for SATB unaccompanied A fine four-part motet for Christmas that is a succint expression of both the mystery and the joy of the Nativity.

for SATB and piano or organ A combination of tender, flowing melody, understated harmonies, and a simple piano accompaniment, this moving cradle-song describes Mary's love for her child from the perspective of another young mother and her newborn baby.

"For the Time Being" is a pivotal book in the career of one of the greatest poets of the twentieth century. W. H. Auden had recently moved to America, fallen in love with a young man to whom he considered himself married, rethought his entire poetic and intellectual equipment, and reclaimed the Christian faith of his childhood. Then, in short order, his relationship fell apart and his mother, to whom he was very close, died. In the midst of this period of personal crisis and intellectual remaking, he decided to write a poem about Christmas and to have it set to music by his friend Benjamin Britten. Applying for a Guggenheim grant, Auden explained that he understood the difficulty of writing something vivid and distinctive about that most cliched of subjects, but welcomed the challenge. In the end, the poem proved too long and complex to be set by Britten, but in it we have a remarkably ambitious and poetically rich attempt to see Christmas in double focus: as a moment in the history of the Roman Empire and of Judaism, and as an ever-new and always contemporary event for the believer. "For the Time Being" is Auden's only explicitly religious long poem, a technical tour de force, and a revelatory window into the poet's personal and intellectual development. This edition provides the most accurate text of the poem, a detailed introduction by Alan Jacobs that explains its themes and sets the poem in its proper contexts, and thorough annotations of its references and allusions."

for SATB with optional bass solo and piano or orchestra This chorus, brimming with melody, rhythm excitement, and orchestral color, has been extracted from Borodin's opera. A Russian transliteration has been included along with an English singing translation. Orchestral material is available on rental.

Mahler's penultimate symphony recieved its premiere performance in Munich on September 12th, 1910 with a chorus of about 850, and an orchestra of 171. These massive forces led to Mahler's agent dubbing the work "Symphony of a Thousand." Mahler did not approve of the title at all, but it remains. The piece was a great success at its premiere, one of few of Mahler's works to be well received in his lifetime. It was the last premiere of one his works that Mahler witnessed before his death. Unabridged digitally enhanced reprint of the vocal score prepared by Josef Woss that was first published in 1910 by Universal Edition, Vienna.

for SATB with optional double bass and optional piano Rutter's music captures the varied moods of Shakespeare's words, with their rapture, sorrow, humour, and vitality, in a way that makes these classic madrigal texts come alive for contemporary audiences. These pieces may be performed individually or as a five-movement suite. Numbers 1, 4, and 5 are also published for upper voices and keyboard as Three Birthday Madrigals.

for SSA and organ A wonderful anthem for Christ the King Sunday with words by George Herbert.

Suitable for soprano solo, SATB choir, and organ, this title includes John Rutter's Requiem which is presented here separately, with the accompaniment arranged for organ.

for SS or SA, with keyboard, or orchestra, or brass An easy and original setting with an extremely memorable tune of the well-known Rossetti text. An SATB version is also available. Orchestral and brass accompaniments are available on hire.

There are two versions of the vocal parts - for two-part upper voices with piano or for SATB with organ. An orchestral accompaniment is also available for both versions. Words are from Corinthians 1:14 Full scores and parts for the orchestral accompaniment are available on hire. Also available in John Rutter Anthems.

for SATB and piano This gentle chorus sets a love poem by Ben Jonson (1572-1637). It forms the fourth movement of the cantata In Windsor Forest, which is based on music from the opera Sir John in Love. Lilting and expressive, it would make a serene addition to a wedding or concert.

for SATB and piano or orchestra or brass ensemble This carol (in E major) is also available in Carols for Choirs 2, and 12 Christmas Carols Set 1. The orchestral and brass accompaniments are available on hire. A different arrangement (in E flat major), not compatible with the orchestral or brass accompaniments, is available in 100 Carols for Choirs.

for SATB, accompanied and unaccompanied To celebrate the 50th anniversary of the publication of Carols for Choirs 1, OUP presents a new volume in this ground-breaking series. Carols for Choirs 5 continues the tradition of its predecessors by providing a complete resource for choirs from Advent through to Epiphany. Featuring brand new carols and arrangements of classic tunes, the collection showcases the very best established and new names in choral composition today, both in the UK and world-wide.

for unison (junior) and SATB (senior) choirs and keyboard The unison line, or junior choir, does have some small simple divisi. Overall, this is an accessible piece that is both rich and moving.

Christ Church cathedral is an Anglican cathedral in a catholic country. Musical and archival sources (the most extensive for any Irish cathedral) provide a unique perspective on the history of music in Ireland. Christ Church has had a complex and varied history as the cathedral church of Dublin, one of two Anglican cathedrals in the capital of a predominantly Catholic country and the church of the British administration in Ireland before1922. An Irish cathedral within the English tradition, yet through much of its history it was essentially an English cathedral in a foreign land. With close musical links to cathedrals in England, to St Patrick's cathedral in Dublin, and to the city's wider political and cultural life, Christ Church has the longest documented music history of any Irish institution, providing a unique perspective on the history of music in Ireland. Barra Boydell, a leading authority on Irish music history, has written a detailed study drawing on the most extensive musical and archival sources existing for any Irish cathedral. The choir, its composers and musicians, repertoire and organs are discussed within the wider context of city and state, and of the religious and political dynamics which have shaped Anglo-Irish relationships since medieval times. More than just a history of music at one cathedral, this book makesan important contribution to English cathedral music studies as well as to Irish musical and cultural history. BARRA BOYDELL is Senior Lecturer in Music, National University of Ireland, Maynooth.

A definitive collection of 100 anthems from Tudor times to the present, this book includes favorites as well as lesser-known pieces. The anthems were selected for their practical usefulness for church choirs today, bearing in mind the needs of smaller choirs: the anthems are mostly for SATB with or without keyboard accompaniments.

(Music Sales America). One of the finest works of all Vivaldi's choral settings, arranged for the upper voices by Desmond Ratcliffe. Uplifting and melodic, the intoxicating tunes and spellbinding optimism of Gloria have helped it to become one of the most popular works in the Baroque choral repertoire.

Music played an exceptionally important role in the late Middle Ages - articulating people's social, psychological and eschatological needs. The process began with the training of choirboys whose skill was key to institutional identity. That skill was closely cultivated and directly sought by kings and emperors, who intervened directly in recruitment of choirboys and older singers in order to build and articulate their self-image and perceived status. Using the documentation of an exceptionally well preserved archive, this book focuses on music's functioning in an important church in late Medieval Northern France. It explores a period when musicians from this region set the agenda across Europe, developing what is still some of the most sophisticated music in the Western musical tradition. The book allows a close focus not on the great achievements of those who cultivated this music, but on the personal motivations that shaped their life and work.

Presents 26 anthems for SATB by twentieth-century composers.