Vocal score for George Frideric Handel's Joshua for Tonic Sol-Fa and SATB Chorus.

Jack Hawes (1916-2004) was a British composer cellist and pianist. He wrote widely for choir orchestra strings and solo instruments and cited his influences as Walton Ireland Bliss Delius and Debussy. His first setting of the evening canticles the Magnificat And Nunc Dimittis in D was completed in 1955 and dedicated to the church of St Mary-Le-Tower Ipswich where he sang as a boy chorister and first began to study the organ. It is scored for SATB with Organ accompaniment and is firmly in the 20th century Anglican style with plenty of soaring melodic lines and big climatic moments.

Arrangement for voice and Piano accompaniment. Commissioned by Gareth Malone for Series Four of BBC TV's 'The Choir' and first performed by Malone and the Military Wives' choir as part of The Royal British Legion's Festival of Remembrance at the Royal Albert Hall on 12th November 2011 in the presence of Her Majesty The Queen. A favourite for the 2011 Christmas Number One with support from radio DJ Chris Evans who has suggested every choir in the country should sing this song it's the biggest threat to X-Factor chart domination this year. The text is taken from poems letters and prayers written by the Military Wives selectedand adapted by Paul Mealor and a passage from the Book of John: Wherever you are my love will keep you safe; My heart will build a bridge of light across both time and space. Wherever you are our hearts still beat as one I hold you in my dreams each night until your task is done. Light up the darkness my wondrous star Our hopes and dreams my heart and yours forever shining far. Light up the darkness my prince of peace; May the stars shine all around you may your courage never cease. Wherever I am I will love you day by day I will keep you safe cling on to faith along the dark dark way. Wherever I am I will hold on through the night; I will pray each day a safe return will look now to the light. Greater love hath no man than this that a man lay down his life for his friends. John 15:13

Work dedicated to Hakan Hardenberger.

Work for Wind Quintet and Piano.

This work was commissioned by the Richard Gregson-Williams Trust for Tamsin Little who gave its first performance at the BBC Promenade Concerts at the Royal Albert Hall London on July 31 2001 with the BBC Scottish Symphony Orchestra conducted by Martyn Brabbins.

A Song Of Saint Francis is an anthem for unaccompanied SSA. A piano part is provided for rehearsal purpose only

When 18th century British composer Thomas Arne included his song Rule Britannia! in a masque based on the life of Alfred the Great that was presented at Cliveden the country home of Frederick Prince of Wales he could not have imagined that more than two hundred seventy years later his ditty would be known throughout the British Isles and beyond. Rule Britannia! is widely used in the Royal Navy and British Army and is featured each year at the Last Night of the Proms in the Royal Albert Hall as a national sing-along.At the time of writing the Dutch actually ‘ruled the waves ’ so this song was more an exhortation than a status report. The lyrics were also a statement ofcivil liberty. Since Cromwell’s time Britain had had a standing army which could be turned against the native population. A standing navy however existed solely to protect the nation from invaders protecting a free populace.Rule Britannia! has been quoted extensively by other composers among them Beethoven Wagner Strauss and Arthur Sullivan. Thomas Arne also penned a version of God Save The King which came to be the British national anthem.

The Good-morrow which was written in 1971 is a setting for mezzo-soprano and piano of five poems by John Donne. These are not songs in the closed sense: the settings deliberately blur one poem into the next so as to form a little musical drama about a passionate but light-hearted love-affair. The model for this piece was the beautiful song-cycle The voice of love (1966) by Nicholas Maw who was my teacher from 1968 until 1971 and whose influence upon my development was both strong and fruitful. My debt to Maw (who died in 2009) is great and this song-cycle was my grateful acknowledgement of it. The Good-morrow was first performed in 1986 at the Purcell Room London by Linda Hibberd and Giles Swayne. 1. I wonder by my troth 2. 'Tis true 'tis day 3. Come live with me and be my love 4. So so breake off this last lamenting kiss 5. Now thou hast lov'd me one whole day

Nunc autem manet was written for the wedding of Paul and Angharad de Cates in 2010. The text is taken from Corinthians 13:13 - Now but three things remain: faith hope love. But of these three the greatest - this is love.' The piece reveals the three fundamental tenets of Christian life with contrasting austere and lush harmonies and brief contrapuntal episodes ending with a gently pulsing chord-shift on the word caritas' over which the well-known plainsong melody ubi caritas' can be heard. The Novello New Choral Series is an inspiring selection of new works from a range of contemporarycomposers offering 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. This collection is perfect for choirs looking to broaden their repertoire and explore some of the best new music around. Born in 1963 John Duggan was a chorister at Westminster Cathedral and studied music at Oxford. Whilst still a boy he dreamed of writing in the choral tradition of Victoria Tallis and Palestrina. His vocal music has delighted both singers and audiences across Europe and the USA. He has written for a number of choirs including Commotio Westminster Cathedral Choir the Hildegard Choir and Sospiri and has received commissions from the Edington Music Festival Crossover Intergenerational Dance Group Oxford Youth Dance and The Oxford-Grenoble Association. He composers regularly for film and dance and performs as a singer and choral director whilst working as a recording engineer and producer.

Edward Gregson completed Tributes in the summer of 2010. Lasting some 16 minutes there are five pieces in the set each dedicated to a different composer and a different clarinettist (with whom Gregson had long musical associations). Each of the dedicatee composers wrote wonderfully for the Clarinet and as a tribute to them Gregson tried to invade indeed imitate their stylistic worlds in these pieces. They are as follows: To Francis Poulenc (for Emma Johnson) – a rather dreamy toccata lyrical in feel but interrupted by typically quirky and disruptive rhythmic episodes. To Gerald Finzi (forJohn Bradbury) – slow and lyrical with long melodic arches. To Igor Stravinsky (for Linda Merrick) – asymmetric rhythms dominate with wide leaps in the solo line and bitonal harmony on the Piano. To Olivier Messiaen (for Nicholas Cox) – based on the ravishing slow movement for Cello in his Quartet for the End of Time a seamless melody is woven around ever-changing repeated chords on the Piano. To Béla Bartók (for Michael Collins) – the most virtuoso of the set; after a slow introduction a swirling folk-like dance unfolds mirroring Bartok’s penchant for simple modal shapes and ostinati rhythms.

This edition features fresh engravings with the Organ part printed on three staves. It also includes a paragraph explaining the historical background and context of the work.

The Prelude is a flowing 9/8 song; the four-Voice Fugue follows as the slow movement; the Variations return to the original prelude theme.It is difficult to overstate the importance of Franck’s Prelude Fugue and Variation for Organ both in his own compositional life and in the development of the French Organ school. The piece is widely believed to have been one of the elemental founding works of the school appearing at a time when French Organ music was at an ebb. Originally one of Six Pieces appearing in 1862 when Franck was forty years old the work established him in the minds of other young composers as a talent of serious proportions and marked the beginning of afulfilling adult life spent as a highly-regarded composer

The final piece in this approachable suite of miniatures for solo instrument and Piano to be composed. The Liason was composed with a 'Romeo and Juliet' sort of scenario in mind.

For SATB Choir A Cappella. For SATB Choir A Cappella.

Edition King

This anthem is scored for SSAATTBB and is unaccompanied. It was written in in 1976 for Martin Neary and the Winchester Cathedral Choir.

Hymn-Anthem on the tune North Petherton for SATB Choir and Organ. Hymn-Anthem on the tune North Petherton for SATB Choir and Organ.

A beautiful setting of the 7th century text in English with overlapping 5/8 and 6/8 metre. For SATB Choir a cappella. A beautiful setting of the 7th century text in English with overlapping 5/8 and 6/8 metre. For SATB Choir a cappella.

Samson an oratorio for soloists mixed chorus and orchestra by George Frideric Handel libretto by Newburgh Hamilton after Milton’s Samson Agonistes . Edited by Donald Burrows. Includes parts for Trumpet 1 & 2.