The Novello Book Of British Folksongs For Mixed-Voice Choirs is an enjoyable collection of diverse tunes that have descended from the folksongs across the British Isles. A variety of arrangements are included, both old and new, of well-loved tunes as well as some lesser-known pieces. All 34 tunes are arranged for SATB Chorus with Piano accompaniment, making this a brilliant way to enhance your choir's repertoire.This Book Of British Folksongs offers a grand selection of favourite folk tunes arranged by composers such as Ralph Vaughan Williams, Gustav Holst, Paul Mealor and George Dyson. Tunes like A-Hunting We Will Go, Auld Lang Syne, Bonny At Morn, Come Lasses And Lads and Scarborough Fair suggest the sheer diversity on offer here. From sad tunes to happy songs, the arrangements here are at once beautiful and touching, coming truly to life when sung by a Mixed-Voice Choir. These thirty four folk songs will enrich a performance programme, whether as one part or the entirety. Choirs of all types and abilities will be able to discover their favourite arrangements, either the most beautiful, the funniest, or the most enjoyable to sing. With the country experiencing a revival in singing traditional folksongs, this collection is a great way to experience the unabashed joy that performing these British tunes can bring. With a great number of favourite tunes as well as some lesser-known songs, this collection includes songs like There Were Three Ravens, Yarmouth Town, My Love Is Like A Red, Red Rose, Dance To Your Daddy and The Rio Grande, as well as an extensive and fascinating introduction by Jeremy Summerly.The wonderful thing about singing folksongs is they are like a window into our country's history. They are occasionally funny, often dramatic, but always enjoyable to sing, and their diversity reflects the different people, landscapes and cultural history of the British Isles. These folk tunes can be traced back through British history, evolving through the oral tradition, continually changing lyrics and melody, being amended and sculpted according to the people who sung them. These timeless tunes have been recorded in this innovative Novello Book Of British Folksongs For Mixed-Voice Choir, however, the joy of these songs is you can put your own spin on them, adapting them to how you want them sung and continuing their legacy. This wonderful collection is a fantastic addition to any choir's performance repertoire, and is sure to lead to success for the choir and audience for many years to come. / Choeur Mixte (SATB) Et Piano

There is no rose of such virtue is an anonymous mediaeval text, already well known through beautiful settings by Britten (in his Ceremony of Carols), John Joubert and others. The poem is 'macaronic' (it presents a verse in English, followed by a varying Latin refrain). This new version follows the illustrious examples above by remaining strophic and presenting broadly the same music in a succession of slightly different guises. The first verse is a straightforward four-part setting, the second gives the melody to the tenors and surrounds them with hushed, wordless writing for the other parts, and the third explores a freely canonic relationship between the tenor and soprano lines before carrying the previous verse-endings to a higher, more exalted pitch and mood. The fourth verse then expands its texture in a free climactic passage evoking the songs of praise sung by the angels. This subsides towards the final verse, where the texture of the music attenuates again to four parts, and canonic writing (based on the first four notes of the original melody) permeates all of them. This slightly extended statement leads to a hushed final cadence. Francis Pott (b. 1957) began musical life as a chorister at New College, Oxford. He held open music scholarships at Winchester College and at Magdalene College, Cambridge, where he studied composition with Robin Holloway and Hugh Wood while pursuing piano studies privately in London with the distinguished British artist, Hamish Milne. Throughout the 1990s Francis was John Bennett Lecturer in Music at St Hilda's College, Oxford, and a lay clerk in the Choir of Winchester Cathedral. In 2001 he became Head of London College of Music, University of West London, later leading research across the University's Faculty of Arts and acceding in 2007 to its first Chair in Composition. Francis Pott has become recognised particularly for his sacred choral and organ music. This has been performed in concert and on radio in over three dozen countries worldwide, published by four major UK houses and released extensively on CD. Winner of four national composition awards, in 1997 he received first prize in the piano solo section of the S. S. Prokofiev Composing Competition, Moscow. In 2006 and 2011 he was a nominated finalist in the BASCA/BBC Annual Composer Awards. In summer 2012 he was winner of the international composing competition of the Cheltenham Festival, which sought new piano variations on the arioso song Bist du bei mir, well known in the arrangement by J. S. Bach. Francis lives with his wife and two children on the outskirts of Winchester. An 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. / Choeur Mixte (SATB)

The Prince of Sleep to words by Walter de la Mare is a languid setting capturing masterfully the absent-minded sentiments of the words; imagery of dreams and the natural world (especially woodland) always seemed to inspire Elgar.In the Summer of 1925 Elgar?produced two songs ?The Prince of Sleep?and The Herald and both were on the subject of death like their immediate predecessor from the year before The Immortal Legions and The Wanderer of the year before that. Michael Kennedy refers to the de la Mare setting as being ?in the raptmanner?Elgar?reserved for special moments of vision? a view with which it is difficult to disagree.The part-song for SATB unaccompanied Voices is now available as part of the Elkin Choral Series.?Performance time approximately 5 minutes.?Piano accompaniment for practice only.

(Songs of Woodstock Medley)-In 1969 the legendary 3-day music festival Woodstock defined a generation and gave us unforgettable musical performances from groups like The Who; Crosby Stills and Nash; Jefferson Airplane; Blood Sweat and Tears and more. This powerful 16-minute medley is divided into four flexible sections and includes programming suggestions by John Jacobson. It's just like being there - without the mud! I. The Innovators - Suite: Judy Blue Eyes Somebody To Love Spinning Wheel My Generation II. The Rock & Rollers - Bad Moon Rising Evil Ways Proud Mary III. The Balladiers - Helplessly Hoping If I Were a Carpenter Find the Cost of Freedom IV. The Entertainers - Silhouettes Get a Job At the Hop. Available separately: SATB SAB 2-Part ShowTrax CD. Combo parts available digitally (tpt 1-2 asx tbn syn gtr 1-2 b dm perc). Duration: ca. 16:00.

Music for Royal Occasions is an exciting volume of pieces written for coronations and other royal celebrations over the past five centuries. It includes long-standing favourites, such as Handel's Zadok the priest and Parry's I was glad - and works from earlier years, such an Henry Purcell's I was glad and the delightful Rejoice in the Lord alway . Many well-loved composers were commissioned to write motets for the coronation of Queen Elizabeth II, and several are published here, including George Dyson's stirring Confortare , William Harris's Let my prayer and Herbert Howells's Behold O God our defender . In addition, two pieces performed at the wedding oF the present Duke and Duchess of Cambridge are included: Paul Mealor's beautiful Ubi caritas , and Hubert Parry's epic anthem, Bless pair of sirens . Music for Royal Occasions provides a well-rounded concert programme in itself for choral societies or community choirs. The collection offers many useful and accessible pieces for church choirs, suitable for a wide variety of occasions. 'an inventive selection of festive music' - Jeremy Summerly, Choir and Organ / SATB

Composed mainly during the summer of 1978 and commissioned by the John Currie Singers (with Arts Council funds) this work was first performed in Glasgow in early 1979 and has since been given in Canada and the USA. It is a setting of quite large sections of the Song of Songs and the authorised version was chosen not because of its accuracy which is often doubtful but because of the beauty of the language and the power of its associations.

To Nocturner (2001) - for Chamber Choir (12 or 24 Voices). Texts by Ole Sarvig and Ib Michael. English version available: KP01444E Programme note: These two choral pieces for 12 voices consists of radical recompositions on of earlier themes: in Summer's Sleep we hear new combinations of two 'Sarvig melodies' from the 1970s (one of which is now in the Danish Hymnbook under the title 'Året' The Year); Michael's Night is based on an earlier simple choral song (Star Mirror 1987) now for 12 voices and composed such that an original idea of 'simultaneously displaced opposite motions' cf. the poem)comes out as desired. Of the Nocturnes Nørgård writes: 'Summer's Sleep was composed to stanzas of Ole Sarvig's poem The Year (from the collection Forstadsdigte ('Suburban Poems')) and forms the picture of 'the summer of life' which is asleep - while the 'heaven seed' waits for the summer wind ('invisible to every mind'). The many layers of text are expressed musically in a multilayered choral texture with 'looks' up and down through the various tempo and time-worlds: summer sleep summer dream. 'The second nocturne Michael's Night takes its name from the author Ib Michael whose poem Star Mirror (from the collection Himmelbegravelse ('Sky Funeral') (1986) I pushed/coaxed him to expand from one to nine stanzas. The four selected stanzas set in the nocturne focus on the pan-erotic elements of the moonlit starlit night. With the titles I have chosen I have stressed the mythic layer of the text the summer night not as a dream but as sensual reality. 'The two nocturnes are dedicated to Ivan Hansen on the occasion of his fiftieth birthday on 25th February 2003 out of gratitude for over a quarter of a century of inspiring collaboration'.

John Rutter's Shall I Compare Thee To A Summer's Day? for SATB unaccompanied.  This secular work is set to the text of Shakespeare's famous Sonnet No. 18. Throughout the work Rutter skilfully weaves the figurative language of the sonnet within the lyrical melodic lines of the music. Shakespeare's expressive text is passed between the voices with the warm verdant harmonies enveloping the sonnet's use of imagery and the work's central metaphor of comparing love to a summer's day.

David Bednall's Shall I Compare Thee To A Summer's Day? for SATB double choir unaccompanied.A setting of Shakespeare's much-loved Sonnet 18 Bednall's expressive work highlights this timeless text with sumptuous harmony including pleasing tonal shifts and topical false relations. Various choral textures are explored from the imitative lines of 'Sometime too hot' to the warm richness of the closing pages where the choir divides into eight parts. This work is part of the New Horizons series and a Piano reduction is included for rehearsal purposes.

Arranged as a round for three or four voices with a ground bass for two voices Summer Is Icumen In is believed to be one of the oldest known English part songs and was transcribed originally by John of Fornsete a monk of the Monastery of Reading in around 1226.

Kevin Olson's A Summer Sonnet for unaccompanied SATB choir. This work is a setting of Sonnet 18 by William Shakespeare. Duration: approx. 4 minutes. A Piano accompaniment is included for rehearsal purposes only.

from the Celebrating Grace hymnal-First in a series of publications featuring our exclusive partnership with an exciting new hymnal project scheduled for launch in the summer of 2010 we are pleased to present a new Pentecost text with the popular hymn tune Festal Song. Lloyd Larson's splendid writing and the addition of brass accompaniment make this an outstanding choice for celebrating the festival of Pentecost!The new hymnal Celebrating Grace contains one of the most impressive collections of hymnody ever produced. You can learn more about this new resource for churches of every denomination by going to www.celebrating-grace.com. Available separately: SATB iPrint Orch CD-ROM (Tpt 1&2 Horn(opt.) Tbn 1 Tbn 2/Tuba Perc(Sus.Cymbal Snare Dr Timp. G C Keyboard) StudioTrax CD. Duration: ca. 2:28.

(Psalm 130)-Mozart’s De Profundis (Psalm 130) K.93 for SATB Choir with Organ or Piano accompaniment edited by Don Smithers. Composed in Salzburg in the summer of 1771 to the words of Psalm 130 a Penitential Psalm used in liturgical prayers for the faithful departed in Western liturgical tradition. Instruction in English Psalm in Latin. For intermediate (Grade 4-6) level.Wolfgang Amadeus Mozart was a prolific and influential composer of the Classical era. Born in Salzburg Mozart showed prodigious ability from his earliest childhood. Already competent on Keyboard and Violin hecomposed from the age of five and performed before European royalty. During his life he composed over 600 works many acknowledged as pinnacles of symphonic concertante chamber operatic and choral music. He is among the most enduringly popular of classical composers and his influence on subsequent Western art music is profound.