our God and King.

All I Ask Of You is the love song that triggers the Phantom of The Opera?s jealous campaign of retribution in Andrew Lloyd Webber?s legendary musical; Cliff Richard and Sarah Brightman took it for a spin in 1986 and had a hit single.Big Spender became even more popular than the 1966 musical from which it came ? ?Sweet Charity? ? and Shirley Bassey did much to popularise it later.Written specifically for Colm Wilkinson Bring Him Home is the emotional song from Act II of Les Misérables while I Have A Dream is a no less emotional Abba number that is included in the record-breaking stage musical Mamma Mia.Last Night OfThe World is the haunting dance hall song from Miss Saigon that marks the fateful promise made by the US airman to take Kim with him when he leaves Vietnam.This volume in the Novello Choral Pops collection contains all five of these musical theatre favourites arranged for SATB Choir with Piano accompaniment.

The cantata for SATB Choir and Piano In The Beginning was originally written while Gregson was studying at the Royal Academy of Music and scored for women’s Voices and Piano. In 1981 the composer revised and enlarged it extensively. The revised (and published) version is for mixed Choir and Piano. Words are taken from the first four verses of Genesis Chapter 1 the jubilant Latin exhortation Gloria in Excelsis Deo and a poem written by Susan Smith (later Susan Gregson). The compact yet dramatic work is not too technically demanding for intermediate/advanced (grades 6-8) groups. Duration ca. 10 minutes.Edward Gregson is an Englishcomposer of international standing whose music has been performed broadcast and recorded worldwide. He has written orchestral chamber instrumental and choral music as well as music for the theatre film and television.

'Ave verum was commissioned early in 2011 by Edward Rowntree for the birthday of his father John Rowntree director of music at Douai Abbey in the UK. My aim was to write a piece both short and simple suitable for regular liturgical use. There are of course many wonderful settings of this text already not least those by William Byrd and Edward Elgar both of which I sang as a boy. In this instance I felt their presence as a fellowship and having their music in my head while writing I was encouraged rather than daunted. In fact if you listen with this in mind you may hear a phrase or two in homage to the great masters.' - JohnDugganAn 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.Born in 1963 John Duggan was a chorister at Westminster Cathedral and studied music at Oxford. While still a boy he dreamed of writing in the great European choral tradition of Victoria Tallis and Palestrina. His vocal music has delighted both singers and audiences across Europe and the United States and he composes regularly for film and dance. He has composed for a number of choirs including Commotio Westminster Cathedral Choir the Hildegard Choir and Sospiri and has written commissions for the Edington Music Festival Crossover Intergenerational Dance Group Oxford Youth Dance and The Oxford-Grenoble Association. John regularly performs as a singer and choral director and works as a recording engineer and producer. He has recently been appointed as a Creative Arts Fellow at Wolfson College Oxford.

Happiness abounds in this joyful original work recorded by the Baltimore Choral Arts Society. A wonderful choice for community concerts it may be performed with piano or with the colorful and contemporary orchestration! Availableseparately: SATB. Score and parts (fl 1-2/picc ob 1-2 cl 1-2 bn 1-2 hn 1-2 tpt 1-3 perc 1-2 vn 1-2 va vc db) available as a Printed Edition and as a digital download. Duration: ca. 2:40.

Good Grief arranged by Paul Langford for SATB choir with Piano accompaniment. This 2017 pop hit is by English indie pop band Bastille and this choral arrangement is rhythmic and full of energy with a track that is true to the original recording capturing the latest hit sound in driving pop-rock.

This favorite song from Sesame Street makes a powerful statement in this uplifting choral setting based on the Kenny Loggins recording. A bring-down-the-house closer! Available: SATB SAB 2-Part ShowTrax CD. Performance Time: Approx. 2:15.

Streets of London is a song written by Ralph McTell. McTell left the song off his debut album ‘Eight Frames a Second’ since he regarded it as too depressing but was eventually convinced by his producer to include it in the second. It was first recorded for the 1969 album ‘Spiral Staircase’ but was not released in the United Kingdom as a single until 1974. It ended up being McTell’s greatest commercial success reaching number two in the UK singles chart at one point selling 90 000 copies a day and winning him the 1974 Ivor Novello Award for Best Song Musically and Lyrically and a Silver disc for record sales.The songcontrasts the common problems of everyday people with those of the homeless lonely elderly ignored and forgotten members of society and has been covered by over two hundred artists around the world.As part of the Richmond Music Choral series Streets of London is arranged for SATB Voices.

In preparing for publication the 1935 orchestral version of Britten's Te Deum in C it became clear that there were a number of discrepancies between the manuscript and the original 193 vocal score. Some of these were minor:different articulation and dynamic markings something Britten was later very fussy about but perhaps left unchanged on proof because of his relative inexperience at this stage of his career with the processes of musicpublishing. Others were more important: wrong pedal notes for example which Britten failed to notice on proof and which have been perpetuated in performances and recordings for nearly seventy years. These have been corrected inthe new edition of the vocal score and in the orchestral score (Britten clearly used the published vocal score to prepare his orchestral version). The two versions have been made consistent in other details - rehearsal cues andbar numbers for example - since Britten intended choristers to use the vocal score to perform the orchestral version. This would have been an easy task for these is little discrepancy in essential details between versions (arare departure occurs in bars 53 to 56 where the works 'Lord God of Sabaoth' are unaccompanied in the orchestral version but doubled by Organ in the original). Sustained Organ chords are often filled out with arpeggiated stringwriting while the spacing of chords is frequently much wider in the string version with melodies transposed into different octaves. Although harmony in both versions is identical voice leading is sometimes altered in the latterto make it better suited to the idioms of the instruments concerned.So although in essence the two versions are the same the soundworld explored in each is quite distinct. Britten's orchestral version should neither beviewed as an occasional piece nor considered solely a liturgical work like many of his choral pieces from the 1930s and 1940s it is equally at home in church and concert hall.