Written for the soprano Laura Wright this is an arrangement of the traditional folk song The Ash Grove . The Ash Grove by Patrick Hawes is from the album The Last Rose which went to No. 1 in the classical charts. Written for the soprano Laura Wright this is an arrangement of the traditional folk song The Ash Grove . The Ash Grove by Patrick Hawes is from the album The Last Rose which went to No. 1 in the classical charts.

Guitar Concerto Opus 67 was commissioned by Julian Bream who gave the first performance in Aldeburgh with the Melos Ensemble. It is an overt tribute to Jazz and especially to Django Reinhardt. This is particularly evident in the long slow movement which someone once described as a script for a Hitchcock thriller. The most remarkable feature of Arnold’s Guitar Concerto is that the composer cleverly eschewed all clichés in his guitar writing be they Spanish or Jazz and that he approached his task in his own inimitable way. The scoring for small forces is a miracle of economy clarity and efficiency. Malcolm Arnold at his best and at his most inventive thiswonderfully crafted piece has become a favourite.

Handel 's setting of the text I Know That My Redeemer Liveth is from his great Oratorio Messiah arranged as a solo song for Soprano voice.

For Children's Choir SATB and Piano. This is a lively setting of the Czech folk tune incorporating Maclom Sargeant's text.

Scored for SATB with piano or organ accompaniment.

A unison song by C. Armstrong Gibbs using words from Shakespeare.

Richard Allain's Night for SATB and Cello. Night Was commissioned by Commotio and recieved its premiere in Merton College Oxford in June 2007 conducted by Matthew Berry and is available on the Herald label (HAVP340). Composer's Note: Given the long phrase lengths of Night it is suggested that choirs Stagger breathing where necessary. The last page of the score requires some explanation. The singers should split into three separate groups: two equal SATB choirs and an SATB solo quartet. Each group sings their own music - each repetition being separated by a long pause - independent of the other groups. Thus Choir I will begin and as they finish Choir II willcommence etc. The music should continue for about two minutes getting gradually quieter with each repetition. Though a common pulse should be kept the groups begin each repetition as they wish: the music should overlap and blur. Against this the solo Cello plays its fragments of melody. The choirs at the conductor's discretion should end in the order they began leaving the cello to play its last notes as the echoes fade. Duration: 20 minutes Richard Allain's Night for SATB and Cello. Night Was commissioned by Commotio and recieved its premiere in Merton College Oxford in June 2007 conducted by Matthew Berry and is available on the Herald label (HAVP340). Composer's Note: Given the long phrase lengths of Night it is suggested that choirs Stagger breathing where necessary. The last page of the score requires some explanation. The singers should split into three separate groups: two equal SATB choirs and an SATB solo quartet. Each group sings their own music - each repetition being separated by a long pause - independent of the othergroups. Thus Choir I will begin and as they finish Choir II will commence etc. The music should continue for about two minutes getting gradually quieter with each repetition. Though a common pulse should be kept the groups begin each repetition as they wish: the music should overlap and blur. Against this the solo Cello plays its fragments of melody. The choirs at the conductor's discretion should end in the order they began leaving the cello to play its last notes as the echoes fade. Duration: 20 minutes

Hear The Voice Of The Bard was commissioned by King’s College Cambridge and first performed on Christmas Eve 2013 at A Festival of Nine Lessons and Carols by the Choir of King’s College Cambridge conducted by Stephen Cleobury. Expertly composed by Thea Musgrave Hear The Voice Of The Bard is a setting of the William Blake poem Hear the voice of the Bard (1794). Hear The Voice Of The Bard was commissioned by King’s College Cambridge and first performed on Christmas Eve 2013 at A Festival of Nine Lessons and Carols by the Choir of King’s College Cambridge conducted by Stephen Cleobury. Expertly composed by Thea Musgrave Hear The Voice Of The Bard is a setting of the William Blake poem Hear the voice of the Bard (1794).

Part-song for SATB with divisions (unaccompanied). Words by Ben Jonson.

Arranged for unaccompanied SATB words by John Skelton. Commissioned for Cork International Choral and Folk Dance Festival 1983. Duration about 7 minutes.

This Ode was written by Purcell to welcome King Charles II back home to Windsor in 1680. It is arranged for soprano alto tenor and bass vocal parts.

When Love Speaks Is A Piece Composed By Owain Park For His Cycle 'Shakespeare Love Songs' Commissioned By The Maesbury Singers. This Work Is Arranged For Unaccompanied Satb Choir. The Cycle 'Shakespeare Love Songs' Is A Series Of Four Compositions That Set Shakespeare'S Words To Music. When Love Speaks Is A Setting Of Shakespeare'S Sonnet 116. Park'S Composition Certainly Does Justice To The Beauty And Universal Theme Of This Sonnet. When Love Speaks is a piece composed by Owain Park for his cycle 'Shakespeare Love Songs' commissioned by The Maesbury Singers. This work is arranged for Unaccompanied SATB Choir. The cycle 'Shakespeare Love Songs' is a series of four compositions that set Shakespeare's words to music. When Love Speaks is a setting of Shakespeare's Sonnet 116. Park's composition certainly does justice to the beauty and universal theme of this sonnet.

The Village Organist Book 44 contains six beautiful pieces arranged for solo Organ suitable as introductory or concluding voluntaries respectively and has been edited by John E. West. This music is suitable for Lent and Holy Week.

Three Pieces For Violin And Piano Op.11 were the first works to be written by composer Ian Venables after he moved to Worcestershire in 1986. The pieces Pastorale Romance and Dance have been called some of the most beautiful pieces for Violin and Piano ever composed. Brimming with melodic invention and radiant lyricism the music of Three Pieces For Violin And Piano is both rich and varied. Pastorale begins the interplay between the Violin and the Piano with a beautifully relaxing melodic accord with an Elgarian influence firmly on its sleeve. Romance exhibits the best kind of artistic simplicity a musical love-letter featuring an achingly heartbreaking conversation between the two instruments often ambiguous in its outlook. Dance concludes the Three Pieces with a rhythmically upbeat melody laden with staccato that unfolds into a lovely harmonic concordance a fitting end to this series of dialogue between the Violin and Piano. Ian Venables ' Three Pieces For Violin And Piano Op.11 is a beautifully composed work that is guaranteed to have audiences craving more of such a lovely interplay of these two instruments.

Going North was commissioned by the Young People’s Chorus of New York for ‘Transient Glory the Voices of Children’ Francisco J. Nunez artistic director. First performed at the Transient Glory Concert on 29th April 2006 at the Ethical Culture Society New York City. The composer writes of her composition 'It is challenging to find a way to compose that hopefully will be interesting and fun for young people and yet not too difficult. A major concern of course is to find the right text: something that will be appreciated by urban young people. I thought that this 'nonsense' poem of John Keats would be highly suitable. It is set for young voices soprano and alto andaccompanied by two clarinets.' Going North was commissioned by the Young People’s Chorus of New York for ‘Transient Glory the Voices of Children’ Francisco J. Nunez artistic director. First performed at the Transient Glory Concert on 29th April 2006 at the Ethical Culture Society New York City. The composer writes of her composition 'It is challenging to find a way to compose that hopefully will be interesting and fun for young people and yet not too difficult. A major concern of course is to find the right text: something that will be appreciated by urban young people. I thought that this 'nonsense' poem of John Keats would be highly suitable. It is set for young voices soprano and alto andaccompanied by two clarinets.'

The Dorchester Canticles were commissioned by the Bournemouth Sinfonietta Choir with funds from Arts Council England. Received its première in St Mary’s Church Dorchester in a performance on 22nd May 2004 conducted by David Gostick. The piece includes the options of Harp and Percussion players to ad lib.

The classic standard Blue Moon composed by Richard Rodgers and Lorenz Hart is here arranged by David Nield for unaccompanied Alto Tenor Baritone and Bass Choir with a Piano Accompaniment for rehearsal purposes. Having been covered innumerable times thanks to its wonderful melody and meaningful lyrics now Blue Moon has been arranged for Choir letting you perform your own unique version of this popular ballad. The classic standard Blue Moon composed by Richard Rodgers and Lorenz Hart is here arranged by David Nield for unaccompanied Alto Tenor Baritone and Bass Choir with a Piano Accompaniment for rehearsal purposes. Having been covered innumerable times thanks to its wonderful melody and meaningful lyrics now Blue Moon has been arranged for Choir letting you perform your own unique version of this popular ballad.

Novello Ladies Barbershop-A series of outstanding songs taken from the bestselling Close Harmony Ladies’ Barbershop Songbook selected for their appropriateness for female singers arranged for close-harmony quartets or women’s choirs. Nicholas Hare’s beautifully crafted arrangements for SSAA are suitable for anything from four to four hundred singers. He has added helpful performance notes for each of the songs and the arrangements are notated on two stave for easy piano rehearsal.

Work for Organ dating from the early 20th Century.

Madrigal for four voices (SATB) with accompaniment. Words imitated and adapted from the original Italian by W.S.Barrett. May be sung by male voices in the key of E Flat.