for SATB and organ or orchestra Also in Carols for Choirs 2 and 100 Carols for Choirs. Orchestral material is available on hire.

for SATB unaccompanied Welsh traditional carol.

for SATB unaccompanied This is a short anthem for communion with words by Douglas L. Bean in a simple, straight-forward setting.

A popular Newfoundland folksong for SSA and piano.

for SATB unaccompanied A lively sixteenth-century anthem based on Psalm 81. This psalm falls within week 9 of Epiphany in Year B of the RCL.

for SATB unaccompanied This gentle setting of Sir Philip Sidney's poem has a beautiful, memorable tune which perfectly complements the romantic nature of the words. Chilcott uses overlapping phrases between male and female singers to reflect the harmonious dialogue of lovers.

Rounds and canons drawn from the folk and classical repertoire provide an introduction to two-part singing.

Tallis's Canon for 2, 3, 4, or 5 equal voices and chamber orchestra or organ and strings Accompaniment for chamber or string orchestra is available on hire

for SATB, congregation (opt), and organ, or string/chamber orchestra, or brass This popular arrangement can also be found in Carols for Choirs 1 and 100 Carols for Choirs. Verses two and five may be sung by two choirs or by choir and audience. The other verses are a mixture of women's voices alone, men's voices alone, and SATB. Orchestral accompaniment is available on hire.

"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."

This is the first ever book-length study of the a cappella masses which appeared in France in choirbook layout during the baroque era. Though the musical settings of the Ordinarium missae and of the Missa pro defunctis have been the subject of countless studies, the stylistic evolution of the polyphonic masses composed in France during the seventeenth and eighteenth centuries has been neglected owing to the labor involved in creating scores from the surviving individual parts. Jean-Paul C. Montagnier has examined closely the printed, engraved and stenciled choirbooks containing this repertoire, and his book focuses mainly on the music as it stands in them. After tracing the choirbooks' publishing history, the author places these mass settings in their social, liturgical and musical context. He shows that their style did not all adhere strictly to the stile antico, but could also employ the most up-to-date musical language of the period.

for SATB and congregation (opening phrase to be played on trumpets or organ) This striking anthem sets the Latin text of Psalm 33 (an English singing translation is included). Dynamic melismatic vocal lines feature throughout, with the texture switching between homophony and polyphony. It was first performed in 1956, the same year as the composer's similarly lively motet A Vision of Aeroplanes.

for SA and piano This setting of the much-loved English folksong Greensleeves employs sophisticated harmony to adorn the simple yet timeless melody. An SATB version is also available.

for soprano, tenor, and baritone soloists, SATB choir, and orchestra In this Christmas cantata Vaughan Williams uses and a wide range of musical styles to create a compelling, vivid, and highly original retelling of the Christmas story. Composed in 1953-4, Hodie (This Day) was Vaughan Williams's final large-scale choral-orchestral work, and was premiered under his own baton in Worcester Cathedral as part of the 1954 Three Choirs Festival. It comprises sixteen movements, including 'narrations' of words from the Bible, chorals, and a variety of other forms for both soloists and choir. The words are taken from diverse sources, with sacred texts from the Vespers of Christmas Day and the Bible interspersed with secular texts by poets including John Milton, Thomas Hardy, and the composer's own wife Ursula Vaughan Williams.

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.

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.