Blessing By Paul Mealor Was Written For The Installation Of Her Royal Highness The Duchess Of Cornwall Gcvo As Chancellor Of The University Of Aberdeen And First Performed By The Chapel Choir Of King'S College Aberdeen Conducted By David J Smith June 2013 Blessing by Paul Mealor was written for the installation of Her Royal Highness The Duchess of Cornwall GCVO as Chancellor of the University of Aberdeen and first performed by the Chapel Choir of King's College Aberdeen conducted by David J Smith June 2013

Jubilate Deo is a work by Paul Mealor for SATB Choir and Orchestra commissioned by Distinguished Concerts International New York and first performed by the Choir and Orchestra of DCINY at Carnegie Hall New York on 15th February 2016. This is the Full Score with orchestral parts and a full performance lasts around 3 minutes. Jubilate Deo is a work by Paul Mealor for SATB Choir and Orchestra commissioned by Distinguished Concerts International New York and first performed by the Choir and Orchestra of DCINY at Carnegie Hall New York on 15th February 2016. This is the Full Score with orchestral parts and a full performance lasts around 3 minutes.

The 'Hallelujah' Chorus arguably the most famous choral work of the western classical tradition is the closing number of the second part of Handel's Messiah. Such is the strength of Handel's word setting that this empathic triumphal paean retains its appeal in spite of the cultural overexposure and controversy to which it has been subjected remaining a firm favourite with choirs. The premiere of Messiah was in Dublin in 1742 as the high point of a full season of Handel's work. It was a charity event held in aid of local causes and in order to get the maximum attendance at Neale's new music hall in Fishamble Street men were asked to removetheir swords and ladies the hoops in their dresses. The tradition of standing during performances of the 'Hallelujah' Chorus still indulged at some performances in Britains is said to have been started by King George II at the work's opening run in London in 1743.

Walking down a darkened street it’s hard to resist looking in through lighted windows and catching a glimpse of other people’s lives. The imagination lingers… Night Windows is the title of a painting by Edward Hopper of a scene in one such lighted window. However the scenes in this work – though reflecting something of the loneliness in so many of the Hopper paintings – are all imaginary: highly charged emotional moments. Loneliness: Anger: Nostalgia: Despair: Frenzy This work was commissioned by the International Double Reed Society and it is dedicated to Nicholas Daniel.

Novello New Choral Series- Why O Lord do you stand far off? was written in memory of the victims of the London bombings on 7 July 2005 questions the presence of God in times of human disaster particularly when committed by man upon his fellow man. The piece's focus lies in the two rhetorical questions first sung by the female voices at the beginning. This opening three note motif returns frequently throughout the work forever challenging the whereabouts of God's watchful eye. This commemorative setting of Psalm 10 was recorded by the Exeter College Chapel Choir in 2006. 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. Jonathan bridcut (b.1984) has written a broad range of works for choir and orchestra that have been performed throughout the UK and europe. Jonathan was a treble at Winchester College where he was head Quirister in 1998 before Moving on to Radley College as top music scholar. He developed his interest in composition at Oxford University while studying at Exeter College as both an academic and choral Scholar. His first set of Evening Canticles was premiered in 2004 and a year later a second was performed in St Paul’s Cathedral. Recent highlights include performances at Oxford’s Sheldonian Theatre Tewkesbury Abbey St James’s Piccadilly and at the Lausanne Summer Festival by choirs and orchestras including Schola Cantorum of Oxford Commotio and The Oxford Spezzati. Future engagements include performances by the Oxford Spezzati and Laudate in London Lyon and Chester (where his latest choral commission will be premiered in September 2011). Jonathan graduated from Oxford in 2006 with a BA in Modern

For solo female voice (Mezzo-Soprano) and ensemble: Violin Viola Cello Contrabass and Piano. Commissioned by Karina McIntosh in memory of her husband Angus McIntosh. I - Triple Burden II - Praise of a Man III - From His House Door IV - Defeat V - In Memoriam VI - Highland Funeral For solo female voice (Mezzo-Soprano) and ensemble: Violin Viola Cello Contrabass and Piano. Commissioned by Karina McIntosh in memory of her husband Angus McIntosh. I - Triple Burden II - Praise of a Man III - From His House Door IV - Defeat V - In Memoriam VI - Highland Funeral

Patrick Hawes' Blue in Blue for SATB and Harp (or Piano). Duration: 4 minutes Patrick Hawes' Blue in Blue for SATB and Harp (or Piano). Duration: 4 minutes

O Salutaris Hostia is a work by David Terry for Unison Voices and Organ Accompaniment (with optional Descant). A setting of a poem in Latin by Edward Caswall a performance lasts around 2 minutes. O Salutaris Hostia is a work by David Terry for Unison Voices and Organ Accompaniment (with optional Descant). A setting of a poem in Latin by Edward Caswall a performance lasts around 2 minutes.

The works include An Air composed for Holsworthy Church Bells by S S Wesley Allegretto by C H Lloyd The Chimes of Cloucester Cathedral by C Lee Williams Cloister-Garth by Herbert Brewer Procession from Air Berceuse and Procession by Herbert Sumsion and John Sanders’s own Toccata representing a procession of Organists at Gloucester Cathedral from 1865 to 1994.Organist composer educator Choral director and administrator John Sanders who died in 2003 was a tireless musician whose influence extends into the future through his engagement with generations of aspiring musicians. The tone of his life is evident from this volume whose works are topped and tailed by hiscomments on the composers and on the history and development of the cathedral Organ itself.

This freshly engraved edition features three staves to the Organ part and a paragraph explaining the historical background and context of the work.

What Sweeter Music Can We Bring? Was Composed By Basil Harwood With Words From 17Th Century Poet Robert Herrick'S 'Noble Numbers'. The Work Is Arranged For Satb Choir. The English Organist And Composer Basil Harwood Was A Prolific Writer Of Cantatas Church Music And Works For The Organ. What Sweeter Music Can We Bring? was composed by Basil Harwood with words from 17th century poet Robert Herrick's 'Noble Numbers'. The work is arranged for SATB choir. The English organist and composer Basil Harwood was a prolific writer of cantatas church music and works for the Organ.

O For A Lay! is a work by Charles Wood for Unaccompanied SATB Choir. A setting of a poem by George Ratcliffe Woodward a full performance lasts around 1 and a half minutes. O For A Lay! is a work by Charles Wood for Unaccompanied SATB Choir. A setting of a poem by George Ratcliffe Woodward a full performance lasts around 1 and a half minutes.

This edition is newly published in a fresh engraving. It also includes a paragraph explaining the historical background and context of the work.

Coleridge-Taylor 'Now Late On The Sabbath Day' arranged for mixed voice choir SATB with organ accompaniment.

Study Score for Kenneth Leighton's Concerto For Organ Op.58. A separate organ part is also available on sale.

Paul Mealor's Beneath Thy Compassion for SATB. Duration: 3 minutes Paul Mealor's Beneath Thy Compassion for SATB. Duration: 3 minutes

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. This Item Is The Full Set Of Parts. Bassoon Cello/Bass Flute 1 Flute 2 Horn 1 Horn 2 Oboe 1 Oboe 2 Organ Harpsichord Timpani Trombone 1 Trombone 2 Trumpet 1 Trumpet 2 Viola Violin 1 Violin 2 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. This item is the full set of parts. Bassoon Cello/Bass Flute 1 Flute 2 Horn 1 Horn 2 Oboe 1 Oboe 2 Organ Harpsichord Timpani Trombone 1 Trombone 2 Trumpet 1 Trumpet 2 Viola Violin 1 Violin 2

In memory of Christopher Rowland. Originally a concerto for Cello and chamber orchestra now for Cello with a Piano reduction of the orchestral part. The concerto is in four movements which are played without a break: Meditation Intermezzo Toccata-Scherzo and Song. The work lasts for some 18 minutes and was scored for two oboes two horns timpani (doubling tubular bells) and strings(found here in a Cello/Piano form). It is organised in one large arch-shaped structure with two fast inner movements flanked by two outer slow ones. The solo cello opens the work reflectively and introduces core melodic material which is continuously developed throughout theconcerto. Gradually the strings enter then wind and timpani and build a pyramid twelve-note chord at the peak of which there is a dramatic climax. The music then subsides (solo cello again) but links to the two faster middle movements. The second movement Intermezzo has an ABA structure and in its middle section quotes the opening of Shostakovich's Third String Quartet (written in the same year as Christopher Rowland was born!). Indeed the ghost of Shostakovich looms large throughout the concerto in more ways than one. The Toccata-Scherzo is energetic and rhythmically-charged again using an ABA structure. Here the writing for solo cello is quite virtuosic but not I hope in a shallow sense. The music builds inexorably towards a powerful climax underpinned by the opening twelve-note chord's re-appearance together with a violent outburst from the timpani at which point a tonal resolution (on G) arrives through a pianissimo held chord on strings which leads directly to the final movement - Song . And so the music arrives at its emotional heart through a simple melody (present in other forms throughout the work) announced by solo cello at the very top of its register against a quiet backdrop of horns and strings. A solo oboe enters with cello in canonic reply and all the time the music builds in texture and In memory of Christopher Rowland. Originally a concerto for Cello and chamber orchestra now for Cello with a Piano reduction of the orchestral part. The concerto is in four movements which are played without a break: Meditation Intermezzo Toccata-Scherzo and Song. The work lasts for some 18 minutes and was scored for two oboes two horns timpani (doubling tubular bells) and strings(found here in a Cello/Piano form). It is organised in one large arch-shaped structure with two fast inner movements flanked by two outer slow ones. The solo cello opens the work reflectively and introduces core melodic material which is continuously developed throughout theconcerto. Gradually the strings enter then wind and timpani and build a pyramid twelve-note chord at the peak of which there is a dramatic climax. The music then subsides (solo cello again) but links to the two faster middle movements. The second movement

J.C. Bach 's wonderful Es Ist Nun Aus Mit Meinem Leben is arranged here for Unaccompanied SATB chorus and expertly edited by Jonathan Wikeley . The lyrics were written by Magnus Daniel Omeis and are in Latin. J.C. Bach 's wonderful Es Ist Nun Aus Mit Meinem Leben is arranged here for Unaccompanied SATB chorus and expertly edited by Jonathan Wikeley . The lyrics were written by Magnus Daniel Omeis and are in Latin. A review in the June 2016 edition of Organist's Review states that this is 'a chorale-like piece with an attractive melody well-crafted harmonies and only moderate technical challenges.'

With words by Thomas Broughton. Performing edition by Peter Jones.