for SA and piano Setting a text by Elizabeth Barrett Browning, this thoughtful and evocative piece compares a dying relationship with the changing of the seasons from summer to winter, which McGlade skilfully reflects in her use of minor tonality, falling melodic phrases, and shifting chromaticism. Reminiscent of the English art song, this setting for upper voices and piano demonstrates McGlade's compositional versatility.

Few musical genres inspire the passionate devotion of jazz. Its mystique goes far beyond the melodies and rhythms, with its key players and singers discussed by aficionados with a respect that borders on reverence. Some books on jazz offer little more than theory or dry facts, thereby relinquishing the 'essence' of the music. This book is different. One of the most influential and internationally known writers on the subject describes, through vivid personal contacts, reminiscences and zesty anecdotes, his life in jazz as a player, broadcaster and observer. Alyn Shipton recalls friendships with legendary musicians, while revealing fresh discoveries about such luminaries as Fats Waller, Louis Armstrong, Count Basie, Duke Ellington, Charlie Parker, Abbey Lincoln and Geri Allen. On Jazz powerfully evokes the atmosphere of clubs and dancehalls, and takes us behind the scenes and up onto the stage, so that this electrifying world is unforgettably spotlighted as never before.

for SATB (with divisions) unaccompanied Setting Revelation 21: 1-5, this short anthem is in McGlade's typically fluid style, with harmonic twists, changing metres, and tempo fluctuations. With some divisi in the upper parts, it will be particularly welcomed by experienced church and cathedral singers as a new take on these well-known words.

For much of his career, the internationally known, and still active Dutch composer Louis Andriessen has been understood as an iconoclast who challenged and resisted the musical establishment. This book explores his compositions as a case study for exploring the social and aesthetic implications of new music. Everett chronicles the evolution of Andriessen's music over the course of five decades: the formative years in which he experimented with serialism and collage techniques; his political activism in the late 1960s; 'concept' works from the 1970s that provide musical commentary on philosophical writings by Plato, St Augustine and others; theatrical and operatic collaborations with Robert Wilson and Peter Greenaway in the 1980s and 1990s; and recent works that explore contemplative themes on death and madness. Everett's analysis of Andriessen's music draws on theories of parody, narrativity, and intertextuality that have gained currency in musicological discourse in recent years.

To study this composer is to study the tastes and trends of the American people from 1912 through World War II. This bio-bibliography presents Carpenter's life and works, as well as the contemporary views, reviews, and criticisms that reveal historical attitudes and prejudices of American life in those troubled times. Looking back several decades, it is possible to discover what was enduring, what was transitory, and what elements would become important to our present state of musical composition. This volume includes a biography, a list of works and performances, a discography, and an annotated bibliography and will be of interest to students of music, dancers and choreographers, history buffs, and music lovers alike. Throughout, one will find many gems from reviews.

Although Carpenter was an American with a Harvard education who quoted American popular tunes, he was also an eclectic. He wrote many works in a French impressionistic style, some with Germanic forms, and sometimes borrowing Spanish, Russian, and Oriental melodies, rhythms, and instruments. He was inspired by programmatic ideas and even wrote the program notes for his Adventures in a Perambulator suite. Humor and fantasy can be found in this suite, which depicts a baby's stroll through the park with its nurse, and in Krazy Kat, his jazz pantomime based on George Herriman's cartoon strip. Jazz first appeared at the Metropolitan Opera House in the 1926 production of Skyscrapers, Carpenter's ballet of work and play. Carpenter was born in Park Ridge, Illinois, 28 February 1876 and died 26 April 1951 in Chicago. New recordings of his music have recently been issued in LP and CD formats.

for SSAA and piano Refuge sets a powerful Sara Teasdale poem by the same name, which perfectly captures the healing power of singing: 'For with my singing I can make a refuge for my spirit's sake, A house of shining words, to be my fragile immortality'. Quartel uses musical structure to complement the poem's narrative, opening and closing with music marked 'resilient and strong', with a central section that is 'warm and hopeful', as expressed by rich harmonies and soaring melodic lines. The piano underpins this expressive setting with steady continuous quaver motion, and provides characterful harmonic moments.

for SSATBarB unaccompanied Setting words by the composer, One of these days is an affirmatory piece with pop-inspired rhythms and harmonies. The scat syllables and repeating patterns of the lower parts provide a rich cushion for the lilting melody of the soprano lines, with lyrics that encourage us to seize the day!

for high voice and piano This beautiful collection of 14 songs for high voice offers Christmas settings by some of Oxford's best-loved composers. Suitable for solo singers and unison choirs alike, each song is presented with piano accompaniment, and high-quality, downloadable backing tracks are included on a companion website. With a wonderful selection of pieces, including favourites such as Bob Chilcott's 'The Shepherd's Carol' and John Rutter's 'Candlelight Carol', this is the perfect collection for use in carol services and Christmas concerts or for enjoying at home. Also available in a volume for low voice and piano.

for low voice and piano This beautiful collection of 14 songs for low voice offers Christmas settings by some of Oxford's best-loved composers. Suitable for solo singers and unison choirs alike, each song is presented with piano accompaniment, and high-quality, downloadable backing tracks are included on a companion website. With a wonderful selection of pieces, including favourites such as Bob Chilcott's 'The Shepherd's Carol' and John Rutter's 'Candlelight Carol', this is the perfect collection for use in carol services and Christmas concerts or for enjoying at home. Also available in a volume for high voice and piano.

for solo organ. Elegy for the Time of Change was written in response to the horrifying murder of George Floyd at the hands of the Minneapolis police in May 2020. Imbued with singing melodies and richly expressive harmonies, the work makes several brief allusions to the spiritual There is a Balm in Gilead, offering a hopeful vision of healing and unity to a nation (and world) riven by mistrust and disparity.

for high voice and piano This beautiful collection of 14 songs for high voice offers secular pieces by some of Oxford's best-loved composers. Suitable for solo singers and unison choirs alike, each song is presented with piano accompaniment, and high-quality, downloadable backing tracks are included on a companion website. With a wonderful selection of pieces, including favourites such as Bob Chilcott's 'The Lily and the Rose' and John Rutter's 'A flower remembered', this is the perfect collection for use in recitals or for enjoying at home. Also available in a volume for low voice and piano.

First published in 2011, this text provides citations to the core Holst literature. The volume is intended for students and researchers, as well as those seeking an introduction to Holst. The inclusion of materials for the non- specialist seems entirely appropriate as Holst devoted much of his career to teaching amateur musicians. The contents of this book presents a selective, annotated list of essential materials published through the end of 2009, although a very few exceptions were made for a limited number of post-2009 print and web resources.

for SATB (with divisions) unaccompanied This is an expressive setting of Sara Teasdale's poem 'Peace', with lush, rich harmonies and a soft dynamic palette. Poignant and peaceful, and perfect for choirs who enjoy refining blend and ensemble, this setting will provide a reflective moment in a concert programme.

Combining the International Who's Who in Classical Music and the International Who's Who in Popular Music, this two-volume set provides a complete view of the whole of the music world.

Within the International Who's Who in Classical Music, each biographical entry comprises personal information, principal career details, repertoire, recordings and compositions, and full contact details where available. Appendices provide contact details for national orchestras, opera companies, music festivals, music organizations and major competitions and awards.
The International Who's Who in Popular Music boasts detailed entries, including full biographical information, such as principal career details, recordings and compositions, honours and contact information.

for unison upper voices and piano I remember sets a text reflecting on the wonder of the natural world and the people who shape our lives. The stirring melody calls to mind the folksong tradition, and is underpinned by a gently flowing piano accompaniment. The middle section brings a contrast of tonality, with the altos and baritones accompanying the sopranos' melodic line, before the beguiling melody of the opening returns to bring the setting to a poignant close. Also available in a version for SA and piano, SABar and piano, and TB and piano.

for SSAA unaccompanied TaReKiTa is a refreshing concert piece that effortlessly blends the Indian and Western classical styles. The composer's scats are combined with a fast triple metre, vocal slides, and captivating melodies built on the Jog raga. A pronunciation guide is included in the leaflet, and a video guide by the composer is available through a companion website. A version for unaccompanied mixed voices is also available.

for SSA and piano This uplifting and affirmatory piece sets a text by the composer inspired by the reflections of the Northwest Girlchoir on what their choir means to them. A warm unison first verse and chorus is next transposed into 6/8, taking on a dance-like feel, first in two and then three vocal parts, while the forward motion of the piano's continuous quaver movement echoes the text's encouragement to 'carry the music on'. The gradual building of choral texture creates an atmosphere of heartfelt celebration of choral singing, leading to the profound closing words 'I hear you. I see you too'.

for SATB and cello This simple setting of words by Tennyson reflects a different side to McGlade's compositional style, without sacrificing any of her trademark characteristics. The largely homophonic vocal lines move as one, with clarity and poise in abundance, creating a bed of sound over which the cello gently glides.

The Sarah Quartel Songbook brings together a selection of the composer's best-loved pieces for upper voices, including favourites such as The Birds' Lullaby, I remember, and All the way home. This is an invaluable resource both for choirs looking to explore the work of this fine choral composer for the first time and for admirers of Quartel's style hoping to find staple repertoire conveniently gathered together in one volume.

for SATB and piano (with opt bass and drums) Optional parts for bass and drum set enliven this joyous arrangement for choir and piano of a traditional spiritual. Propelled by a light swing tempo, the mood grows more and more euphoric with each succeeding stanza of text, and the uplifting music surges towards an opulent conclusion.

Between 1908 and 1923, Arnold Schoenberg began writing music that went against many of the accepted concepts and practices of this art. Largely following his intuition during these years, he composed some of the masterpieces of the modern repertoire--including Pierrot lunaire and Erwartung--works that have since provoked a large, though fragmented, body of critical and analytical writing. In this book, Bryan Simms combines a historical study with a close analytical reading of the music to give us a new and richer understanding of Schoenberg's seminal work during this period.

for SA unaccompanied This simple, charming two-part motet features long melismatic phrases that reflect the text (1 Corinthians 2: 9), such as the rising melodic line over three bars on the word 'ascended' (ascendit).

John Philip Sousa's The Washington Post March was written in 1889 for the newspaper's essay-writing competition award ceremony, and very swiftly gained the wide popularity it has retained to this day. Robert Gower's well-crafted and playable arrangement will work well on pretty much any size of instrument, and will make a welcome addition to the organist's repertoire of ceremonial voluntaries for grand occasions.

for soprano solo and SATB (with divisions) unaccompanied In this gentle lullaby, poet Charles Bennett reflects upon the promise held in the dreams of a sleeping child, a life that has just begun. The choir opens and closes the carol, providing a rich cushion of harmony on which the soprano soloist sits as they narrate the central section through an arching, soaring melody.

for SSAA unaccompanied Setting the modernized words of an Anglo-Saxon metrical charm, this thrilling piece is unusual, dramatic, and beguiling. Featuring a whispered list of potion ingredients for the intro and outro, it also includes whistling, modal touches, and some very funky riffs-to be performed with freedom, energy, and imagination!