Sheet music for John Harle's Lookout!. This is a full score for Children’s Voices Mixed Chorus Soprano Saxophone Double Bass and Keyboard.Lookout! was written for TheFolkestone Futures Choir and was realised by The Sidney de Haan Research Centre for Arts and Health Canterbury Christ Church University at the invitation of Folkestone Triennial 2014 with a grant from the Creative Foundation.The piece incorporates lyrics by the poet Tom Pickard.'Lookout! is a set of five songs written for the Folkestone Futures Choir for FolkestoneTriennial 2014. Within the culture of songs written for'Complaints Choirs' the lyric material is drawn from actual notes made by the residents of Folkestone about living in their town - its beauty its community spirit - and of course its drawbacks.It has been purposely written to beable to be rehearsed and performed on a minimum of rehearsal time as the logistics of large-scale community events means that the singers and musicians often come together only on the day of performance.The accompanyinginstrumental parts are straightforward the role of the saxophone line being tosupport the vocal line most of the time. Future performances of the work could involvearrangement of the musical material for other instrumental forcesor simply a keyboard or pianoaccompaniment.' - John Harle

This anthem The Peace That Surpasseth Understanding by John Tavener was commissioned jointly by the Dean and Chapter of Westminster and the Ministry of Defence. It was first performed at a Service in Honourof the Passing of the World War One Generation in Westminster Abbey on Wednesday 11th November 2009 in the presence of Her Majesty The Queen and His Royal Highness The Duke of Edinburgh by the Choir of Westminster Abbeyconducted by James O’Donnell. COMPOSER’S NOTEIn this setting of Saint Paul’s great statement I have tried in a simple and primordial manner to suggest majesty solemnity and a radiance of peace andbliss. I have also given the music a ceremonial nature by inserting ‘Allelouias’ sounding from ‘Heaven’ (semi-chorus) gradually rising in pitch until they are answered by ‘Allelouias’ from‘The World’ (main choir). The music forms a gradual crescendo reflecting the meaning of the words. At the musical and spiritual climax the full organ sounds four chords which represent The Four Angels beforethe Throne of God. The final chord then transforms into the sacred monosyllable OM which hums around the building representing the Peace and Beatitude of God’s Presence. Duration: c. 4 minutes

Moving dramatic text; haunting melody – John Parker and Lee Dengler paint a vivid picture of Christ's arrest and trial during which He never tried to save himself or to deny the charges against Him. The power of Jesus'silence during those events is heard and felt in Parker's strong text and Dengler's passionate music. “Not a Word Did He Speak” is an emotional portrayal of the last days which will greatly impact your Lenten or HolyWeek service.

This prayer is the foundation of Orthodox faith in the Holy Trinity. Says Tavener: 'In setting it to music I have tried to capture something of the deep conjunction and repentance which lie at the heart ofOrthodoxy'.This work for unaccompanied SATB choir and SSAAA semichorus was commissioned by the Cambridge Tavener Choir. It was first performed in April 1996 at Jesus College Chapel Cambridge by the Cambridge TavenerChoir conducted by Owen Rees.

Invocation was written for the Choir of The Queen’s College Oxford and represents the culmination of the composer’s time as a research fellow at the college when he worked closely with the choir. Phillip had long been a devotee of Edward Thomas’s evocative poem Adlestrop with its dreamy pastoral feel invoking the very essence of a sultry English country afternoon. It seemed a natural choice to set not least because it mentions the two counties in which he has spent the last seven years Gloucestershire and Oxfordshire. Phillip wanted the workfurther to emphasise the link with everything we might class as a stereotypical English countryafternoon cricket on the green church bells birdsong and warm beer the mythical ‘middle-England’. His work in no way tries to depict this rather to distil the feeling it is a rhapsody on a theme of English country life that men went to war to preserve something very different from the more rugged landscape he grew up with in the Lake District. The work is called Invocation because it is precisely that a spell or charm something that bewitches the listener and that the composer hopes stays long in the mind rather like Adlestrop or indeed Adlestrop itself.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.Phillip Cooke was born in Cumbria in 1980 spending his formative years there. He has had works played across the country by many of the country’s top choirs and ensembles. New works in 2011 were featured in the London Festival of Contemporary Church Music John Armitage Memorial Concert Series Choir