SSAA unaccompanied I will be with you sets a reflective text by the composer with a message of enduring solace. Lush harmonies, with predominantly homophonic passagework, coupled with flowing and cascading lines in every voice part make for a tranquil musical experience. Also available in a version for unaccompanied SATB choir.

for SATB unaccompanied This short sacred work for unaccompanied mixed choir is a highly atmospheric setting of the poet Henry Vaughan's mystical and enigmatic poem of the same name. Written for the choir of St Peter's College, Oxford, the work has a sonorous quality and uses extended harmonies to great effect.

for SSATB unaccompanied An atmospheric and expressive setting of Caliban's dream from Shakespeare's The Tempest, this piece transports the listener to a mysterious, dream-like place. McDowall effectively employs melismas and ornaments to create a sense of the other-worldly, and her rich, immersive harmonies perfectly characterise the reverie Shakespeare's protagonist describes.

for SATB and organ or orchestra This is an arrangement of the 19th-century hymn by Philip Bliss, with words written by Horatio Spafford following several personal tragedies. Despite having lost his first son to scarlet fever, most of his assets in the Great Fire of Chicago, and then his four daughters in a shipwreck, Spafford's enduring faith inspired him to write this hymn, which speaks of an internal, spiritual calm in the face of life's difficulties. Wilberg's arrangement of Bliss's tune keeps the first two verses in unison, first women and then men, before allowing fuller textures to take over. The choir is accompanied throughout, and two upward major 3rd modulations lead to a triumphant close.

for SATTBB unaccompanied Victimae paschali laudes is an atmospheric arrangement of the traditional plainsong melody for this Latin text for Easter Sunday. Changing metres enable an authentic presentation of the plainsong style, and Lawson effectively employs interjections of 'alleluia' within the main body of the text as a powerful expression of the triumph of life over death that is at the heart of the Easter story.

for SATB double choir unaccompanied Lightly come or lightly go is a playful setting of James Joyce's poem of the same name for SATB double choir. The second choir carries the titular words as an arching ostinato, while choir one presents the main body of the text through characterful melodies and word painting. The two choirs portray the conflicting emotions expressed in the poem demonstrated by the closing line: "Love and laughter song-confessed When the heart is heaviest".

for SSA and piano This work for upper voices with a text by the composer was inspired by members of the Radcliffe Ladies' Choir and their motto 'friendship through singing'. The lilting vocal lines are subtly underpinned by a delicate piano accompaniment, and the opening performance direction, 'contentedly rocking', describes the overall nature of the piece: peaceful, content, and easy-going.

Everyday Wonders: The Girl from Aleppo tells the extraordinary story of Nujeen Mustafa, a Kurdish teenager with cerebral palsy forced by war to flee her home and embark on an arduous journey to Europe with her sister. In this five-movement cantata Nujeen's story - recounted in her biography 'The Girl from Aleppo' (co-authored by Christina Lamb) - is retold by Kevin Crossley-Holland and richly scored by Cecilia McDowall. A wealth of musical effects are employed to capture the narrative, including chorales, rhythmic spoken sections, body percussion, and a solo violin part infused with Middle Eastern flavours. The prevailing mood of Nujeen's story is embodied by the final line of a chorale that bookends this unique concert work: 'singing the song of life itself.'

The archconfraternity of SS. TrinitA was one of the less well-known institutions for musical patronage in sixteenth-century Rome. Yet in focusing on its activities in the period 1550-1650, this book sheds light on networks of urban patronage that were equally important in commissioning the sacred music of the period as the Cappella Pontificia and the Cappella Giulia at St Peter's. Not only did SS. TrinitA provide Palestrina with his only known major involvement in sacred music outside the Cappella Giulia after 1571 it also employed at some time or another every major composer active in the city. Noel O'Regan discusses the importance of SS. TrinitA in the sphere of Roman sacred music during this period and the ways in which this music was affected by social and religious factors in the play for power and prestige in post-tridentine Rome.

for SSATB unaccompanied This simple and exquisite miniature keeps the text, the fourth-century Latin Hymn to the Virgin Mary, at the fore, with instructions from the composer to accent the melodic lines according to word stress rather than position in the bar. The musical style is a fusion of old and new, with plainchant-like melodies and tonality set against expressively dissonant contemporary harmonies. Tota pulchra est was recorded by The Epiphoni Consort on the CD David Bednall: Sudden Light (Delphian, DCD34189)

for SATB unaccompanied Aspire to God, my soul sets a macaronic text by Canon John Dilnot, with the titular words recurring throughout the setting as an emphatic refrain. This short anthem is optimistic and uplifting in tone, with frequently changing time-signatures that convey a rhythmic fluidity and the flexibility to follow the declamation of the words.

for SATB and organ Chilcott's setting of Psalm 96 is bright, optimistic, and celebratory. The sparkling organ part and fluctuation between 7/8 and 4/4 metres give the opening and closing sections a dance-like feel, while the central section is still, soft, and reflective.

for SATB and organ or piano Chilcott's setting of St Benedict's sixth-century prayer begins with a gentle recurring figure in the keyboard, graduallly building to a rousing climax. The primarily homophonic texture allows the timeless text to shine through, while the expansive vocal writing and expressive use of harmony create a sense of awe towards the Almighty God.

for SATB and organ Francis Jackson's spirited setting of Psalm 150 is steeped in the English choral tradition. With contrapuntal writing, engaging interplay between choir and organ, effective word painting, and virtuosic organ writing, O praise God in his sanctuary is a welcome addition to the service repertory.

The Singer's Guide to German Diction is the essential foundation for a complete course in German diction for singers, vocal coaches, choral conductors, and anyone wishing to learn to learn the proper pronunciation of High German. Written by Valentin Lanzrein and Richard Cross, who each have years of experience on stage, in the voice studio, and in the diction classroom, it provides an all-encompassing and versatile reference for the rules of German diction and their exceptions. Featuring an easily navigable format that uses tables and charts to support a visual understanding of the text, this guide allows the reader to find information on diction rules and quick help with the formation of each sound. It also places an emphasis on exceptions to the rules, which are crucial in learning the proper pronunciation of any language. Exceptions are not only provided with the diction rules, but are also gathered in a specific section for ease of reference. A glossary of difficult words, names, and exceptions is provided in the appendix, along with a section on Latin pronounced in the German manner. Extensive pronunciation exercises, as well as IPA transcription worksheets and short examples from the vocal literature, are used for practical application of the diction rules, and feature musical exercises drawn from art song, opera, and oratorio. The book's companion website supplements these musical exercises with high-quality audio clips recorded by leading professional singers, providing an invaluable resource for independent study. A comprehensive companion for teachers, students, and singers alike, The Singer's Guide to German Diction brings German diction to life through its well-structured system of practice and reference materials.

for SATB unaccompanied This setting of a tune from The Sacred Harp is strong and march-like, with accented rhythms and percussive vocal lines contributing to a rousing overall effect. It was originally published as part of Mack Wilberg Anthems and is also available in a version for TTBB unaccompanied.

for SATB unaccompanied A group of three miniatures for unaccompanied mixed voices, Some corner of a foreign field sets poems by three First World War soldiers: John William Streets, Goldfeld (about whom no more than his surname is known), and Rupert Brooke. Bednall's settings are slow, expansive, and expressive, giving space for the listener to reflect on the profoundly moving texts. Brooke's 'The Soldier' brings a particularly poignant conclusion to the set, with melismas employed for dramatic effect.

O Antiphon Sequence was conceived as a recital piece, although each of its individual movements would also work in a liturgical context. Each movement is a response to a short extract of liturgical text taken from the 'O Antiphons', which are the Magnificat antiphons used at Vespers during the last seven days of Advent in Western Christian traditions. The work was commissioned by the American Guild of Organists for performance at the 2018 AGO National Convention in Kansas City, Missouri.

for SATB unaccompanied A partner antiphon to Bednall's Ave Regina caelorum, Alma Redemptoris Mater is a tender and expressive setting. In turn, this pair of antiphons compliments Herbert Howells's setting of the other two Marian antiphons (Salve Regina and Regina Caeli), making for compelling programming. Triplet movement and changing metre create a sense of ebb and flow and harmonic and melodic interest provoke a sense of peaceful expectancy.

for SATB unaccompanied This high-energy, majestic setting of well-known words from the psalms is a welcome addition to the service repertory. The changing metre brings the text to the fore, and the semiquaver movement that passes between parts creates a sense of motion and drive that is fitting for this uplifting and joyous hymn of praise.

for SSA and piano Grow is a warm and heartfelt setting of words by the composer that celebrate human personal growth, comparing this to the season change from winter to spring. A rocking piano part underpins the eminently singable vocal lines, and a scat section draws the piece to a reflective close.