for SATB choir unaccompanied This imaginative setting of the well-loved text O little town of Bethleham, by Phillips Brooks, displays McGlade's characteristic rich and expressive harmonies, with their jazz inflections. Opening with a plaintive two-part harmony for upper voices, the scoring expands into lush four- and five-part textures. McGlade uses swelling dynamics, legato vocal lines, and freely changing metre. O little town of Bethlehem would be a superb choice for Christmas services and concerts.

for SSATB unaccompanied In this sensitive choral arrangement of 'Nimrod' from Elgar's Enigma Variations, Michael Higgins sets the Eucharistic hymn 'O salutaris Hostia', written by St Thomas Aquinas for the Feast of Corpus Christi. The familiar melody passes seamlessly between the voice parts, and Elgar's lush, rich soundworld is perfectly emulated by the choral textures Higgins has fashioned.

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 TTBB unaccompanied This lively reimagining of the traditional hymn is a thrilling a cappella arrangement which pairs the soaring legato melody with a rhythmic vocal accompaniment. Together, these elements capture both the gentle hope and the profound joy contained in the text. Also including moments of tenderness and reflection, the piece comes to a rousing close with an energy that engages singers and audience alike. Also available in a version for SSA unaccompanied and SATB unaccompanied.

for SATB chorus and organ, or orchestra This uplifting and highly effective arrangement of the popular Stanford hymn-tune ENGLEBERG, to words by Fred Pratt Green, was commissioned by the Broadway Baptist Church (Fort Worth) in Texas, and later recorded for broadcast by The Tabernacle Choir. The piece is suitable for regular worship services but most often at special praise services, choral liturgies, and musical feasts, and for recognizing the work of church musicians.

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 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.

The Exultet rolls of southern Italy are parchment scrolls containing text and music for the blessing of the great Easter candle; they contain magnificent illustrations, often turned upside down with respect to the text. The Exultet in Southern Italy provides a broad perspective on this phenomenon that has long attracted the interest of those interested in medieval art, liturgy, and music. This book considers these documents in the cultural and liturgical context in which they were made, and provides a perspective on all aspects of this particularly southern Italian practice. While previous studies have concentrated on the illustrations in these rolls, Kelly's book also looks at the particular place of the Exultet in changing ceremonial practices, provides background on the texts and music used in southern Italy, and inquires into the manufacture and purpose of the Exultets--why they were made, who owned them, and how they were used.

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 SSSAA unaccompanied. The opening of this motet displays Massaino's skill in the art of word-painting with soaring lines that play on the word 'arise' (Surge). Punctuated with occasional homophonic writing, the beautiful melodic lines find clever use of imitation across all voices. The secunda pars increases the quick imitation of the vocal lines, mirroring the excitement of the text 'the time of pruning has come' (Tempus putationis advenit). This, coupled with the introduction of shorter note values, creates a joyful celebration of the text from the Song of Songs. Offprinted from The Oxford Book of Upper-Voice Polyphony.

for SSAA unaccompanied. This Marian text for Eastertide, Regina caeli, was set four times by Morales. This setting for four voices was first published in the Spanish composer's 1543 collection and notated in high clefs. The simple-tone plainchant hymn is strongly referenced in each of the vocal lines, with Alto 1 dedicated as a cantus firmus for the majority of the piece. Offprinted from The Oxford Book of Upper-Voice Polyphony.

for SSSAA unaccompanied. Recent scholarship postulates that this anonymous motet for the Feast of the Assumption of the Blessed Virgin Mary was in fact written by Leonora d'Este, daughter of Duke Alfonso I and Lucrezia Borgia, and abbess of the Corpus Domini Convent in Ferrara. The music and style of d'Este's compositions are skilful in the art of polyphonic writing and the beautiful Sicut lilium inter spinas, written for five voices, is a fine example of this style. Offprinted from The Oxford Book of Upper-Voice Polyphony.

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.

for SSA unaccompanied Clemens composed two settings of the Marian text Ego flos campi, one scored for mixed choir of seven voices and this other, more intimate, setting for three voices. Here the voices weave beautiful counterpoint with attractive independent melodies.

for SSAA double choir unaccompanied. In this compelling motet for the Feast of the Holy Trinity, Handl artfully embodies symbolism of the Trinity within the motet's structure. The three verses surrounded by a refrain of 'O beata Trinitas' may have been deliberately chosen to represent the Trinity, as it is the only example where Handl includes a true refrain. Offprinted from The Oxford Book of Upper-Voice Polyphony.

for SABar and piano, with opt. bass and drum kit This is a funky arrangement of Beethoven's 'Ode to Joy' with an English text by Henry van Dyke. Milloy jazzes up the well-known melody by arranging it in 12/8 time and adding syncopation, while supporting it with a groovy piano accompaniment and optional bass part (available at the back of the leaflet). Originally published in Pop Voiceworks 2.

for SABar and piano or organ Ideal for a carol service or concert, this piece follows the three Kings on their journey to the birth of Jesus and is characterised by its alternation of major and minor modes. Also available in a version for SATB and piano or organ.

for SABar and piano Higgins's arrangement of the popular German carol is given a modern twist with fresh harmonies, but still captures the gentleness and tranquility found in more traditional settings. Supported by sustained 'oo's and 'ah's throughout, the well-known melody is underpinned by a delicate piano accompaniment, with an optional unaccompanied middle section.

for SSA and organ or piano Paul Drayton's setting of three stanzas from Laurence Binyon's poem 'For the Fallen' is poignant, dignified, and atmospheric. A serene and expressive refrain for unison voices (which the congregation may join in if desired) is interposed between evocatively turbulent passages for SSA choir. The accompaniment should ideally be played on the organ, but may be performed on the piano if organ is not available. Also available in a version for mixed voices.

for SATB unaccompanied This setting of Phineas Fletcher's text is gentle and flowing, with a lilting, descending motif to characterise the 'slow tears'. Archer offers nuanced dynamics and imitative entries in this simple but expressive piece, suitable for Lent and Passiontide.

The sweetness of music is something that has puzzled Christian theologians for centuries. In this study, Luther's theology of music is approached from the point of view of pleasure. It examines the significance of joy, beauty and pleasure in relationship with music and Luther's theology. The notion of music as the supreme gift of God requires also a discussion about the idea of 'gift'. Music opens up new perspectives into Luther's thinking. Luther has seldom been reckoned among aesthetic theologians. Nevertheless, Luther has a peculiar view on beauty, understanding faith as a kind of aesthetic contemplation.