New Titles

[1st Prize of ICCC Japan 2015]
The piece has been inspired by the Ave Maria of Giuseppe Verdi, who was among the first composers to adopt the Enigmatic scale, which was in turn coined by Adolfo Crescentini in 1888. This musical scale is pretty unusual, with elements of both major and minor scales, as well as the whole-tone scale. Despite the weird sound of such a scale, I made an effort to create a natural harmonization of
it (most of which on "Cantus Firmus"), in order to show its intrinsic richness. However, the "Cantus Firmus" - shown to basses from measure 3 to 10 and afterwards transposed into pseudo-subdominant to tenors from 28 to 35, and again to basses from 36 to 40 - is not the principal element. Actually, I wanted to focus the attention on the strict counterpoint between the voices, which is the real element leading to
the increase and decrease of musical tensions. Thus, the composition starts and ends with pureness of intervals of fifth, which have also a clear mystic-symbolic meaning. These intervals suggest the further material for the whole development of the piece.

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[2nd Prize of ICCC Japan 2015]
"Tota pulchra" is an intimate prayer to Mary in which the composer tried to stay true to the Catholic ancient text (written in the fourth century); The music is delicate in the first and third parts of the song, where the prayer decants the characteristics of the Virgin Mary; the second section is a slight disturbance (text: "Et macula et non est in Te"), while the conclusion of the motet, initially solemn and majestic, flows back into a small "coda", that brings to initial sweetness.

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[3rd Prize of ICCC Japan 2015]
Chris Artley's a cappella setting of "Agnus Dei", features a slow, hauntingly beautiful melody, sung first by sopranos and then by baritones, accompanied by lush harmony infused with jazz chords, from the rest of the choir. At the words, "lux aeterna" (light eternal), there is a dramatic change of sound world, with the use of cluster
chords and an impassioned melody built from the "B Lydian" scale. The music reaches a climax at the golden section of the piece (bar 35), with the words "Lux aeterna", sung fortissimo in eight-part harmony. The
opening Agnus Dei then returns, this time featuring both soprano and baritone on the melody and comes to a close with a stunning pianissimo ending on the words, "Dona nobis pacem" (grant us peace).

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Ave Maria was joint winner of the Concours Europeen pour Choeurs et Maitres de Cathedrales 1999. Its double choir forces belie its sensitive scoring and taut motivic construction, which is well within the grasp of many choirs.

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"Locus iste" has become a popular text for church dedication services. This simple and beautiful linear setting by O'Regan provides a stylish alternative to other, over-familiar settings.

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Setting a secular text by the sixteenth-century poet John Fletcher, this rich, sonorous piece bursts with invention and word-painting like a large-scale madrigal. The piece works equally well with or without organ accompaniment.

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Vytautas Miskinis (b.1954) is a composer, choir conductor and educator. His output encompasses over 400 secular, and around 150 sacred, works ; in addition to over 100 folk song arrangements. Miskinis was Artistic Director of Azuoliukas youth choir, and music for children constitutes a large part of his work. His music is characterised by polyphonic and melodic material, as well as aleatoric and sonoristic effects. His works have become popular both in Lithuania and abroad.

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It is a new composer's piece written in 2014. The music tension has been expressed in longer notes, while crescendo creates two moments of climax in the song. Music is full of kindness and tenderness with its simple structure creating compelling sparkles of the sound.

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This song was one of the most popular songs in the national choral contest in Japan this year! It has a distinctive character owing to a special 6/16 rhythm of Hungarian music. This song is a rather difficult piece notable for a shining sound color.

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Music begins with a delicate, pure, and ascending melody in the women parts that paint the image of hills looking up in the sky. Men singers then come in with a warm and comforting "ooo". The following music tells that the Lord will never fail or fall and that the Lord is always there for us. While section "The Lord is Your Keeper" is dramatic, the actual climax of the song with a powerful statement is featured in section "The Lord Shall Preserve Your Going out and Coming in". The final section depicts Heaven. When the women enter on "He", it gives the feeling of a radiant and beautiful light. This feeling of light also appears in the tenor line of the final Amen when choirs sing a Lydian type of scale right before the final chord. This song is a reminder to the audience and the composer himself that one day peace will come to us all in the form of eternal rest. Behind the golden gates of Heaven, we will see once again those who left us previously on Earth.

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One of the king'singers' most requested arrangements in a lush a cappella setting - Billy Joel's hit ballad arranged by Bob Chilcott. Available SATB a cappella.

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From Disney's High School Musical, this pop-rock message of strength through our diversity is brimming with confidence and empowerment. A great message for your singers!

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Perfect for a spring concert, this bright Beatles classic in an appealing a cappella setting features rich harmonies and light arpeggiated textures resulting in a warm sound without being too complex.

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This lyrical setting from "The Sound of Music" is placed in a sensitive yet lightly contemporary feel that unfolds from simple melody to full choral textures!

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This piece is suitable for an advanced and unaccompanied treble chorus. It could be an energetic setting for the concert opener. It truly is a "new song".

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This arrangement is selected for the Randy Stenson Male Chorus Series. This setting begins and ends with the voices emulating the bagpipe sounds of Scotland. Everything about this song pulls at the heartstrings and the composer's skillful touch pulls it even deeper.

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The breathtaking ballad is from the famous Disney's animation "The Lion King" in a sonorous setting for a cappella male ensembles.

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This powerfully evocative and uplifting work celebrates the pursuit, and eventual discovery, of water. Brimming with freshness and vitality, The Miracle of the Spring encompasses an array of moods and styles that perfectly convey the essence of Charles Bennett's text, from the relentless rhythmic motifs depicting the parched landscape to the flowing aleatoric fragments suggesting the gushing of the spring. The simple percussion parts for glockenspiel, mark tree, and log drums add texture and drive to the a cappella voices and may be performed by two choir members or separate percussionists. Imbued with rich harmonies, infectious rhythms, and unforgettable melodies, this piece will leave both choir and audience feeling inspired.

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This work is a setting of two poems from "Romances sans paroles" by Verlaine. The songs are sung in French, but each has been given an English title, as the poems, which burst with character and atmosphere, reflect on two areas of London: Soho and Paddington.

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This is an uplifting encore-style piece ideal for college and community choirs, with independent parts during the verses and a catchy chorus in harmony - all supported by an infectious samba rhythm from the piano.

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This setting of Psalm 95, written for Truro Cathedral Choir, was shortlisted for a BASCA British Composer Award 2013. Evocative and subtle in its use of colour and texture, the piece has independent organ passages, an intense musical climax, and a last verse akin to a gentle chorale.

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Night Flight was written to mark the centenary of Harriet Quimby's pioneering flight across the English channel. Setting texts by Sheila Bryer on the mysterious powers of the sea, earth, and air, McDowall uses vocal clusters and haunting solo cello lines to highlight the sense of fear, awe, and majesty experienced by an individual pitted against the elements. Cecilia McDowall was awarded the 2014 British Composer Award in the Choral category for Night Flight. The solo cello part is available for sale separately.

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Commissioned for the 2015 National Conference of the American Choral Directors Association, Wide Open Spaces reflects on the journeys and adventures to be found in the wide open spaces within ourselves and in the world around us. The uplifting melody is passed from the upper voices to the lower voices before the piece opens out into an expansive texture with rich harmonies. Quartel introduces a playful episode of scat singing before a resolute final chorus brings this evocative piece to a peaceful and serene close.

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In this energetic and dramatic piece Chilcott sets both the original unpublished and familiar published version of "The Mouse's Tale" from Lewis Carroll's Alice's Adventures in Wonderland. With jazz influences, an abundance of character, and a strong sense of fun, Mouse Tales will be an unforgettable addition to any concert.

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Composed in 1977, this triumphant setting of words from Psalms 136 and 67 is now published for the first time following the rediscovery of the lost manuscript. Rutter's early style is reminiscent of Britten, making a feature of parallel harmonies and scalic runs to impressive effect-ideal to revitalise the evensong repertoire of upper-voice choirs.

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Off-printed from the complete William Walton Edition, this is one of three versions (the others are for SATB unaccompanied) on a text by Phineas Fletcher - "Drop, drop slow tears". The poignant chromatic harmonies and expressive melodic lines are a remarkably adventurous achievement for a fourteen-year-old Walton.

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