This exclusive collection brings together 12 of Nico Muhly?s sacred works for mixed-voice choir. These vivacious fresh and dramatic pieces will make an impact whether in the church or in the concert hall and range from the intimate Lord keep us modest when we claim to the effervescent Bright Star Carol alongside service music such as Muhly?s Third Service. All are accessible to learn and offer choirs a new slant on contemporary choral music at its very best.  'Choral music has always been at the emotional core of my musical output. Even when I?m writing large-scale orchestral works (or indeed chamber music) I alwaysfind myself returning to techniques and textures I?ve greedily stolen from centuries of music from Tye to Howells early and recent. I try to design my own choral music primarily for use in worship where the measure of the success of the piece is if it helps guide the listeners? ears upwards and elsewhere as sacred architecture and the various rituals of the church themselves are meant to do. The specificity of music heard only in certain seasons is for me an important and thrilling element of the choral tradition: a Beethoven Symphony is welcome at any point in the year but an anthem for Candlemas works only then at a certain time of day and on a certain day of the year. With this functional spirit at the heart of the compositional process I hope that the music collected here makes equal sense in a concert setting. These works range from ordinaries of the mass to hymns to motets and represent a decade and a half of output.' - Nico Muhly

Words to over 150 hymns and songs used in assembly-Key Stage 1 - 3Contains all the words for No Pianist for Assembly? No Problem. Words to over 150 hymns and songs used in assembly

Words to 166 more hymns and songs-Key Stage 1 - 3Includes words for No Pianist for Assembly? No Problem! 2

Gathered from of our most successful seasonal cantatas this compilation of beloved carols is designed to work as choral anthems or for choir and congregational corporate singing. Erase the boundaries between loft and pew bybringing the church body together in the embrace of time-tested Christmas and Advent selections. Fully orchestrated by Brant Adams these arrangements will lift your sanctuary singing to new heights. Congregants sing along whilethe choir adds power depth and harmonic color. The final verses of these Christmas standards are among some of the most inspiring passages you will ever experience. These arrangements will be used year after year for?Hanging of the Green? gatherings ?Lessons and Carol? services or for festival hymn singing during the holidays. Available separately: SATB Listening CD Preview Pack (Book/CD Combo) Orchestration CD-ROM(Score and Parts for Flute 1

Faites un voyage à la croix et au-delà comme on le voit à travers les yeux de ceux qui ont suivi Jésus. Tissage musique classique de Carême et de Pâques avec de beaux nouveaux hymnes, ce 25 minutes cantate peut être réalisée comme une oeuvre complète ou utilisé comme hymne séparés tout au long de la saison de Carême. Artisanat artistique de Lee et Susan Dengler circule à travers le travail. La narration est sous la forme de monologues simples qui peuvent être lus ou mémorisés. / Choeur

The vocal score of Choral Symphony by Australian composer Carl Vine. Scored for SATB choir organ and orchestra Carl Vine’s Choral Symphonysets four ancient hymns in exotic languages that have not been spoken for thousands of years: ‘Enuma Elish’ an Akkadian creation myth describing the creation of the world from primeval chaos and three Homeric Hymns  to the Earth the Moon and the Sun (in Greek 'Epic Dialect'). The vocal writing in this 26-minute symphony (Vine’s sixth) is homophonic throughout reflecting the composer’s wish for the workto ‘revel in the power of the human community’. 

Francis Pott’s My song is love unknown sets all of Samuel Crossman’s famous verses but one (commonly omitted when the poem is sung metrically as a hymn). The music begins with offbeat repeated chords prompted—not inappropriately—by the opening to Richard Strauss’s tone poem  Death and transfiguration. In its early stages only trebles and altos are heard. The sequential flow of Crossman’s poem is soon disrupted with particular dramatic ends in mind. After a seemingly anxious harmonic distortion of the opening chords the word ‘crucify’ arises initially as a mere mutter from the lowervoices so timed as to afford assonance with other words in the upper parts and thus remain barely discernible as if only imagined. In due course however cries of ‘Hosanna’ find themselves on a collision course with a rising tide of ‘Crucify’ during which the ‘Hosanna’ faction gradually loses heart and sheep-like defects until a single treble voice—plaintively daring to repeat the ‘offending’ word—is swept aside by a murderous outcry. In due course ‘Crucify’ recurs as a further angry climax before the opening music returns this time expanding into an extended polyphonic final section for double choir and SATB soloists. The principal climax of the work subsides into a form of epilogue crowned sorrowfully by a treble soloist to whom the music in toto has by now presented many challenges. The anthem ends in the key and mood of its opening. The character of its demanding organ part reflects the possibility that it may one day be orchestrated.   My song is love unknown was composed in memory of Michael Renton a craftsman and largely self-taught ‘Renaissance’ man who was not only a member of the Winchester cathedral congregation but also the cathedral’s stonemason. He was beloved of many in the Cathedral community; a true and

Choir Rocks! You Can’t Always Get What You Want is an upbeat arrangement of The Rolling Stones’ classic song from their 1969 album Let It Bleed. The original song which featured the London Bach Choir has become an abiding hymn for our time. An ideal choice for school and community choir this arrangement is taken from the popular Choir Rocks! series which offers flexible arrangements of contemporary pop hits. All pieces are written for soprano and alto with an optional third part of limited range for baritone or low alto with straightforward piano accompaniments perfect for the amateur pianist. Also includeschord symbols.

One day we'll join the choir of angels singing the thund'rous anthem, 'Alleluia,' forevermore! What an exciting promise we have in Christ our King, to join Him triumphantly in eternity! Arranged by Bruce Greer, don't miss this incredibly joyous offering of praise from the inspired, contemporary hymnwriters, Keith and Kristyn Getty. Instrumental parts and a fully-orchestrated accompaniment CD are available. / Choeur