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.

The Sixteen have become a household name. They are the Voices of Classic FM, and stars of the BBC Four series Sacred Music, presented by Simon Russell Beale. Every year since the millennium, they have undertaken a Choral Pilgrimage, bringing a programme of a cappella vocal music to around thirty cathedrals the length and breadth of the country. They are prolific recording artists, and perform at festivals and venues all over the world. Harry Christophers is a unique figure in music. With The Sixteen, Christophers has succeeded in nurturing a choir of exceptional calibre, establishing a business model that includes a record label and extensive tours to capacity audiences, mining a rich variety of repertoire, and combining enormous popular appeal with the stamp of approval from experts. This book will be accessible to everyone, regardless of musical experience or knowledge. It will appeal to anyone interested in classical music, to those who sing in amateur or professional choirs, and those who love the sound of the human voice.

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.

This is a new, digitally-enhanved reprint of the classic edition of Roger-Ducasse's vocal score of Faure's final version, first issued in 1900 by Huegel.

This is a new, digitally enhanced reprint of the vocal score originally issued by Breitkopf & Hrtel, Leipzig ca. 1910 to compliment the Bach Gesellschaft edition of the complete works. Composed in 1731 during Bach's tenure as kantor of the Thomaskirche in Leipzig, this longtime favorite of the cantatas had its premiere on November 25th of that year.

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.

Includes twelve arrangements for unaccompanied SATB of folk-songs from the British Isles and North America.

"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."

With the popularity of television shows such as Glee, American Idol, and The Voice, show choirs have become a vibrant component of college and high school music programs. Music teachers must not only know how to teach choral singing for popular music, but also be versed in show design and production. In The Show Choir Handbook, Alan L. Alder and Thalia M. Mulvihill address both song technique and show presentation, giving show choir directors the full set of tools they need for successful performances. The Show Choir Handbook is a resource for current and future music educators who administer show choirs. With most literature on the topic either out of date or focused on the teaching techniques limited to vocal jazz (drawing on the choral genre's origins as "swing choirs"), instructors are in dire need of a resource that addresses music produced by publishers and choral arrangers.

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.

Presents 26 anthems for SATB by twentieth-century composers.

This major new collection is the perfect resource for small choirs, young choirs, and all choirs whose numbers fluctuate week by week. Each piece is scored flexibly with optional parts or parts for equal voices, so that it can be performed by more than one combination of performers; many pieces can also be sung in unison. The music is accessible - ideal for choirs with limited rehearsal time - and keyboard parts are playable on organ (with or without pedals) or piano. The repertoire spans the sixteenth century to the present day and includes new, flexibly scored arrangements of traditional pieces, as well as newly commissioned anthems. There are also pieces in lighter styles, to cater for a broad range of tastes. With complete coverage of the church year, this is an essential resource for those looking for fresh and accessible options for church services.

This major new collection is the perfect resource for small choirs, young choirs, and all choirs whose numbers fluctuate week by week. Each piece is scored flexibly with optional parts or parts for equal voices, so that it can be performed by more than one combination of performers; many pieces can also be sung in unison. The music is accessible - ideal for choirs with limited rehearsal time - and keyboard parts are playable on organ (with or without pedals) or piano. The repertoire spans the sixteenth century to the present day and includes new, flexibly scored arrangements of traditional pieces, as well as newly commissioned anthems. There are also pieces in lighter styles, to cater for a broad range of tastes. With complete coverage of the church year, this is an essential resource for those looking for fresh and accessible options for church services.

Settings of children's poems and nursery rhymes for SATB unaccompanied SATB (with some divisi)

A Festival hymn with introductory fanfare for mixed choir, brass ensemble (4 trumpets, 3 trombones or 2 horns and 1 trombone, tuba), timpani, percussion and organ An alternative orchestral accompaniment is available on hire. No. 1 of Two Hymns of Praise

for SATB and organ Text from Psalm 24:7-10

for SATB and piano or orchestra A folkish, legato setting from Rutter's choral Fancies. This piece is based on a 15th-century text. Orchestral material is available on hire.

for SATB and organ, orchestra, or brass ensemble An original and spirited carol based on texts from the 15th-century.

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.