The Manchester Carols is an inspired collaboration between composer Sasha Johnson Manning and Poet Laureate Carol Ann Duffy. A collection of 12 carols linked with a gentle entertaining narration which reshape and modernise the Christmas story. Its creators wanted to write something that is relevant to and reflects modern society and which acknowledges the fact that even though someone might not subscribe to the religion behind the Nativity story they can still appreciate it as an inspiring magical tale. The carols are for everyone believers or not. Duffy uses the Christmas story as a metaphor for human experience giving usup-close and personal insights into the central characters of the nativity – Mary Joseph a newborn baby and a ‘golden youth’ (aka the Angel Gabriel). As Duffy herself says: 'I think the story is wonderful. There’s a lot we can take from it on a human level even if we don’t take the divine element.' There are hints too of the darker grittier side of the Nativity story – refugees poverty giving birth on the road; and looking further forward there are hints of Jesus’ fate on the cross. These carols were written in Manchester in 2007 and first performed by children from several Manchester schools at The Royal Northern College of Music (and again in 2008). All of us who worked on them – librettist composer artist conductor teachers musicians and singers – live and work in that great city. And so these are and will forever be  The Manchester Carols'.

Roland C30 Digital Harpsichord including stool. Experience the elegance of baroque music.While producing authentically exquisite centuries-old harpsichord sounds and drawing inspiration from 21st century ingenuity the Roland Classic Series C30 Digital Harpsichord uses digital technology to enhance playability and expressiveness. Whether you are a virtuoso or a novice the C30 makes it possible for you to spend as much quality time as you want with the harpsichord. Taking up little space the styling of the C30 is modelled on the virginals. With an authentic wooden cabinet and a high-quality mahogany finish the traditional and simple styling will beright at home in a classic or modern interior. The period styling is enhanced by stained glass on the stand and the decorative panel on the keyboard lid. The C30 can easily switch between the built-in French and Flemish types of harpsichord. Both of these have four dispositions— 8’ I (back eight) 8’ II (front eight) 4’ (upper octave) and lute (buff mute) — and each disposition has its own dedicated selection button. You can play with a single disposition or layer more than one. The C30 also has an excellent fortepiano sound and has two admirable sampled organ options - 8' flute (ideal for solo accompaniment) and 8'+4' Principal which is ideal for use with a choir. The digital C30 doesn’t need tuning and you can simply switch the pitch from a=440 to baroque (415 Hz) and French baroque (392 Hz). If for ensemble playing you need to match the C30 to other instruments fine pitch adjustments can be made. You can easily take the C30 with you to group rehearsals and live performances. Even if the temperature and humidity vary you can be sure that the pitch will remain accurate. Time-consuming maintenance is a thing of the past. Now you can just turn on and play. As well as equal temperament you can select Werckmeister Kirnberger Vallotti and Meantone tuning

Oratorio in three parts-Israel in Egypt HWV 54Oratorio in three partsThe versions of the 1739 and 1756'7 performances The distinguishing feature of our new edition is that it reproduces Israel in Egypt in its complete three-part form: The Lamentation of the Israelites for the Death of Joseph Exodus and Moses' Song. It was in this form that the work was given at its London premiere on 4 April 1739. Handel made extensive changes for the second performance. The reason is often said to have been the audience's dissatisfaction with the work's unusual design. However he may possibly only have wanted to satisfy the whims of asoprano who felt under-represented with solo material. Israel in Egypt is made up of a series of contrasting and artfully constructed choruses separated only by a few numbers for solo voice. Part 1 is entirely given to the chorus Part 2 largely so and Part 3 while containing most of the solo numbers still gives ample room to the chorus. Handel shortened several choral numbers and may have taken the opportunity to alter the opening of Exodus. He also added five arias and a recitative for the soprano Elisabeth Duparc. These arias had already been written for insertion in other works of the 1730s and two of them had been sung a short while previously in An Oratorio (1738). There is no libretto containing the changes introduced at the second performance. All the insert arias are reproduced in Appendix 1 of Volume I/14 of the complete edition. The next performance of the piece did not occur until 1756. Handel now compiled an entirely new Part 1 containing a balanced proportion of choral and solo numbers by selecting items from Solomon the Occasional Oratorio and the Peace Anthem. The two other parts retained their original form apart from a few cuts in the choruses and the addition in Part 3 of the aria 'Hope hope a pure and lasting treasure' from the second version of Esther (for both 1756 and 1757) and the aria 'Toss'd from thought to thought' from Alexander Balus (for 1757). Our new edition makes it possible for the first time to perform Israel in Egypt in three different versions: that of the premiere

Uses: Christmas CommunionScripture: Luke 2:8-9; I Corinthians 11:23-29At the plaintive strains of Silent Night this sensitively designed anthem of reflection rises like a prayer to call thechurch to the grace of God's table. Surrounded by tender music this song delivers candlelit sonorities and cloistered chords to match the contemplative nature of the text. As the final verse issues a challenge for us to take thegift to the world an effective crescendo raises the call before allowing the anthem to end in peaceful calm as it began. Violin (or C-instrument) part included. Duration: ca. 4:16.

Górecki's Church Songs, based on melodies from Rev Jan Siedlecki's ?piewniki Ko?cielne ('church songbooks'), were composed in 1986. This edition is based on the PWM edition of 2013, which was produced with the assistance of Anna Górecka and Miko?aj Górecki. A special feature of the Boosey publications is the new, alternative Latin sung text by Edward Tambling, which will be attractive to the many choirs who do not wish to sing in Polish. The Latin text is carefully crafted to fit Górecki's score and is both poetic and sensitive to the devotional aspect of the songs. English translations from the Polish are also included, for reference only. The three publications present the songs for sacred use according to devotional subject-matter. In concert performances the songs, or a selection of them, may be performed in any order and combination. Vol 1 contains six songs in praise of the Blessed Virgin Mary. The seven songs in vol 2 take the themes of Good Friday, the Crucifixion, The Cross of Christ and the Resurrection. Vol 3 contains seven songs in praise of St Joseph, St Anne and St Nicholas, the Blessed Sacrament, the Trinity and the Black Madonna of Cz?stochowa. / Choeur Mixte (SATB) A Cappella

Anthem for Mixed Voices and Organ-A setting of these famous words commissioned by a church in Lisburn a useful alternative to the Parry when choirs are limited or unable to undertake the complexities of the Parry version.

Russell Robinson always finds a way to take a song and make it accessible for the younger voice and inexperienced ensemble. He continues with this arrangement of Take the A Train. The singer learns the melody in the openingthen is ready to take on the faster movement of the same melody throughout. A great jazz classic for choral groups. Available separately: SATB SAB StudioTrax CD.

Uses: Good Friday Maundy Thursday Scripture: Matthew 26:36-46 - Luke 23:26-43 A emotional portrait of Jesus' final hours this anthem reminds us of His ultimate sacrifice. Singers and listeners are taken on a journey from Gethsemane to Golgotha and the words Father forgive them are a powerful reminder of His love for us. The cries of Kyrie Eleison in the background add to the poignant depth of the work.

This anthem by Samuel Wesley one of the most important composers of the classical period in England takes the text from verse 2 of Te Deum Laudamus from the Anglican service of Morning Prayer. The musical treatment is typical eighteenth century English polyphony.

Novello Voices Choral Suite Arranged by Hywel Davies. Contains: 'Take The 'A' Train 'Satin Doll' 'Lush Life' 'Things Ain't What They Used To Be' and 'Perdido'. Fabulous SATB arrangements of popular modern songs from West End shows and the worlds of jazz and pop.

With the first melodic notes delivered by lower voices this sober anthem shares the sacrifice of Christ with sensitive and emotive music. Lyrical strains carry the inspired words forward and rich four-part harmonies take the memorable chorus into the heart of the listener. Reverent and worshipful! Duration: ca. 4:09.Uses: Holy Week Good FridayScripture: Hebrews 12:2; Galatians 6:8-11

SATB with piano-Here is a perfect lighter selection or encore for adult or community choir! Bottom middle and top every part gets to shine as all your singers take their places in the choir. What fun! Available: SATB. Duration: ca. 2:45.

The Promise Which Was Made Unto The Fathers is an anthem for Easter. First published in 1903 it is scored for SATB Choir with Organ accompaniment. It takes its text from passages of the Book of Acts The Song of Solomon and Psalm 145.Edward Bairstow (1874-1946) was a British composer organist and conductor. He studied under Frederick Bridge at Westminster Abbey and later became Organist at York Minster and Professor of Music at the University of Durham. He is best remembered for his settings of the Anglican liturgy as well as anthems such as Blessed City Heavenly Salem and Let All Mortal Flesh Keep Silence.