Canon of Praise

Exuberance and joy fill this work and its dramatic call to praise. A triumphant nuematic alleluia melody alternates between the voices giving the song a thorough and continuous theme of praise. Available separately: SATB SAB Brass Parts.

Based on Psalm 98:1-4 this ancient psalm of praise is redressed in modern classical sounds. Intertwined is the canonic melody from 19th century hymn-writer Lowell Mason O Music. The combination honors music as the educational value Mason professed along with praise to God for skillful singing the psalmist scribed. A great festival piece of general praise optional handbell choir and children's choir add to the possibilities.

Sparkling and full of vitality this new anthem is easily sung and highly effective. It begins simply and builds to an driving conclusion. The two-part voicing makes it accessible for choirs large and small. Add the optionalhandbells for a singing ringing anthem of praise!

The series 'ORGAN PLUS ONE' contains pieces which are freely-composed or based on hymn tunes, both original works as well as arrangements.

The editions include solo parts in C, Bb, Eb and F, which can be played by violin, flute, oboe, clarinet, trumpet and horn in F. The range of the solo instrument parts is in the middle register, making this series particularly appealing to non-professional church musicians and instrumentalists.

The hallmark of this edition ' flexible instrumentation with easy playability ' ensures that the pieces can easily be tackled and are fun to play for church services, musical evenings and small concerts. Idiomatic instrumental arrangements and the stylistic variety of the pieces guarantee success for both organists and instrumentalists.

The contents of the volumes correspond to the seasons of the church year:
- Advent / Christmas
- Passion / Easter
- Epiphany / Whitsun / Pentecost
- Death and Eternity / Funerals
- Praise and Thanks
- Divine Service
- Communion
- Special Services (baptisms / weddings) / Célébrations / Klomp, Carsten / Partition Partie séparée / Agrafé /

Uses: General Concert Easter AdventScripture: Isaiah 40:5; Revelation 5:13Raw power characterizes the opening of this festival anthem from the Cathedral Series. Massive chords sweep forwardbringing in fanfare-like choral acclamations of praise. Use of a solo reed adds shine and the martial like theme is a confident call to worship and invitation to prepare the way of the Lord with praise. The church was made forsong and the middle contrasting section celebrates this legacy of praise by increasing intensity until breaking forth with jubilant alleluias. A final canon caps this majestic offering!

Flowing with dignity and familiarity this new original song of thanks and praise is reminiscent of an old folk song set to new harmonies. The melody supports a poem by Bill Conner which describes the bounty of God's blessings.The easy setting moves into a simple canon that nicely enhances any service of thanksgiving.

Uses: General Thanksgiving Scripture: Psalm 128:1 Ephesians 1:3 An anthem of praise this lilting octavo rises naturally like a grateful prayer. Replete with two-part textures the song is easily learned creating a pleasing clarity. The contrasting middle section features a quote from the text of the Doxology to the celebrated Tallis Canon theme. An optional flute part adds a splendid spirit to the overall impact of this brief and effective choral.

Flowing with dignity and familiarity this new original song of thanks and praise is reminiscent of an old folk song set to new harmonies. The melody supports a poem by Bill Conner which describes the bounty of God's blessings.The easy setting moves into a simple canon that nicely enhances any service of thanksgiving.

Robert Saxton's Hortus Musicae Book 1 was commissioned by Ian Richie for the 2013 City of London Festival with funds provided by the John S. Cohen Foundation. The first performance was given by Clare Hammond on June 24th 2013 at the church of St Mary Le Bow. The title less 'literal' in Latin than in the vernacular refers to the idea of an allegorical/metaphysical garden (reference to a 'real' or existing garden might be implied by Hortus Musicus) with various facets. The titles of the individual pieces/movements with their respective garden image are as follows: 1) Hortus Somniorum: afleeting vision of a 'magical' garden 2) Hortus Temporis: a reflection of/on the floral clock described by Andrew Marvell (1621-1678) in his [metaphysical] poem The Garden: How well the skilful gardener drewOf flowers and herbs this dial newWhere from above the milder sunDoes through a fragrant zodiac run;And as it works the industrious beeComputes its time as well as we.How could such sweet and wholesome hoursBe reckoned but with herbs and flowers! 3) Hortus Cantus: A garden in which nature 'sings' (praises) in the manner of a 'chorale prelude' and ending with the cantus firmus transformed into bells. 4) Hortus Infinitatis: A meditative/formal garden representing Time suspended in the form of a palindromic prolation canon combined with a harmonic ground (chaconne). 5) Saltatio Hortensis: A (summer) garden of dancing celebratory nature. Its essence (and that of the entire cycle both metaphorically and structurally/formally) is summed up in words spoken by Miranda in WH Auden's 1944 Tempest [Shakespeare]-inspired poem The Sea And The Mirror;So to remember our changing garden weAre linked as children in a circle dancing. Duration: 15

There is no rose of such virtue is an anonymous mediaeval text, already well known through beautiful settings by Britten (in his Ceremony of Carols), John Joubert and others. The poem is 'macaronic' (it presents a verse in English, followed by a varying Latin refrain). This new version follows the illustrious examples above by remaining strophic and presenting broadly the same music in a succession of slightly different guises. The first verse is a straightforward four-part setting, the second gives the melody to the tenors and surrounds them with hushed, wordless writing for the other parts, and the third explores a freely canonic relationship between the tenor and soprano lines before carrying the previous verse-endings to a higher, more exalted pitch and mood. The fourth verse then expands its texture in a free climactic passage evoking the songs of praise sung by the angels. This subsides towards the final verse, where the texture of the music attenuates again to four parts, and canonic writing (based on the first four notes of the original melody) permeates all of them. This slightly extended statement leads to a hushed final cadence. Francis Pott (b. 1957) began musical life as a chorister at New College, Oxford. He held open music scholarships at Winchester College and at Magdalene College, Cambridge, where he studied composition with Robin Holloway and Hugh Wood while pursuing piano studies privately in London with the distinguished British artist, Hamish Milne. Throughout the 1990s Francis was John Bennett Lecturer in Music at St Hilda's College, Oxford, and a lay clerk in the Choir of Winchester Cathedral. In 2001 he became Head of London College of Music, University of West London, later leading research across the University's Faculty of Arts and acceding in 2007 to its first Chair in Composition. Francis Pott has become recognised particularly for his sacred choral and organ music. This has been performed in concert and on radio in over three dozen countries worldwide, published by four major UK houses and released extensively on CD. Winner of four national composition awards, in 1997 he received first prize in the piano solo section of the S. S. Prokofiev Composing Competition, Moscow. In 2006 and 2011 he was a nominated finalist in the BASCA/BBC Annual Composer Awards. In summer 2012 he was winner of the international composing competition of the Cheltenham Festival, which sought new piano variations on the arioso song Bist du bei mir, well known in the arrangement by J. S. Bach. Francis lives with his wife and two children on the outskirts of Winchester. An inspiring selection of new works from a range of contemporary composers, the Novello New Choral Series offers 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. / Choeur Mixte (SATB)

Psalm 15:6-Bright mixed meters syncopation hand claps and canonic imitation bring spirit and life to this accessible work for young and developing voices. The text from Psalm 150 is sung in accessible Hebrew and English: Let everything that hath breath praise the Lord.

100 Hymns for Violin and Guitar is a collection of all-time favorite hymns arranged for violin solo with suggested written chordal accompaniment. Fingerstyle guitar and strum styles are indicated on each solo. Other chordal instrumentalists can also use the written material. The repertoire spans centuries and represents a wonderful assortment of solos which may be used as preludes or offertories throughout the various seasons in the church year./ Recueil / Violon et Guitare