Lully, Lullay was written at the request of Philip Reed, music director of the Bury St Edmunds Bach Choir, which gave the first performance on 17 December 2011 at Holy Trinity Church, Long Melford, Suffolk. Inspired by the familiar medieval text of the Coventry Carol , it is sung a cappella and invokes the sense of a lullaby through its metre and lilting melody. The fragility and bittersweet tonality of the opening verse is reflected in the continuous interaction between the tonic and dominant keys and resolving dissonances. This develops into broader passages of increased range and dynamics during the second and third verses, where the melody is passed between the upper and lower voices, clearly invoking the poignancy of the text. The last verse returns to the original theme with subtle harmonic changes and a reflective final cadence. 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. Harriet Wybor was born in Leeds in 1986 and read music as an undergraduate at Durham University, followed by an M.A. in composition with Martyn Harry and António Pinho Vargas. Harriet's main compositional interests are sacred and secular contemporary choral and chamber music, and the relationship between music and time. Her work reflects a wide range of influences from renaissance choral music and medieval texts to 20th-century literature and art. Harriet has had works performed by the Northern Sinfonia (conducted by H K Gruber), Psappha, the Allegri String Quartet, St John's College Choir, Durham, the Bury St Edmunds Bach Choir and the Fishburn Band - broadcast on BBC Radio 2's Listen to the Band . After graduating from Durham University, Harriet continued her studies at the University of Edinburgh, where she read for an LL.M. in innovation, technology and the law. She has subsequently pursued a career in music publishing where she works in copyright and composes in her spare time. / Choeur SATB

Acallam na Senórach by Tarik O'Regan was co-commissioned by the National Chamber Choir of Ireland The DeBartolo Performing Arts Center at University of Notre Dame Indiana and Peak Performances at Montclair State University Montclair New Jersey.First performed on 25 November 2010 at St Ann’s Church Dublin by the National Chamber Choir of Irelandwith Stewart French (Guitar) directed by Paul Hillier.The Guitar part was edited by Stewart French.Tarik O'Regan on the music:In writing this musical setting of Acallam na Senórach I was drawn to the evenness of the dialogue. Instead of St Patricksimply converting the pagan warriors he is encouraged to listen to Ca lte’s stories and poems of an earlier time in which the saint delights.This secular/sacred osmosis is maintained unwaveringly throughout the entire text. By the end of the narrative one has witnessed not only the arrival of a new religion in Ireland but also a richly-recounted secular narrative map of the entire island: the peaceful and enriching shaking of two great hands.In preparing the libretto (the sung text) I have focused on only a few of the shorter constituent tales. This decision was born of the practical constraints of duration. I have however kept the skeleton albeit smaller of the overall frame in place. Finally for the sake of simplicity Ois n is removed from the primary narrative.The characters are not assigned specific voices. The narrative as a whole is carried by a persistently changing combination of voices and guitar. The one exception is Cas Corach the musician of the s d (underworld) who is most closely embodied throughout this setting in the solo interludes for guitar.The music itself is not ethnographically inclined; that is I have not attempted to reconstruct theories on Irish music of the period from which Acallam stems. However the score generally and especially in the guitar writing is imbued with an air

The text of Susanni is a translation of Martin Luther’s hymn of 1535 Vom Himmel hoch. The music is based loosely upon the well-known chorale melody which at times is quoted in full in both voices and organ. Except where indicated singers should adopt a legato style especially in the repeated quaver patterns. In the bars which appear to be in compound time conductors should beat in crotchets.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 yetaccessible repertoire in an exciting variety of styles. Bill Ives has spent his life in choral music as a singer conductor teacher and composer (writing as Grayston Ives). He was a chorister at Ely Cathedral and later studied music at Cambridge taking composition lessons with Richard Rodney Bennett. After Cambridge he sang in Guildford Cathedral Choir before joining the King’s Singers with whom he recorded and performed worldwide.For eighteen years he directed the Choir of Magdalen College Oxford. During his tenure the choir earned a Grammy nomination for a disc of music by Orlando Gibbons and gave the première of Paul McCartney’s Ecce Cor Meum written especially for them. In 2008 his work as a composer and conductor of church music was recognised with the award of a Lambeth DMus and a Fellowship of the Royal School of Church Music.

Westminster Conservatory Youth Chorale Jewish Music Series-The latest original in the Westminster Conservatory Youth Chorale Jewish Music Series the gentle descent of this delicate setting of 12th century text by Judah HaLevi is beautifully haunting. Do These Tears Know is a perfect piece to remember Kristallnacht or for a Yom ha'Shoah program. For the secular community the piece sung in English connects to world events and is appropriate for any solemn occasion.

SATB-A merry medley of secular Christmas songs arranged by Audrey Snyder for SATB choir with Piano accompaniments perfect for Christmas concerts.

Par QUARTEL SARAH. Forces or Category: SATB, with piano or drum or unaccompanied 10 songs for mixed voices, with piano or drum, or unaccompanied Wide range of secular texts, including canonical writers like Shakespeare and Emily Dickinson, as well as original words by the composer Mixture of moods and styles, from lively and pop-inspired to serene and reflective/ Répertoire / Choeur Mixte SATB et Piano

Choral SuiteInstrument : mixed choir (SATB) and piano (organ)Type : vocal/piano scoreNombre de Pages : 40As featured on the best-selling CD, this is a powerful and compelling account of the descent into and terrible consequences of war. Commissioned for the millennium by the Royal Armouries and dedicated to the victims of the Kosovo crisis, this work is a contemporary example of a mass based on the 15th-century French song L?Homme Armé (The Armed Man). The complete work sets sacred and secular texts including Tennyson, Kipling, The Koran and the Hindu Mahàbharàta within the framework of the Christian mass. Championed by Classic FM it has captured the imagination of music lovers everywhere to become not only a chart-topping CD but also one of the most currently performed and poignant choral works of the moment.This suite of five mass movements and the Hymn Before Action arranged for SATB chorus and piano/organ is suitable as a concert item or within a liturgical setting and will make a stunning contemporary mass alternative.Content : Kyrie - Sanctus - Benedictus - Agnus Dei - Hymn Before Action

A terrific seasonal treat for SATB choirs with Piano accompaniment Swingin' at Santa's Place is driven by a carefree 40s doo-wop Swing. This fabulous work also includes an alternative set of lyrics so whether you choose the Christmas lyrics or the secular lyrics this Kirby Shaw original is your direct ticket to swing-land any time of the year!

Warfare-The Chester Books Of Madrigals offer an exciting collection of secular European madrigals partsongs and rounds from the 16th and ear;y 17th centuries newly edited from early sources by Anthony G. Patti who contributescopious historical notes to each volume.The majority of the settings are for SATB and simplified keyboard reductions. Texts are in the original languages with an English translation (for non-English texts) provided at thehead of each piece.

Moses Hogan and John Jacobson have combined their considerable talents to create a secular gospel-style work that is accessible to choirs of all ages. Ideal for Dr. Martin Luther King Jr. day Black History month and many otherconcert occasions it is instantly appealing! Available for: SATB SAB and 2-Part. Performance Time: Approx. 2:30.

John Rutter's Shall I Compare Thee To A Summer's Day? for SATB unaccompanied.  This secular work is set to the text of Shakespeare's famous Sonnet No. 18. Throughout the work Rutter skilfully weaves the figurative language of the sonnet within the lyrical melodic lines of the music. Shakespeare's expressive text is passed between the voices with the warm verdant harmonies enveloping the sonnet's use of imagery and the work's central metaphor of comparing love to a summer's day.

Sweet was the song was composed in 2003 as a commission from the Hampstead Chamber Choir and their then director Eamonn Dougan. It is a short and simple SATB setting of a familiar Christmas text.The Novello New Choral Series is an inspiring selection of new works from a range of contemporary composers 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.Thomas Hyde(b.1978) studied at Oxford University where he gained a doctorate in composition in 2008 and the Royal Academy of Music. His teachers have included David Matthews Simon Bainbridge Peter Maxwell Davies and Robert Saxton. In October 2008 he was appointed Lecturer in Music at Worcester College Oxford and since September 2009 has been visiting lecturer in composition at City University London. Prizes include finalist in English National Opera’s young composer festival ‘New Visions New Voices’ (1992) the National School Band Association Prize (1993) and a Wingate Scholarship (2004-5). His music is performed regularly in Britain at festivals including Spitalfields City of London Presteigne Deal and Little Missenden as well as abroad and has been broadcast on BBC Radio 3. Recent works have included a string quartet for the Allegri Quartet and the one-man opera That Man Stephen Ward for the Hampstead & Highgate Festival.

The Chester Books Of Madrigals offer an exciting collection of secular European madrigals, partsongs and rounds from the 16th and early 17th centuries, newly edited from early sources by Anthony G. Petti, who contributes copious historical notes to each volume. <br>The majority of the settings are for SATB and simplified keyboard reductions. Texts are in the original languages, with an English translation (for non-English texts) provided at the head of each piece. / Classique / Partition /