Composer's notes:The Fool is a time-honoured Orthodox religious figure: a Saint the highest of all who discards everything for Christ's sake. He discards all convention all decency all wealth actual and spiritual and turns himself into a figure of fun - defying all acceptable behaviour - and all religious decency. He stands in the square and lets down his trousers - he stuffs himself with food on Good Friday - he gets drunk - he 'appears'to fornicate wildly. There is a faint possibility (in not the highest of 'Fools') of gaining worldly popularity by such flagrant denial of all moral behaviour. Can such behaviour be too interesting? The true fool however embraces all of this and also (unseen) shrinks before the face of his God. By his behaviour he plucks out all hypocrisy false piety and corruption. He is a figure much needed in our times!!! The way I have tried to tacklethis extraordinary subject is to show him in seven stages from an obscene huge fat traditional clown who is drunk fornicating etc. through a stumbling frail agonized figure to a sallow-faced gaunt business man in a formalsuit staring at an empty glass. Having first revered him then mocked him the 'people' while they get drunk and jabber away at 'Christmas' and at the Feast of Feasts 'Easter' are no longer aware of him. But the audience seeshim - a tiny ragged scrap of mortality lying in a corner and faintly so faintly the voice of the Fool the true Fool for Christ's sake sings above the ribald crowd. 'He has given His life'. The Gogmagogs are the 'people' 'priests' 'singers' etc. and one male singer who can 'create' or 'uncreate' this vast role (singing and acting miming etc.) John Tavener Arranged for SSATBB chorus. Date of composition 2000. Chorus part only.

John Rutter's This Is The House Of God for SATB choir unaccompanied.Well suited to beginners this is a piece of elegant simplicity that remains in rhythmic unison throughout with focus placed on the dynamic range. Its text written by the composer emphasizes the communal significance of religious spaces making the piece an ideal choice for a reflective moment in any worship service.

This is the Vocal Score of Britten's Festival Cantata for Treble Alto Tenor and Bass soloists Choir and Organ. The text is a setting of words by Christopher Smart written whilst committed to an asylum. It is an exemplary work that reflects a deeply religious motif with the theme of the worship of God by all living beings and things each in their own individual way.

Morton Gould's Hallelujah Amen from 'Quotations' for Double Chorus of Mixed Voices and Wind Orchestra. Piano reduction.This work was commissioned by L. Anthony Fisher for the New York Choral Society Robert DeComier conductor and first performed by them on January 28 1983 at Carnegie Hall.The composer after thinking over the possible approaches to a choral work found the ide of platitudes common sayings and poetic referenmces challanging and stimulating. As 'Quotations' evolved he found that these sayings evoked nostalgic momories of his own childhood in Richmond Hill New York where he was reared on such aphorisms as 'theearly bird catches the worm ' 'a stitch in time saves nine ' 'a bird in the hand is worth two in the bush.'After setting the scene in Richmond Hill the piece begins with Hallelujah Amen the common shout for joy and closing whisper of all religions. An antiphonal series of platitudes follows and then moves to more complex secular litanies the 'ballads ' or stories of young love and old age and the precariousness of life which have been told and retold through the ages. In the last movement the religious litany resumes with 'ashes to ashes dust to dust' echoing the earlier prosaic motif 'here today gone tomorrow ' or as Gould finally writes 'time's up!'

12 Exciting new pop songs to teach social moral spiritual and cultural learning-This exciting collection of twelve new pop songs is written by Andy Silver who has tried and tested these songs with schools across the country as part of the PopUK project. The songs are written with lyrics which enable schools to teach SMSC PSHE Citizenship and Religious Education as required by Ofsted through music. Covering values including Thankfulness Humility Endurance Compassion Trust Peace Forgiveness Friendship and Justice these catchy songs are suitable for those of all faiths or none and will teach inspire and bring people together. The book includes includes backing tracks and demonstration tracks alongside videos synchronizinglyric display with the music to get everyone Singing Out! with confidence.

Psalm 118-Triumphant and lively Elliot Levine's original setting of Psalm 118 features the a cappella wizardry he has come to be known for. The Western Wind vocalist's entertaining and accessible composition is entirely in English makingit extremely versatile and a welcome addition to any religious-themed occasion.

Morton Gould's Sermon from 'Quotations' for Double Chorus of Mixed Voices and Wind Orchestra. Piano reduction.This work was commissioned by L. Anthony Fisher for the New York Choral Society Robert DeComier conductor and first performed by them on January 28 1983 at Carnegie Hall.The composer after thinking over the possible approaches to a choral work found the ide of platitudes common sayings and poetic referenmces challanging and stimulating. As 'Quotations' evolved he found that these sayings evoked nostalgic momories of his own childhood in Richmond Hill New York where he was reared on such aphorisms as 'the earlybird catches the worm ' 'a stitch in time saves nine ' 'a bird in the hand is worth two in the bush.'After setting the scene in Richmond Hill the piece begins with Hallelujah Amen the common shout for joy and closing whisper of all religions. An antiphonal series of platitudes follows and then moves to more complex secular litanies the 'ballads ' or stories of young love and old age and the precariousness of life which have been told and retold through the ages. In the last movement the religious litany resumes with 'ashes to ashes dust to dust' echoing the earlier prosaic motif 'here today gone tomorrow ' or as Gould finally writes 'time's up!'

For SATB Choir (with Divisions). These works may be performed ad libitum with instruments regular with renaissance performance practice.

Par FAURE GABRIEL. Being a significant contributor to French romantic music, Faure 's Tantum Ergo, Op. 65, No. 2, is essential to all female choirs. Containing a variety of characteristics, this work contains many aspects of the romantic era. Known predominantly for his contributions to vocal repertoire, Gabriel Faure (1845-1924) is often regarded as the master of the French art song, frequently choosing to compose his songs to the writings of Victor Hugo and other prominent poets of the time. However, his religious works also remain popular, such as Tantum Ergo for three voice female choir. Containing manycharacteristics of French romantic music, this Faure work cannot be missed by aspiring female choirs./ Répertoire / Soprano Solo/2 Soprani/Contralto et Orgue

Henryk Miko aj Górecki (1933-2010) was a Polish composer who at one point was the most popular living classical composer anywhere in the world. His 1972 work Euntes Ibant Et Flebant (Op. 32) is oneof more than 70 acknowledged compositions and his first religious work for a capella choir. Using text from Psalms 94 and 125 he creates a layered texture giving rise to an incredible spatial sound effect as if the prayers andsounds of a hymn-singing choir are rising and mixing together into the upper eaves of a great cathedral. First performed in 1975 by the National Philharmonic Choir of Warsaw this SATB chorus is an absolute gem that deserves to bebetter-known.

Edward C Bairstow’s compositional output was somewhat hampered by a busy and useful life and the bulk of his compositions were created for the Anglican church. His setting of Let All Mortal Flesh Keep Silence is widely performed. This setting for The Office for Holy Communion in D is one of three settings he created for the mass. It is an effective and sensitive setting and in particular the pianissimo moment created for ‘And was made man’ and fortissimo phrase just before ‘And the third day’ leading into the double choir passage for the ascension are the work of a great talent immersed in religious understanding.Organist teacher composer and conductor Edward CBairstow (1874 1946) spent most of his professional life happily in the role of Organist at York Minster playing teaching leading the choir giving recitals writing music and works of musical pedagogy. When offered the position of Organist at Westminster Abbey Bairstow had no hesitation in declining and remaining in his native Yorkshire. He is best known as a teacher having had a remarkable number of students and for his extreme straightforwardness and high standards for himself his singers and the composers whose work he chose to perform or present.

Par GOODALL HOWARD. Invictus: A Passion seeks to address one of the most powerful and dramatic of the world’s traditional religious stories through the lens of a diverse, modern world. A variety of texts written or inspired by women form a narrative that describes human suffering and persecution, but also emphasises the human capacity for love and humility in the face of tyranny. These universal messages are brought to life with the emotional clarity and sweeping force of any Howard Goodall score. Invictus: A Passion is scored for soprano solo, tenor solo, SATB choir and chamber orchestra. The vocal score includes a piano reduction. / Choral Music / Répertoire / Soprano, Ténor, Voix Mixtes et Piano

Motette. Par MOZART WOLFGANG AMADEUS. Motet of an unknown arranger [ca. 1820], based on th Adagio of the Serenade KV 361 [Gran Partita]. The motet Quis te comprehendat, K-Anhang 110, is based on the Adagio in Mozart’s Wind Serenade K. 361, the “Gran Partita. ” The arrangement of this instrumental movement with the addition of a four-part choir deserves to be regarded as a successful example of the practice of parody, on a higher level than many less accomplished arrangements of the period. As in most of those cases the identity of the arranger is unknown, but his sensitive treatment of the original points to a gifted musician. Characteristic accompanying figures are given to the strings, while the solo violin andthe organ appear melodically. The homophonic choral setting, whose Latin words are a religious song of praise with no specific liturgical connection, is based on the works harmonic substance. The vocal parts follow the framework and compactly fill out the accompanying instrumental writing. / Mottet / Répertoire / Choeur SATB, 2 Cors, Violon Solo, 2 Violons, Alto,

Motette. Par MOZART WOLFGANG AMADEUS. Motet of an unknown arranger [ca. 1820], based on th Adagio of the Serenade KV 361 [Gran Partita]. The motet Quis te comprehendat, K-Anhang 110, is based on the Adagio in Mozart’s Wind Serenade K. 361, the “Gran Partita. ” The arrangement of this instrumental movement with the addition of a four-part choir deserves to be regarded as a successful example of the practice of parody, on a higher level than many less accomplished arrangements of the period. As in most of those cases the identity of the arranger is unknown, but his sensitive treatment of the original points to a gifted musician. Characteristic accompanying figures are given to the strings, while the solo violin andthe organ appear melodically. The homophonic choral setting, whose Latin words are a religious song of praise with no specific liturgical connection, is based on the works harmonic substance. The vocal parts follow the framework and compactly fill out the accompanying instrumental writing. / Mottet / Répertoire / Choeur SATB, 2 Cors, Violon Solo, 2 Violons, Alto,