Górecki's Church Songs, based on melodies from Rev Jan Siedlecki's ?piewniki Ko?cielne ('church songbooks'), were composed in 1986. This edition is based on the PWM edition of 2013, which was produced with the assistance of Anna Górecka and Miko?aj Górecki. A special feature of the Boosey publications is the new, alternative Latin sung text by Edward Tambling, which will be attractive to the many choirs who do not wish to sing in Polish. The Latin text is carefully crafted to fit Górecki's score and is both poetic and sensitive to the devotional aspect of the songs. English translations from the Polish are also included, for reference only.The three publications present the songs for sacred use according to devotional subject-matter. In concert performances the songs, or a selection of them, may be performed in any order and combination. Vol 1 contains six songs in praise of the Blessed Virgin Mary. The seven songs in vol 2 take the themes of Good Friday, the Crucifixion, The Cross of Christ and the Resurrection. Vol 3 contains seven songs in praise of St Joseph, St Anne and St Nicholas, the Blessed Sacrament, the Trinity and the Black Madonna of Cz?stochowa. / Choeur Mixte (SATB) A Cappella

Górecki's Church Songs, based on melodies from Rev Jan Siedlecki's ?piewniki Ko?cielne ('church songbooks'), were composed in 1986. This edition is based on the PWM edition of 2013, which was produced with the assistance of Anna Górecka and Miko?aj Górecki. A special feature of the Boosey publications is the new, alternative Latin sung text by Edward Tambling, which will be attractive to the many choirs who do not wish to sing in Polish. The Latin text is carefully crafted to fit Górecki's score and is both poetic and sensitive to the devotional aspect of the songs. English translations from the Polish are also included, for reference only.The three publications present the songs for sacred use according to devotional subject-matter. In concert performances the songs, or a selection of them, may be performed in any order and combination. Vol 1 contains six songs in praise of the Blessed Virgin Mary. The seven songs in vol 2 take the themes of Good Friday, the Crucifixion, The Cross of Christ and the Resurrection. Vol 3 contains seven songs in praise of St Joseph, St Anne and St Nicholas, the Blessed Sacrament, the Trinity and the Black Madonna of Cz?stochowa. / Choeur Mixte (SATB) A Cappella

This collection, in two volumes, offers seven well-known carols in fresh and sophisticated a cappella settings. Volume 2 includes excellent arrangements at a mature high school level and beyond that can be selected individually or as a group by choirs in school and church alike: Away in a Manger- The Holly and the Ivy- Coventry Carol- The First Nowell. / Choeur Mixte (SSAATTBB) A Cappella

SATB a cappella-Inspired by Grace Noll Crowell's lovely poem this setting has immediate appeal to both school and church use. The music moves beautifully with the words making the composer's marking with awe and wonder come true.

Composer Orlando Gibbons was the leading English composer of his time the late 16th and early 17th century. This five-Voice SSATB madrigal is the best known of his many madrigals and remains compellingly beautiful.The sheet music also includes A Catch on Tobacco by theologian philosopher and composer Dr Henry Aldrich. It dates from 1685 when the composer was Dean of Christ Church Oxford and widely known among his contemporaries as a convivial soul who among his writings created a Latin epigramme listing five reasons for drinking. The performance notes stipulate that the round is to be sung by four men while smoking their pipes.

Par ZIMMERMANN HEINZ WERNER. Das Te Deum Deutsch 'Herr Gott, Dich loben wir' for 12-part mixed Chorus a cappella (SSMezMezAATTBarBarBB). The Te Deum in the translation of Martin Luther 1529. Heinz Werner Zimmermann (born 11 August 1930 in Freiburg im Breisgau) is a German composer. Zimmermann had his first composition instruction from 1946 to 1948 with Julius Weismann and studied from 1950 to 1954 in Heidelberg with Wolfgang Fortner as well as at the Kirchenmusikalisches Institut Heidelberg (Institute for Church Music) there. After passing his examinations at the Freiburg Conservatory under Harald Genzmer, he became Fortner's successorin Heidelberg. Here he maintained close contacts with the musicologist Thrasyboulos Georgiades, whose rhythm and language studies influenced him the most, along with his occupation with American spirituals and jazz. From 1963 to 1976 Heinz Werner Zimmermann was director of the Spandauer Kirchenmusikschule (Spandau school of church-music) in Spandau, and then from 1975 to 1996 as successor to Kurt Hessenberg as composition teacher at the Frankfurt University of Music and Performing Arts (Brusniak 2001). Zimmermann 's best-known works are his sacred motets with plucked Double Bass, his Organ psalms, and his 'Prosalieder'. Among his chief works are his Missa profana, the sacred oratorio The Bible of Spirituals as well as his Symphonia sacra. Amongst other honors, Zimmermann has been awarded the Music Prizes of the cities of Stuttgart and Berlin, a Villa Massimo Stipend in 1965/66, and received in 1982 the Johann Sebastian Bach Prize. The American Wittenberg University in Springfield bestowed upon him an honorary doctorate, Zimmermann wrote three American theses, including one at the Stanford University in California. (Source: Wikipedia)/ Répertoire / 12 Parties de Choeur a Cappella

1964 Version. Par STRAVINSKY IGOR. 1964 version of Stravinsky's Russian Cred written in Church Slavonic with English phonectics. For mixed choir a cappella./ Répertoire / Choeur Mixte (SATB) a Cappella

Music for the perfect wedding day... religious service civil ceremony & reception-Whether it be a traditional white wedding in church or a contemporary civil ceremony in non-religious surroundings everyone wants their wedding day to be perfect. The pieces in the Confetti and Cake volume will help wedding couples and choirs alike choose the most appropriate and effective music for any occasion.There is music that caters for all tastes and abilities offering plenty of balance and variety. Pieces range from very simple to the somewhat more complex. Standard sacred repertoire (Bach Gounod Mozart Walford Davies etc.) is followed by some contemporary church anthems one (by Will Todd) written specially for this book; favourites such as theperennial Flower Duet appear alongside other enticing non-religious music; finally we have some secular romantic love songs (Jerome Kern Swingle numbers and even some G&S!) which cannot fail to capture the mood of the day. Sing these either at the ceremony itself or perhaps later at the reception.There are notes at the end of the book which provide very brief background information: eg texts (with translation where appropriate) dates and approximate timings so the ceremony can be planned meticulously.Whatever the circumstances and size of your choir there will be a something within this volume that will suit you. But more than that the versatility of the Concerts for Choirs series is such that it can be used as an invaluable resource for choral material whatever your requirements.

Will Todd, born in 1970, is forging a strong reputation for himself as a composer who is equally at ease in opera, oratorio, church music and jazz. His style is instantly accessible and lastingly memorable. He spent his formative years steeped in both jazz and the English choral tradition so in his choral music he is able to juxtapose strong rhythmic drive and rich harmonies with exquisitely lyrical vocal lines.The composer writes of this piece: 'Angel Song II is inspired by the idea of angels singing on Christmas night. The music weaves a gentle melody over the aleatoric textures of the accompanying voices. The text is designed to create the echo of the word 'Hosanna', but with no consonants, so that the music feels as if it comes from 'on high'.' / Choeur SATB A Cappella

103 Sätze für den Gottesdienst, 1–8stg gemischter Chor, teils mit Orgel. Chorbuch Ostern is the second sequel to the Freiburger Chorbuch. It has been described as “a real storehouse of good choral music for the Easter liturgy and for the 50-day period between Easter and Pentecost … stylistically varied, these 103 pieces offer a rich treasure for both large and small church choirs . . . ”/ Répertoire / SATB a Cappella

For SATB chorus unaccompanied. Commissioned by the Friends of All Saints’ Music Northampton for Lee Dunleavy and the Choirs of All Saints’ Church Northampton in memory of Miss Valerie Travis (1918-2008). First performed by the Choirs of All Saints’ Church Northampton conducted by Lee Dunleavy on 19 December 2010.

This little tribute to William Ferris and the William Ferris Chorale consists of two sections the first slow and the second quick. The text is simply the two words of the title the Amen being the first section and (with minimal overlap) the Alleluia the second. In each part the relevant word is gradually built up from its component syllables or sounds and the second section is a gradual progress from a quiet light texture to a blazing final cadence. Commissioned by the William Ferris Chorale for their 20th Anniversary Season and first performed by them on 27 March 1992 at Mount Carmel Church Chicago Illinois conducted by William Ferris.

My Lord Is Alone is a work for Unaccompanied SATB choir with words and music by composer Jonathan Wikeley. It was first performed by the Choir of All Saints Church in Fulham and it lasts around 4 minutes.A review in the June 2016 edition of Organist's Review states that 'the harmonies for the verses are largely straightforward and consonant but the refrain introduces atmospheric dissonance.'

For SATB unaccompaniedIn this short strophic and effective introit Helvey has taken a children's folk melody and arranged and adapted it to fit the text of Mary Louise Bringle's poem. The result is a beautiful and eloquent little anthem worthy of performance in any church service throughout the year.

Sixteenth composer John Farmer was a composer of church music and madrigals of which Fair Phyllis is the best known and most frequently performed. The finely textured work employs lightly skipping counterpoint in the ‘Up and down’ passages and an expressive change of time signature in the ‘kissing’ section.