John Taverner's Western Wind Mass is one of three extant Early Tudor masses bearing that title the others being by Christopher Tye and John Shepherd. They are so named because their canutus firmus derives from a setting of thelove lyric 'Westron wynde when wylle thow blow'. Taverner's extant works are not abundant by William Byrd’s standard but they include eight complete masses three Magnificat settings over twenty motets English adaptations ofhis Latin music a handful of secular songs and a couple of instrumental pieces. This work is for SATB voices and is edited by Anthony G. Petti

Smoking and Drinking-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.

Place Names-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.

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 /

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 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 /

POD-6 Korsalmer Til Tekster af Ester Bock (6 Choral Hymns to texts by Ester Bock) for Mixed Chorus SATB composed by Søren Birch.

Award-winning contemporary Polish composer Pawel Lukaszewski is highly celebrated as a creator of sacred Choral music. His style owes everything to the great traditions of Western music, though his harmonic palette is more modern in style and he sometimes makes use of unusual Vocal effects when suggested by the text.Psalmus 102 is scored for unaccompanied Chorus SATB with a chant-inspired rendering of the words that the Western Bible knows as Psalm 103. / Chant/Vocal/Choeur

This work for unaccompanied SATB choir was written for the Choir of Winchester Central. It was commissioned by the Dean and Chapter of Winchester Cathedral for the enthronement as Bishop of Winchester of the Right ReverendColin James in Jane 1985.Vocal score with piano accompaniment for rehearsal purposes.

POD-James Whitbourn's Agnus Dei From Missa Carolae. Missa Carolae was commissioned by Rochester Cathedral the second oldest cathedral in England to mark the 1400th anniversary ofits foundation. It was first performed there on 24 December 2004 by the Rochester Cathedral Choirs Andy Findon (Fife) the Locke Brass Consort Edmund Aldhouse (Organ) Joby Burgess and Catherine Ring (Percussion) directed byRoger Sayer. The work is intended to invoke a dance-like spirit which is true to the origin of the carol as a simple dance form. The choir parts should be very well-known so that the singers can sing with the whole oftheir bodies and not just their voices. This version is a reduced scoring for SATB (unchanged) with Organ and optional Piccolo and also acts as the vocal score to the full version. In this scoring the Piccolo adds to theeffectiveness of the piece. In either scoring the Piccolo may be replaced with a Flute Fife or even a more rustic Pipe as was used at the first performance. The original scoring for SATB with Piccolo Brass (3 Trumpetsand 3 Trombones) Percussion (2 players) and Organ accompaniment is the preferred version. Full score and parts are available on hire from the publisher or full score on sale (CH71621). The Piccolo part (CH79893-01) is common toboth scorings and is available on sale or hire with the full version. The Organ accompaniment in this score is for performance of the version for SATB Piccolo and Organ only. An A4 spiral-bound version of this score may bepreferable for the organist (CH79893-02). The separate Organ part - available on hire - must be used for the version with instruments.An ad lib. part for the congregation (CH70961 pack of 50) is incorporated into the fullscoring of Missa Carolae. Reference to the entries of the congregation is made in the vocal score for occasions when it is used in conjunction with the full instrumentation.

Christmas Proclamation-A Christmas proclamation for tenor (or baritone) solo SATB choir and organ. This work was commissioned by Winchester Cathedral in tribute to Martin Neary for his work at Winchester Cathedral during the years 1972-1987. It wasfirst performed in December 1987 by the Choir of Winchester Cathedral conducted by Martin Neary.

This work for soprano solo and SATB chorus was commissioned by the Norwich Festival of Contemporary Church Music.Tavener:'In the Orthodox Church the Lament of the Mother of God is normally sung on Holy and Great Friday. Inits full length it lasts about half and hour and it is intoned by the Priest or Bishop while the people venerate the Epitaphios (or Shroud of the Dead Christ) which is in the centre of the church and decorated withflowers.The Lament must be sung with an ikon-like stillness and great purity. It grows in intensity as it climbs in tessitura but without anything sudden or remotely melodramatic.For the Orthodox Church there is never thesense of absolute desolation felt by the Western Church on Good Friday. Hence the cry of the Mother of God 'Dost thou change my grief to gladness by thy Resurrection?' followed by the full forces: 'Rise O God and judge theearth.'Mother of God also features in the film Philomena starring Judi Dench and Steve Coogan and directed by Stephen Frears.

Svyati - 'O Holy One' for choir and solo cello. Text in church Slavonic. Quoting Tavener: 'I began to write Svyati in early 1995: while sketching it I learned that John Williams father of Jane my dear friend andpublisher was dying. I could not refrain from dedicating it to Jane and to the memory of her father. The text is in Church Slavonic and it is used at almost every Russian Orthodox service perhaps most poignantly afterthe congregation have kissed the body in an open coffin at an Orthodox funeral. The choir sings as the coffin is closed and borne out of the church followed by the mourners with lighted candles. The cello represents the Priest orIkon of Christ and should play at a distance from the choir perhaps at the opposite end of the building. As is Greek drama choir and priest are in dialogue with each other. Since the cello represents the Ikon of Christ it mustbe played without any sentiment of a Western character but should derive from the chanting of the Eastern Orthodox Church.

These settings were written to a commission from the Southern Cathedrals Festival and first performed in Salisbury Cathedral on 24 July 1976 by choirs of Salisbury Winchester and Chichester Cathedrals with the Phillip Jones BrassEnsemble conducted by Richard Seal.Pied BeautyThe rhythmic elasticity and freedom of the poem matches the vividness of its images and the freshness of the poetic language: it is like light playing on water. In thissetting for choir and brass phrases for trumpets and then voices- ‘Glory to be God’- Alternate with more meditative moments- ‘who knows how?’. The contrast of the poem- ‘swift slow sweet sour- a dazzle dim‘ quick changes fromsunshine to shadow- are mirrored in the music.Heaven HavenThe stillness and serenity of this poem one of Hopkins’ earliest is in direct contrast to the other. ‘Out of the swing of the sea’ to a gently rockingfigure runs as a sort of undercurrent through the piece. At the end this figure combines with a motive in thirds (heard quietly on the trumpets at the opening) and expands slowly with the choir in eight parts before dying awayinto silence.