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Mostly traditional notation with sections of episodes of contrasting, yet complementary music. A welcome change from the traditional setting of the Pater Noster.

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A stunning setting of this Latin text that speaks of a guardian angel, it has great melodic interest combined with superb drama. Building to an impassioned climax, it then dissolves the momentum via repeated amens colored by interesting harmonies, and ultimately comes to rest with all voices now low in their ranges. Special.

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This offering from Randy Stenson's Male Chorus was premiered at the 2008 ACDA Northwest Division convention. Beginning with a rollicking and rhythmic opener the middle section transforms to tasty punctuations of sound. Returning to the opening theme, it drives to a thrilling completion. Now this song is also available for SATB and with a full orchestra accompaniment, this energetic and descriptive work will create a vivid and celebratory atmosphere in performance.

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Christmas songs also have a long tradition in Hungary. This collection contents the Christmas songs, which Miklos Kocsar arranged for children (or female) chorus. Though these melodies are different from the usually heard Christmas songs, they recall the quiet and peaceful Hungarian Christmas night.

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Music played an enormous role in the works of William Shakespeare, while his own sonnets, poems and soliloquies have provided continuing inspiration for many composers through the years. The Novello Shakespeare Choral Collection, inspired by the 400th anniversary of the Bard's death in 2016, is an exciting anthology of choral works that are settings of Shakespeare's words. For choirs of all types and abilities, this collection has been edited by David Wordsworth so that all the pieces are fantastic both to sing and hear.

The collection features some beautiful settings that have well and truly stood the test of time, such as Thomas Arne's Blow, Blow, Thou Winter Wind and Henry Leslie's How Sweet The Moonlight Sleeps. More recent settings from 20th century and contemporary composers include Ernest Moeran's Sigh No More, Ladies, Gary Carpenter's Lo, Here, The Gentle Lark and John Tavener's Fear No More and Look In Thy Glass.

Not only this, the Shakespeare Choral Collection boasts several works that were specially commissioned, including John Joubert's Be Not Afeard, Richard Sisson's Light Thickens and Pawel Lukaszewki's Weary With Toil, I Haste Me To My Bed. Some pieces have never appeared before in print, such as those by Kevin Olson, Bernard Hughes and John Gardner. These songs truly are a joy to perform, with some relatively simple arrangements that are purely fun to sing, while some more complex settings that will be thoroughly rewarding for choirs and audiences alike.

A total of 26 fantastic works comprise The Novello Shakespeare Choral Collection, which would work as a wonderful concert programme on its own, or could provide a wealth of options for choirs looking to expand their repertoire with a range of unique settings. Also included is a fascinating introduction by editor David Wordsworth, and notes describing each piece.

Words written by indisputably the greatest writer in the English language can only be matched with music by composers of talent and renown such as these. The Novello Shakespeare Choral Collection is an essential anthology of stunning settings of beautiful words which will be performed and enjoyed for many years to come.

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A Cry For Freedom is a work by renowned Venezuelan conductor and violinist Gustavo Dudamel. The work was composed as part of the Libertador Suite, forming part of the film "The Liberator", about the life of revolutionary Simon Bolivar. This work is arranged for unaccompanied SATB Choir.

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God So Loved The World is a work for Unaccompanied SATB Divisi Chorus by renowned Welsh composer Paul Mealor. The work lasts around 4 minutes and was commissioned by the Martin Luther College Choir. The world premiere of God So Loved The World took place on February the 13th, 2015 by the Martin Luther College Choir at Chapel of the Christ, Martin Luther College, conducted by Kermit Moldenhauer.

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Ave Maris Stella, composed by Owain Park for unaccompanied SATB divisi. The approximately 3 and a half minute piece is an original setting of an anonymous plainsong, and is dedicated to the Richard III Society, George Haynes and the St. Pete''s Singers.
As well as being an award-winning composer, Park also conducts, sings and plays the Organ, currently holding the post of Organ Scholar at Trinity College, Cambridge.

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Tomorrow Shall Be My Dancing Day is a work for unaccompanied double SATB choir by composer Owain Park. It was commissioned by the Choir of Trinity College, Cambridge who performed the premiere in Trinity College Chapel, conducted by Stephen Layton. As well as being an award-winning composer, Park also conducts, sings and plays the Organ, currently holding the post of Organ Scholar at Trinity College, Cambridge.

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Cradle Lullaby is a work composed by young star composer Owain Park. Commissioned by the Wells Cathedral Chorister Parents' Association, the work is arranged for Upper Voices and Piano (or Organ) accompaniment. This piece has been recorded by the Wells Cathedral Choristers for their CD "Jingle Wells", of which this composition was selected by BBC Radio 3's CD Review Show as the highlight.

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Loss by German composer Hauschka is the first movement of his larger work Cascades, arranged for unaccompanied SATB Chorus.

Hauschka describes his process for Loss's composition, how inspiration came from the subject of the "abandoned place", how Schoenberg and Kandinsky has written a lot about the loss of an old identity and the search for a new one. His three-movement work therefore took into account the three stages of this process, with Loss covering the difficult but necessary process of disentanglement that will lead to development and growth.

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Will Todd's Softly is a tranquil carol that captures the peace and spirit of Christmas. Featuring subtle suspensions, modulations, and time signature changes it will appeal to a wide range of choirs. Softly is featured on Tenebrae's 2014 CD Lux et Veritas.

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This celebratory carol on the popular fifteenth-century text is full of Christmas cheer. Jaunty, up-tempo, and in 7/8-time, it is an ideal opening for Christmas concerts and services.

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The story of Good King Wenceslas on the Feast of Stephen is presented here as a vivid musical narrative, with solo parts for the characters of Wenceslas (baritone) and Page (mezzo-soprano). Chilcott sets new words by Charles Bennett to a colourful array of styles to recount their snow-bound story. The choir sets the scene before Wenceslas and Page meet in 'Who can that be?', and the story-telling continues in several contrasting movements, including a touching solo ballad from Page entitled 'Thank you' and the strong yet reflective closing movement, 'On St Stephen's Night'. The full five verses of the well-known carol are skilfully interwoven throughout the work in different parts, with the final verse being sung by the audience or a semi-chorus, and the movements are punctuated by an instrumental interlude and triumphant fanfare.
An orchestral accompaniment is available on hire/rental.

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This is the showstopping number from the dramatic Broadway mega-hit Rent. This edition is based on the Stevie Wonder pop version included on the cast recording. Great choral writing and a fantastic lyric message.

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This is the showstopping number from the dramatic Broadway mega-hit Rent. This edition is based on the Stevie Wonder pop version included on the cast recording. Great choral writing and a fantastic lyric message.

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This song was composed for the International KODOMO Choir Festival held during the World Symposium on Choral Music in Kyoto 2005. In 2006, the composer arranged this song into the mixed choir version for the joint concert in Singapore. A choir in Singapore, a choir from the Philippines, and the choir of Ko Matsushita himself from Japan were gathered. Through the work divided into three groups, our prayer for peace spreads like waves turning into whirlpools. This piece should be sung powerfully and brilliantly.

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The song was composed while Ko Matsushita studied abroad in Hungary. The compositional style of this piece in the form of a six-part mixed chorus is influenced by various modern European choral works. The functional structures of composition by Hungarian composers and the excellent harmonic structures based on the overtones of Northern European choral music fascinated the composer very much. This piece is full of the composer’s memories of twenty years ago and people can get a sense of the beautiful town Budapest.

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Composed on the basis of the three tanka poems included in Man'yoshu, the earliest surviving anthology of Japanese poetry. Each of them expresses the poet's melancholic feeling of Japanese spring scenery. A tanka poem of a very succinct form broadens the readers' imagination more infinitely for its brevity. Therefore the composer tried to emphasize the essence in the ancient poem by getting rid of superfluous matters. It was selected for the one of the comparsory works of the JCA National Choral Competition in 1996.

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