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.

"The Sacred Harp" is the most famous of the shape-note hymnals, a collection of over five hundred four-part a cappella hymns dating back over a hundred and fifty years. Shape-note singing itself is seeing a resurgence in popularity with sings being organized all over the country. And yet, George Pullen Jackson's groundbreaking history of the first hundred years of the hymnal has been out of print and hard to come by for decades. But now, "The Story of the Sacred Harp, 1844-1944" is back in print and available for music lovers, historians, and librarians alike.

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 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 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 (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 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 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.

This collection of essays, written to commemorate their centenary, celebrates the work of the Plainsong and Mediaeval Music Society. Founded in 1888, the Society quickly established two areas of activity: the propagation of information on medieval music and the revitalization of the Anglican liturgy with the riches of the plainchant of the Roman Rite.

Of the two sides of the Society's activities, the scholarly and the practical, this collection represents the former. The essays reflect the founders' interest in medieval music, both monophonic and polyphonic, and, particularly, their concern with chant. The contributors to this volume are among the most distinguished scholars of medieval music of recent years.

Contributors: David Hiley, Ritva Jacobsson, Michel Huglo, Susan Rankin, Wulf Arlt, Ruth Steiner, David Chadd, Andrew Hughes, John Caldwell, Frank Ll. Harrison, Nick Sandon.

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 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 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 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.

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.

The Book of Judith tells the story of a fictitious Jewish woman beheading the general of a powerful army to free her people. The parabolic story was set as an example of how God will help the righteous. Judith's heroic action not only became a validating charter myth of Judaism itself but has also been appropriated by many Christian and secular groupings, and has been an inspiration for numerous literary texts and works of art. It continues to exercise its power over artists, authors and academics and is becoming a major field of research in its own right.The Sword of Judith is the first multidisciplinary collection of essays to discuss representations of Judith throughout the centuries. It transforms our understanding across a wide range of disciplines. The collection includes new archival source studies, the translation of unpublished manuscripts, the translation of texts unavailable in English, and Judith images and music.

Though the monastic writings of St John Cassian have been enduringly popular, his reputation (not least as a theological author) has been seriously compromised. A. M. C. Casiday begins with an evaluation of conventional ideas about Cassian and, finding them seriously flawed, offers the first sustained attempt at re-reading Cassian's works for their theological significance. Specific attention is called to the Christological aspects of Cassian's monastic anthropology. Throughout, reference is made to Cassian's contemporaries - both well-known figures like Augustine of Hippo, Evagrius Ponticus, Vincent of L rins, and Nestorius, and lesser-known figures such as Prosper of Aquitaine, Valerian of Cimiez, and Paul of Tamma - in order to offer an analysis of Cassian's writings and their significance that is unencumbered by anachronism.

for high solo voice and organ This mass setting, with texts in both Latin and English (Book of Common Prayer), is typical of the composer's style: musically sophisticated, with motivic solo lines and a great deal of chromaticism and continual time changes. Vocal range: Eb4-A5 (opt. C6).

for medium solo voice and organ This mass setting, with texts in both Latin and English (Book of Common Prayer), is typical of the composer's style: musically sophisticated, with motivic solo lines and a great deal of chromaticism and continual time changes. Vocal range: C4-Gb5 (opt. A5).

for SATB choir unaccompanied With a text by John Henry Newman, Lead, kindly Light is a short, moving piece perfectly suited for our current times. Step-like movement in the melody reflects the speaker seeking light in the darkness, slow but steady in their way out of the 'encircling gloom'.