Elgar's Enigma Variations arranged for solo Piano.

For SATB Chorus and Organ. For SATB Chorus and Organ.

For Mixed Chorus suitable for performance at Easter. For Mixed Chorus suitable for performance at Easter.

Music from an old French Noel with text by the Canon JMC Crum. Written for the upper voices with a Piano part provided for rehearsal purposes.

St Peter In Westminster-Herbert Howells is a giant of 20th century Anglican church music the remainder of whose oeuvre is in the process of gaining new appreciation. Over the course of his compositional life he created many settings for the Magnificat and the Nunc Dimittis. Howells made a practice of writing his settings for these texts and completed twenty services generally specifically for the church buildings or cathedrals in which they were to be performed. In this way he wrote works for the cathedrals of St Paul’s Worcester and Gloucester as well as York Minster King’s College Cambridge New College Oxford and St John’s College Cambridge among others. This setting was written forWestminster Abbey in 1957. Herbert Howells is a giant of 20th century Anglican church music the remainder of whose oeuvre is in the process of gaining new appreciation. Over the course of his compositional life he created many settings for the Magnificat and the Nunc Dimittis. Howells made a practice of writing his settings for these texts and completed twenty services generally specifically for the church buildings or cathedrals in which they were to be performed. In this way he wrote works for the cathedrals of St Paul’s Worcester and Gloucester as well as York Minster King’s College Cambridge New College Oxford and St John’s College Cambridge among others. This setting was written forWestminster Abbey in 1957.

Angela Morley's Harlequinn for Clarinet with Piano accompaniment.

For SATB Choir and Harp (or Piano). Text: Eric Crozier. For SATB Choir and Harp (or Piano). Text: Eric Crozier.

For SATB Choir A Cappella. Text Richard Alison (1606). For SATB Choir A Cappella. Text Richard Alison (1606).

God Is Gone Up With A Merry Noise is an anthem for six-part SSAATB choir. It sets a passage from Psalm 47 and is presented here in the original minim version with an Organ accompaniment by Vincent Novello . William Croft (1678-1727) was an English composer organist and choirmaster. He studied with John Blow at the Chapel Royal and later became organist at Westminster abbey. He is best remembered for the tune Saint Anne which was written for the hymn O God Our Help In Ages Past and also for his Funeral Sentences which have been sung at every British State Funeral since the 1700s.

Evocation to a Friend was commissioned for the Choristers of Canterbury Cathedral on behalf of Befrienders International (now Befrienders Worldwide). The text is by David Race and explores themes of friendship and hope. The music grows in intensity over a cyclic harmonic pattern with repeating melodic fragments arranged across the four voices creating a hypnotic effect. After a bleak and reflective interlude in the middle the music unwinds to a peaceful 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 secularworks 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. Timothy Noon (b.1974) is Director of Music at Holy Trinity Cathedral Auckland New Zealand. He received his musical education as a chorister at Hereford Cathedral and subsequently as Organ Scholar at Christ Church Oxford. Following appointments at St Patrick’s Cathedral Dublin and Canterbury Cathedral he became Organist and Master of the Choristers at St David’s Cathedral Pembrokeshire and then Director of Music at Liverpool Metropolitan Cathedral before moving to his present position in 2011. Timothy Noon - Evocation To A Friend by musicroom

Motet for Compline or Evensong for SATB Choir A Cappella. This edition prepared by Denis Stevens.

Tarik O'Regan's The Night's Untruth for SATB chorus Brass ensemble and Organ is a co-commission celebrating the 10th anniversary of JAM (The John Armitage Memorial Trust) and the 40th anniversary of VocalEssence. ' The Night's Untruth explores the use of sleep as metaphor by dint of excerpts from poems written in the 17th to 20th centuries. Death love fear ecstasy isolation dreaming and rest are all textual variations on the theme of sleep and can be found in the chosen texts. The work's title is taken from a line in a poem by Samuel Daniel (1562-1619) and speaks tothe composition's focus on sleep as a parallel possibly dystopian existence to the one experienced in our waking hours.' - Tarik O'Regan March 2010 Scored for brass quintet organ and SATB choir with (minor) divisi and occasional moderately demanding solos for tenor and soprano this evocative 16-minute work probes the mystery of sleep with texts from poems by Keats Samuel Daniel Shakespeare and Hart Crane: 'death love fear ecstasy isolation dreaming and rest' are the themes O'Regan explores through these texts in a work as episodic as a disturbed night with the title creating a 'focus in sleep as a parallel possibly dystopian existence'. - Organists' Review

For SATB Choir and Organ. For SATB Choir and Organ.

This setting Julian Marshall's second of this Blake text was premiered in 2018 by the vocal group The Rupa Ensemble. This setting Julian Marshall's second of this Blake text was premiered in 2018 by the vocal group The Rupa Ensemble.

Written for string orchestra.

Anthem for SATB Choir for Palm Sunday.

Commissioned by the Scottish Ensemble first performed on 15th December 2008 at Queen's Cross Church Aberdeen. Programme note 'This short work is about conflict - expressed here by the clash of opposing musical forces. One force' an arioso' is based around the harmonic field of E and is melodic tonal straightforward and at times emotional. It is mainly led by the first violin. The other force' led by the double bass is strongly discordant [at first a single note F latergradually growing to a giant cluster]. It is essentially chordal [non-melodic] static suffocating inexorable and impersonal. Its only contrast is getting louder or getting softer getting denser or less dense. The interruption of the opening arioso' by a single note F on the double bass is at first not very threatening and the reaction to it is one of surprise. Later as the threat increases so the reaction becomes stronger; at first one of irritation then anger. A passionate outburst on the violins follows which falls on deaf ears. Then a solo violin solo viola and solo cello all appeal in turn: still no response. Finally only fragments of the original arioso' are heard before dying away. Whereas near the

For SATB Choir. For SATB Choir.

Arranged by Walter Emery for two pianos.

The magnificent interweaving of harmonies and dialogue-like Voices in Handel 's For Unto Us A Child Is Born make it a perfect addition to the festive choral repertoire. German-born British Baroque composer George Frideric Handel originally composed this piece in 1741 for the English-language oratorio Messiah which eventually became one of the best-known and most frequently performed choral works in Western music. As the last song of Scene 3 of Part I of the oratorio which addresses Isaiah's specific prophecy about the virgin birth of a Messiah For Unto Us A Child Is Born tells the news of Christmas thebirth of a son in Isaiah's words as found in the Scripture (Isaiah 9:6). The delicate familiar theme is introduced by the Sopranos and taken up by their counter-voices the Tenors later the same dialog is given over to the Altos and Basses. The tutti culminates in 'Wonderful' 'Counselor' 'The Mighty God' 'The Everlasting Father' and 'The Prince of Peace'.