Lully, Lullay was written at the request of Philip Reed, music director of the Bury St Edmunds Bach Choir, which gave the first performance on 17 December 2011 at Holy Trinity Church, Long Melford, Suffolk. Inspired by the familiar medieval text of the Coventry Carol , it is sung a cappella and invokes the sense of a lullaby through its metre and lilting melody. The fragility and bittersweet tonality of the opening verse is reflected in the continuous interaction between the tonic and dominant keys and resolving dissonances. This develops into broader passages of increased range and dynamics during the second and third verses, where the melody is passed between the upper and lower voices, clearly invoking the poignancy of the text. The last verse returns to the original theme with subtle harmonic changes and a reflective final cadence. 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. Harriet Wybor was born in Leeds in 1986 and read music as an undergraduate at Durham University, followed by an M.A. in composition with Martyn Harry and António Pinho Vargas. Harriet's main compositional interests are sacred and secular contemporary choral and chamber music, and the relationship between music and time. Her work reflects a wide range of influences from renaissance choral music and medieval texts to 20th-century literature and art. Harriet has had works performed by the Northern Sinfonia (conducted by H K Gruber), Psappha, the Allegri String Quartet, St John's College Choir, Durham, the Bury St Edmunds Bach Choir and the Fishburn Band - broadcast on BBC Radio 2's Listen to the Band . After graduating from Durham University, Harriet continued her studies at the University of Edinburgh, where she read for an LL.M. in innovation, technology and the law. She has subsequently pursued a career in music publishing where she works in copyright and composes in her spare time. / Choeur SATB

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)

Kantate Zum Epiphaniasfest. Par BACH JOHANN SEBASTIAN. This six-movement cantata uses the hymn of the same name by Ahasverus Fritsch, first recorded in 1698 in the Darmstädter Liederbuch. This places it amongst those chorale cantatas which use a hymn from the repertoire associated with Pietism. As was customary, the hymn text is retained in the outer movements, whereas the text for the inner movements - two secco recitatives and a tenor and a bass aria - are concerned with the contrast between the hostile world and the certainty of Jesus- the links between the cantata text and the Feast of the Epiphany are correspondingly tenuous. In the first movement the soprano sings the hymn melody complete, accompanied by mainly homophonic vocal parts, whilst the instrumental writing is largely influenced by the melody of the first line of the hymn. Remarkable is the tenor aria, with its contrasting central section and its chromatic twists and turns, in which Bach once again proves himself to be a master of harmony. The demands on the chorus are fairly modest, whereas the instrumentalists are challenged in the first movement and in both the arias./ Répertoire / Choeur Mixte (SATB) et Orchestre

Arch Gwyn (Arranger). Par ARCH GWYN. Gwyn Arch presents some hot and spicy choral arrangements of five classics of Latin America, written specially for SATB chorus and guaranteed to thrill and delight at any occasion! The pieces include Sloop John B , Guantanamera and, of course, Jobim's much-loved Girl From Ipanema . Full Piano accompaniments are included where required. Add a funky dash of sunshine to your choral repertoire! / Niveau : Assez Facile / Feuillet / SATB

The original version of this setting of the well-known traditional English folk song was completed in 1974, and was commissioned by Rachel McMillan College of Education (where Gregson was a lecturer at the time) for its Music Department Choir (female voices). It then had the somewhat unusual instrumentation of spinet, flute and string quartet.In 2017 Gregson was asked to revise it for performance and publication in a new version for upper voices and piano. Arranged for SATB with Piano accompaniment. / SATB

Par DUNPHY MELISSA. Melissa Dunphy is an original and exciting composer living in the USA, though of Australian background. Her piece Halcyon Days, written to a new text from her regular collaborator poet Jacqueline Goldfinger, creates a period of calm during winter storms where we reflect on what we have lost but rise up to face the new year with joy and grace. Written for SATB unaccompanied choir this piece is suitable for any winter concert. Halcyon Days was commissioned by VOCES8 for their LIVE From London festival in 2020./ Répertoire / Choeur SATB sans Accompagnement

A bubbly and pulsating mix of vocables, lyrics, and vocal percussion support a vigorous male lead in this arrangement of the number one radio smash. Playful and memorable, a running quarter note feel in the trebles during the prechorus contrasts the return to the infectious pop refrain, where a second vocalist duets with the lead. Cute and catchy! / Choeur Mixte (SATB) A Cappella

Theme from Songs of SanctuaryInstrument : mixed choir (SATB) and pianoType : choral scoreNombre de Pages : 12The music from the million-selling album, featured on the Delta Air Lines TV commercial. Adiemus combines classical and ethnic influences to create a haunting, tribal sound.Songs of Sanctuary is an extended choral-type work based on the European classical tradition, but where the vocal sound is more akin to ethnic or world music. The idea was to have some thematic unity within the work as a whole, rather than a collection of disparate pieces in song form. The structures of Songs of Sanctuary are influenced, in the main, by classical form, e. g. modified rondo, ternary, da capo aria. This is of extra importance because of the lack of lyric message that sustains conventional song form. The text was written phonetically with the words viewed as instrumental sound, the idea being to maximise the melisma (an expressive vocal phrase) by removing the distraction, if one can call it that, of words. The sound is universal, as is the language of music.Content : Adiemus

Paul Mealor's setting of the Latin hymn, Ubi Caritas , was composed for the Marriage of His Royal Highness Prince William of Wales, K.G. to Miss Catherine Middleton and first performed by the Choirs of Westminster Abbey and Her Majesty's Chapel Royal, St James's Palace, conducted by James O'Donnell, at the wedding service at Westminster Abbey on Friday, 29th April 2011. For SATB choir (with divisi). 'My new piece, Ubi Caritas for the Royal Wedding, takes its text from the sixth century Christian hymn that was normally sung at the service for the washing of the feet on Maundy Thursday. The words, originally in Latin, mean: 'Where charity and love are, God is there. Let us come together in God's love and let us love each other with a sincere heart.' ' and nbsp - - Paul Mealor, guardian.co.uk, and nbsp - Friday 29 April 2011 / SATB

Thomas Campion's Never weather-beaten sail is a sprightly text that powerfully evokes the sailor's plea for God's calming presence upon the sea's unrelenting rushing waves. At the opening of this work for unaccompanied mixed voices, the jaunty alto/tenor movement in thirds symbolises the curling waves of the undulating sea, the mellifluous soprano melody represents the boat's sails, and the bass section's never-changing 'A' provides the anchor. All four voices then come together in homophony, urging God to 'come quickly...and take my soul to rest?. Rather than a simple repetition of thematic material in the manner of a standard hymn, the texture alters through the rest of the work until the very end where all voices gradually fade away into the distance, leaving what seems like a lone voice in the wilderness to cry 'to Thee?. Contrasting to other well-known setting of this text, this new work provides a fresh interpretation, suitable for intermediate choirs. / Choeur Mixte (SATB) A Cappella

Opening with an optional spoken introduction with words from the Gospel of Mark where Jesus bids the children to come to him, this anthem is perfect for any family or children emphasis service. Energetic and jubilant! / Choeur Mixte (SATB)

Warm and inviting, this communion anthem is filled with hope. The words and music are perfectly matched. Add the optional flute obbligato for a nice touch. 'So come, feast, be not afraid...come taste and see where peace is made.' / Choeur Mixte (SATB)

Shortly before his death, Giovanni Pergolesi moved to the Franciscan monastery in Pozzuoli, where he composed his last works. Among these is his Stabat Mater which reveals the infusion, into church composition, of the operaticstyle. Pergolesi's grand work features a lively declamation of the text and great melodic appeal and expressiveness. Underlying everything is the contrapuntal background that was expected in music composed for the church at thistime. The original version was for two soloists and small ensemble - this version has been arranged by Desmond Ratcliffe to include SATB chorus, organ and strings - but here the accompaniment is replaced by a piano reduction. / Choeur et ensemble vocal / Novello

Par HARVEY JONATHAN. Forms of Emptiness by Jonathan Harvey   Forms of Emptiness is a work for mixed choir which sets words from the Buddhist Heart Sutra, in the original Sanskrit, and three poems by E.E. Cummings. The E.E. Cummings poems all have emphasis on the here and now, on 'catching the joy as it flies'. Seeker of truth Follow no path All paths lead where Truth is here Against these vivid flashes of joy and colour is set a chant - the sanskrit of the Heart Sutra - which acts as a ground from which the 'forms of emptiness' briefly emerge, and against which they are comprehended as transient, scarcely real. There are references to other 'sacred styles' as well as that of the chant - to those of Palestrina and Messiaen for instance. Jonathan Harvey  / Répertoire / SATB