for TB 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 basses accompanying the tenors' melodic line, before the beguiling melody of the opening returns to bring the setting to a poignant close. Also available in versions for SA and piano, SABar and piano and unison upper voices & piano.

for TTBB unaccompanied or with optional handbells (or percussion, or organ) Sarah Quartel brings a fresh take on a familiar fifteenth-century text in this enchanting carol. The dialogue between Mary and the infant Jesus is woven to a beguiling folk-like melody, in 6/8 metre, through each of the voice parts, with each verse ending in the lilting refrain 'Lully, by by, lullay'. Also available in a version for upper voices or SATB.

for TTBB unaccompanied This profoundly beautiful setting by John Rutter of one of the earliest English prayers, from the Sarum Primer of 1514, has been specially adapted by the composer for tenors and basses.

for TB and piano. This secular work for upper voices sensitively sets Langston Hughes's poem of the same name. A lilting melodic line, eloquent part-writing, and an effective piano part combine to create a piece that will appeal to both youth and adult choirs. Also available in versions for unison voices and piano, SA and piano, SABar and piano, and solo voice (high/low).

for TTBB and hand drum Sing, my Child sets a joyful text celebrating the beauty found all around us in everyday life. Characterized by tight harmonies and a dynamic percussion line, the buoyant 7/8 metre of the opening drives the piece forward. Lush harmonies colour the hymn-like B section as the text evolves into a call for strength despite the troubles that may come. Also available in a version for SSAA and hand drum and SATB and hand drum

Hollywood film music is often mocked as a disreputably 'applied' branch of the art of composition that lacks both the seriousness and the quality of the classical or late-romantic concert and operatic music from which it derives. Its composers in the 1930s and '40s were themselves often scornful of it and aspired to produce more 'serious' works that would enhance their artistic reputation.
In fact the criticism of film music as slavishly descriptive or manipulatively over-emotional has a history that is older than film - it had even been directed at the relatively popular operatic and concert music written by some of the emigre Hollywood composers themselves before they had left Europe. There, as subsequently in America, such criticism was promoted by the developing project of Modernism, whose often high-minded opposition to mass culture used polarizing language that drew, intentionally or not, upon that of gender difference. Regressive, late-romantic music, the old argument ran, was -- as women were believed to be -- emotional, irrational, and lacking in logic.
This book seeks to level the critical playing field between film music and "serious music," reflecting upon gender-related ideas about music and modernism as much as about film. Peter Franklin broaches the possibility of a history of twentieth-century music that would include, rather than marginalize, film music -- and, indeed, the scores of a number of the major Hollywood movies discussed here, like The Bride of Frankenstein, King Kong, Rebecca, Gone With The Wind, Citizen Kane and Psycho. In doing so, he brings more detailed music-historical knowledge to bear upon cinema music, often discussed as a unique and special product of film, and also offers conclusions about the problematic aspects of musical modernism and some arguably liberating aspects of "late-romanticism."

for SATB and organ Archer's setting of this popular Easter hymn by G. R. Woodward is sparkling with energy, combining the exuberant seventeenth-century Dutch melody with short organ interjections. An exciting addition to the repertoire for Easter services.

for SSSAAA unaccompanied This imaginative setting of Henry Wadsworth Longfellow's poem encourages the use of evocative bird and wind noises to capture the text's natural imagery. In a fresh, a cappella style, Hawley's charismatic melodies soar through the vibrant texture, and offer plenty of opportunities for soloistic singing. Also available in a version for alto solo and SSATB unaccompanied.

for CCBar and piano This sensitive, authentic arrangement of a well-known Yiddish folksong introduces singers to the harmonic characteristics of Yiddish music. Clapping and body percussion is employed to great effect, and a pronunciation guide and English translation are included, along with a fascinating contextual note.

for SATB (with divisions) and organ. Maurice Ravel's popular Pavane pour une infante defunte is here arranged for mixed voices and organ, allowing choirs to perform this beautiful staple of the orchestral repertoire for the first time. Rupert Gough's arrangement sets the words of the 'Requiem aeternam' to the existing melody, and features a characterful and active organ part that underpins the sustained vocal lines. The piece has been recorded by The Choir of Royal Holloway on the album Messe da pacem.

for SSAA unaccompanied. Consisting of two sections, this large-scale Christmas motet opens with a rich homophonic texture that is synonymous with Victoria's compositions. This is followed by imitation in the vocal lines before a triple-metre section of resounding 'alleluia's. The secunda pars begins with new melodic lines that are beautifully explored before a reprise of the music from the prima pars. Offprinted from The Oxford Book of Upper-Voice Polyphony.

for SATB, upper voices, and organ This compelling work tells the story of creation through a tapestry of biblical passages, spiritual writings, poems, and hymns by writers such as Thomas Traherne. The piece is structured around a recurring refrain, composed for upper voices, but also suitable for performance by any group from within the SATB choir, if an upper-voice choir is unavailable. Chilcott's great sensitivity to text brings this wondrous story to life, evoking images of 'the earth, the seas, the light, the day, the skies' being fashioned before our eyes. To access the Upper Voices Part, visit oxford.ly/CreationSongUpperVoicesPart To access the Lyric Sheet, visit oxford.ly/CreationSongLyricSheet

for SATB and piano This upbeat Christmas song sets the traditional and well-known wassailing text to thrilling effect. To be performed 'with inebriated joy', Young's original setting is fast, spritely, and increasingly raucous, with a pleasing array of textures and an exhilarating key change to herald the start of the final climax.

for SATB (with divisions) unaccompanied. A short upbeat setting of words from Psalms 9, 95, and 97, Cantate Domino opens with a triple-metre dance-like section that features optional clapping. Brown juxtaposes a darker, more chromatic middle section that has an optional verse in French, before reprising the joyful opening material.

Philip J. Lang, Jonathan Tunick - are names well known to musical theatre fans, but few people understand precisely what the orchestrator does. The Sound of Broadway Music is the first book ever written about these unsung stars of the Broadway musical whose work is so vital to each show's success. The book examines the careers of Broadway's major orchestrators and follows the song as it travels from the composer's piano to the orchestra pit. Steven Suskin has meticulously tracked down thousands of original orchestral scores, piecing together enigmatic notes and notations with long-forgotten documents and current interviews with dozens of composers, producers, conductors and arrangers. The information is separated into three main parts: a biographical section which gives a sense of the life and world of twelve major theatre orchestrators, as well as incorporating briefer sections on another thirty arrangers and conductors; a lively discussion of the art of orchestration, written for musical theatre enthusiasts (including those who do not read music); a biographical section which gives a sense of the life and world of twelve major theatre orchestrators, as well as incorporating briefer sections on another thirty arrangers and conductors; and an impressive show-by-show listing of more than six hundred musicals, in many cases including a song-by-song listing of precisely who orchestrated what along with relevant comments from people involved with the productions. Stocked with intriguing facts and juicy anecdotes, many of which have never before appeared in print, The Sound of Broadway Music brings fascinating and often surprising new insight into the world of musical theatre.

for SSAA, violin, and piano This uplifting piece sets a text inspired by Julian of Norwich, with additions by the composer. Quartel's intertwining vocal lines are beautifully combined with a soaring violin part and flowing piano accompaniment, illustrating the joy and power of song.

for baritone solo, SAATB, and small orchestra Dedicated to the Oxford Vaccine Team and premiered by Sir Bryn Terfel, The Oxford Philharmonic Orchestra, and the Choir of Merton College in a special tribute concert, Joseph's Carol sets words by the composer that recount the Christmas story from the perspective of Joseph. The two expressive verses are taken by the solo baritone, with the chorus performing a macaronic refrain infused with expectancy and wonder, as well as taking on the role of the angels in a soft accompaniment to the closing words of the second solo verse. The upper three voice parts are designed to be approximately equal in strength, and the carol may be accompanied by organ, piano, or small orchestra.

for baritone solo, SAATB, and organ or piano or small orchestra Dedicated to the Oxford Vaccine Team and premiered by Sir Bryn Terfel, The Oxford Philharmonic Orchestra, and the Choir of Merton College in a special tribute concert, Joseph's Carol sets words by the composer that recount the Christmas story from the perspective of Joseph. The two expressive verses are taken by the solo baritone, with the chorus performing a macaronic refrain infused with expectancy and wonder, as well as taking on the role of the angels in a soft accompaniment to the closing words of the second solo verse. The upper three voice parts are designed to be approximately equal in strength, and the carol may be accompanied by organ, piano, or small orchestra. The orchestral accompaniment is available for purchase.

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.

for SATB and organ. This setting of verses from John 7 imaginatively depicts the 'rivers of living water' and the contrasting 'parched land' in episodic form, providing musical structure, variety, colour, and atmosphere. An independent but delicate organ part brings further colour while underpinning long vocal lines, which interweave and occasionally perform unaccompanied.

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 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 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.