Choir & Organ shines a global spotlight on two distinctive fields of creativity, celebrating inventiveness and excellence in all their forms. We aim to inspire our readers through giving a platform to conductors, organists, composers, and choirs of every kind; and showcasing the imaginative craft of pipe organ building across the centuries, critiquing new organs and tackling ethics in restoring historic instruments.

Specialist writers appraise new editions and recordings of standard repertoire and works fresh from the composer's pen, while our news and previews chart the latest developments in a changing world and present opportunities to become involved. Choir & Organ is an invitation to engage with two unique areas of music – to explore the new, and look again at the familiar.

In the Summer issue of Choir & Organ, our cover story profiles The Carice Singers. Lead by George Parris, the young group, which began with championing Edward Elgar, has now expanded to become a lead commissioner of contemporary choral music.

Since its launch in 2013, The Fourth Choir has been an important space for high-level singers in the LGBTQ community. Now, as the city becomes ablaze with queer choirs, we explore the impact of one whose work combines community, commissioning and activism.

David Kettle speaks with composer James MacMillan as his new oratorio, commissioned by the Genesis Foundation, sees its world premiere from The Sixteen in the Sistine Chapel.

Canadian organist Isabelle Demers is renowned for her virtuosic technique and pedagogical work at McGill University. She speaks to Chris Bragg about her career, guiding young musicians and her approach to the organ.

On the organ building side, Chris Bragg finds two historic American organs undergoing painstaking restoration in the workshop of Brunner & Associates, whilst Paul Hale considers current projects by the Belgian firm Schumacher Orgelbau.

Our New Music series continues with a work for the Trinity Church organist Charles Andrews, written by Will Harmer and David Ponsford writes for our organ repertoire series about the tradition of the école classique, from 1650 to 1750