Anhand der Entfuhrung aus dem Serail wird systematisch aufgezeigt, wie sich das markante Stimmprofil der Besetzung der Urauffuhrung 1782 am Nationaltheater in Wien darstellt. Indem Mozart der Virtuositat und dem Stimmumfang seiner Erstbesetzung (Catarina Cavalieri, Valentin Adamberger, Ernst Dauer, Therese Teyber und Ludwig Fischer) in ausserordentlichem Masse entgegenkommt, sprengt er gleichermassen den musikalischen Rahmen der Gattung des Singspiels. Das musikalisch-kunstlerische Ergebnis des Zusammentreffens von Mozart und "seinen" Sangern ist eine gluckliche Synthese zwischen der Leistungsfahigkeit der Sanger und der Inspiration des Komponisten. Die Partitur wird sichtbares Zeugnis von Mozarts Kunst, fur Stimmen zu schreiben. So kann das Werk als Musterbeispiel fur eine gegenseitige kunstlerische Befruchtung gelten.

for SATB unaccompanied Vaughan Williams composed this setting of a poem by his wife Ursula in 1953 to form part of A Garland for the Queen, a collection of ten tributes to the newly-crowned Queen Elizabeth II by leading British composers and poets. It is dedicated 'to the memory of Charles Villiers Stanford, and his Blue Bird', and reflects Stanford's masterpiece in its harmonic language, floating soprano part, unaccompanied scoring, and haunting atmosphere.

for unison or two-part voices and piano Adapted from music from The Pilgrim's Progress, this setting of words from Revelation 2 is profound and mystical. Flowing melodies, atmospheric harmonic shifts, and hushed dynamics all give the piece an ethereal quality that powerfully evokes the religious transcendence described in the text.

This cantata features sixteen highly-varied folk song settings, bound together in seasonal groupings to take the listener on an engaging journey through the year from Spring to Winter. The prologue implores us to 'sing and be merry', and many of the songs facilitate this with their charmingly light-hearted melodies and imaginative orchestral accompaniment. There are also darker moments, such as the haunting and heart-rending setting of 'The Unquiet Grave' in 'Autumn'. An orchestral suite (arranged by Roy Douglas) is available on hire, and several of the individual movements are available on sale.

for tenor soloist, SATB choir, and organ Written for the marriage of HRH The Princess Elizabeth and Lieutenant Philip Mountbatten in Westminster Abbey, 20 November 1947.

for STB soli and unaccompanied SATB choir This unaccompanied motet was first performed at the dedication of the Battle of Britain Chapel in Westminster Abbey, London, and has an accordingly sombre tone. It opens with a haunting treble/soprano solo, and this ethereal atmosphere continues with unexpected harmonic shifts and hushed vocal writing. The words are taken from The Wisdom of Solomon (3: 1-5) and convey death as peaceful for those who have been 'righteous'. This motet would therefore be particularly well-suited to funeral or memorial services.

Originally entitled Thanksgiving for Victory, A Song of Thanksgiving is a powerful and moving work that celebrates the Allies' victory in World War II. It was first recorded in 1944 while the war was still ongoing, but was not broadcast until victory had been achieved in May of the following year. Comprising seven movements, it sets texts from the Bible alongside words by Shakespeare and Kipling, lending the work a sense of timelessness and grandeur. Scores and parts for both the full and reduced accompaniments are available on hire.

for SATB (with divisions) unaccompanied Vaughan Willliams made numerous arrangements of the old English folk song Greensleeves throughout his career, most notably the Fantasia on 'Greensleeves', based on music from his opera Sir John in Love. This version for mixed choir uses four-part scoring to create a continuously flowing texture, with hushed dynamics and expressive harmonies bringing a sense of timelessness to the setting.

The practices of singing and teaching singing are inextricable, joined to each other through the necessity of understanding the vocal art and craft. Just as singers must understand the physical functions of voice in order to become musically proficient and artistically mature, teachers too need to have a similar mastery of these ideas - and the ability to explain them to their students - in order to effectively guide their musical and artistic growth. With this singer-instructor relationship in mind, Richard and Ann Alderson's A New Handbook for Singers and Teachers presents a fresh, detailed guide about how to sing and how to teach singing. It systematically explores all aspects of the vocal technique - respiration, phonation, resonance, and articulation - with each chapter containing exercises aimed at applying and teaching these principles. Beyond basic vocal anatomy and singing fundamentals, the handbook also covers such understudied topics as the young voice, the changing voice, and the aging voice, along with helpful chapters for teachers about how to organize vocal lessons and training plans. Thoughtfully and comprehensively crafted by two authors with decades of singing and teaching experience between them, A New Handbook for Singers and Teachers will prove an invaluable resource for singers and teachers at all stages of their vocal and pedagogical careers.

for SATB and strings or organ This is a full anthem for mixed voices with a brief section for SA. The words are based on Psalm 39. String material is available on hire.

for mezzo-soprano and baritone soli, SATB, and full orchestra In a style influenced by Vaughan Williams and Finzi, this work evokes a reflective and sometimes other-worldly atmosphere. The seven movements may be sung as individual pieces. The text is in Latin for some movements and English in others. Orchestral material and vocal scores are available on hire/rental.

for SATB unaccompanied Based on the well-known carol e wish you a merry Christmas this arrangement provides a spirited setting for mixed voices with an introduction from the upper voices. Short in duration and entertaining, this piece is a perfect closer for any holiday program.

This majestic, approachable piece was arranged for the funeral of US President Gerald Ford and is also commonly known in the US as The Navy Hymn. Useful throughout the church's year, the text speaks of God's unending love, support, and protection for all those in peril. Cycling through three distantly related keys, the setting has exciting and seamless transitions and each verse feels fresh. The end is presented in unison with a final 'Amen', reflecting the unity of all those touched by God's unconditional love.

for SATB and piano This is the final movement (Epilogue) of the cantata In Windsor Forest, which is based on music from the opera Sir John in Love. It sets a text from The Book of Airs (1601) by Philip Rosseter and Thomas Campion, creating a celebratory atmosphere with a spirited opening theme and rich choral textures.

for SATB with organ or orchestra O what their joy And their glory must be is a wonderful anthem, based on a traditional French melody. The text has been translated from the Latin of Abelard by J.M. Neale and the work is scored for SATB with an Organ reduction of the original Orchestral score. Orchestral parts ffor full orchestra are available on hire.

Late medieval motet texts are brimming with chimeras, centaurs and other strange creatures. In The Monstrous New Art, Anna Zayaruznaya explores the musical ramifications of this menagerie in the works of composers Guillaume de Machaut, Philippe de Vitry, and their contemporaries. Aligning the larger forms of motets with the broad sacred and secular themes of their texts, Zayaruznaya shows how monstrous or hybrid exempla are musically sculpted by rhythmic and textural means. These divisive musical procedures point to the contradictory aspects not only of explicitly monstrous bodies, but of such apparently unified entities as the body politic, the courtly lady, and the Holy Trinity. Zayaruznaya casts a new light on medieval modes of musical representation, with profound implications for broader disciplinary narratives about the history of text-music relations, the emergence of musical unity, and the ontology of the musical work.

for SATB and piano or organ This expressive anthem brings together excerpts from the gospels that express God's commandment to mankind to love one another. Underpinned by a flowing piano or organ accompaniment, Love one another explores this profound topic with sensitive harmonies and effective modulations. Although suitable for performance throughout the church year, this anthem would be particularly affecting in a Wedding or Maundy Thursday service.

for SA (plus lead voice) and percussion Following the success of Songs of Africa (for mixed voices), Fred Onovwerosuoke presents six authentic arrangements of African songs scored for upper voices and percussion. Published in two small collections - this set for SA and the second for SSA - the songs originate from a variety of locations, including Zimbabwe, Botswana, Nigeria, and the Republic of Benin. With texts to celebrate an assortment of themes, such as harvest, Christmas, play/leisure, and marriage, these arrangements are sure to delight all choirs looking for something a bit different. An English translation and a pronunciation guide are provided for each publication.

for SATB and piano, organ, or orchestra First published in a two-part version in The Oxford Book of Flexible Carols, Alan Smith's In the Beginning is presented separately here in a mixed-voice arrangement. Kevin Carey's text is set to gently lilting music, perfect for choirs and settings at Christmas. Orchestral material is available on hire/rental.

Most histories of nineteenth-century music portray 'the people' merely as an audience, a passive spectator to the music performed around it. Yet, in this reappraisal of choral singing and public culture, Minor shows how a burgeoning German bourgeoisie sang of its own collective aspirations, mediated through the voice of celebrity composers. As both performer and idealized community, the chorus embodied the possibilities and limitations of a participatory, national identity. Starting with the many public festivals at which the chorus was a featured participant, Minor's account of the music written for these occasions breaks new ground not only by taking seriously these often-neglected works, but also by showing how the contested ideals of German nationhood suffused the music itself. In situating both music and festive culture within the milieu of German bourgeois liberals, this study uncovers new connections between music and politics during a century that sought to redefine both spheres.