for SATB (with divisions) and organ Set to Ursula Vaughan Williams's celebrated paean to the patron saint of music, this work is by turns joyous and reflective. Rich harmonies, shifting tonalities, and expressive melodies combine to evoke the changing moods explored within the text. The poignant Andante section midway through the piece, sung by a solo soprano, is a pivotal moment; it gives way to increasingly jubilant and powerful writing that brings the work to an ecstatic conclusion.

for SATB (with divisions) unaccompanied This serene communion motet sets the last two verses of the Pangue Lingua and oscillates between 3/4 and 4/4 time signatures. The melodic lines are expressive and at times melismatic and the divisi in all parts creates a rich texture.

for SATB (with divisions) and organ This jubilant carol sets a fifteenth-century text that rejoices in the birth of the baby Jesus. Bednall's rhythmically exciting setting features frequently changing time signatures, with 7/8 passages creating a jaunty feel. There are a variety of tempi and textures: a slower, tender middle section contrasts with the lively outer sections, and an unaccompanied section for the choir is juxtaposed against glittering, rhythmic organ passages. An ideal opener for any Christmas Carol concert, the work is featured on the Choir of Truro Cathedral's CD A Year at Truro (Regent Records).

Union and Distinction in the Thought of St Maximus the Confessor presents the writings of a key figure in Byzantine theology in the light of the themes of unity and diversity. The principle of simultaneous union and distinction forms the core of Maximus' thought, pervading every area of his theology. It can be summarized as: Things united remain distinct and without confusion in an inseparable union. As Melchisedec T r nen shows, this master theme also resonates in contemporary theological and philosophical discussions.

for SATB and organ Commissioned by the 2015 Three Choirs Festival, this is Chilcott's second setting of the Evening Canticles. Bright and rhythmical, the Magnificat features syncopated chords in the organ part that punctuate the more sustained choral textures. In contrast, the Nunc dimittis is reflective, opening with a soaring soprano melody and building towards an expressive climax on the word 'glory'. Ideal for church and cathedral choirs looking for something new for their evening service.

for SATB and piano or organ First published in Carols for Choirs 5, this is a beautiful and touching setting of the well-known fifteenth-century words. The contours of Stroope's melodic writing perfectly mirror the narrative from the manger scene, while the simple refrain highlights the Christ-child's innocence as his mother lulls him to sleep.

The first investigation into the choral foundation of the Chapel Royal, Dublin Castle. The Chapel Royal, Dublin Castle, was the place of worship of the British monarch's representative in Ireland from 1814 until the inception of the Irish Free State in 1922. It was founded and maintained by the joint efforts of church and state, and thus its history provides valuable insights into how the relationship between religion and politics shaped Irish society and identity. The Dublin Chapel was established in imitation of the Chapel Royal of St James's Palace, London, and was served by a staff of clergy and musicians. Its musical foundation was a formal and independent entity, with its own personnel and performance traditions. Its distinctive repertoire included music from the English and Irish cathedral traditions, as well as works written by composers associated directly with the Chapel. This study investigates the Chapel's constitution, liturgy and music through an examination of previously unexplored primary material. Discussion of the circumstances of the Chapel's founding and its governance structures situates the institution in the context of the church-state relationship that existed following the Union of 1800. Further, by exploring architecture, churchmanship and musical style, O'Shea demonstrates how the Chapel was part of a wider aesthetic and liturgical tradition. The choral foundation is brought to life with accounts of the Chapel's clergy, organists, boy choristers and gentleman singers, which provide insights into Dublin's social history during a period of significant change. This book reflects on the Dublin Chapel Royal's legacy a century after its closure and offers a new perspective into a forgotten corner of Irish cultural, religious and political history.

for SATB and organ Setting a text by the composer, this choral hymn addresses God, the risen Christ, and the Holy Spirit in turn, with a strong sense of worship and adoration. With an appealing melody, sumptuous harmonies, and a captivating soprano descant, this is the ideal piece for Trinity Sunday.

for SATB (with divisions), oboe, and organ The text combines the nineteenth-century poet and Christian minister George MacDonald's emotive poem Lost and Found with the 'In paradisum' antiphon from the Burial Service in the Liber Usualis. The music is at times ethereal, melancholic, poignant, and life-affirming. The solo oboe and organ writing is integral to the emotive character of the piece, and the word-painting and angelic chorus moments encourage the listener to reflect on the subject at hand. The Quest is featured on the Collegium Records CD The Gift of Life. An orchestration for chamber ensemble (solo oboe, harp, and strings) is available on hire/rental.

This book is the first-ever study of Malta's major eighteenth-century composer, Benigno Zerafa (1726 - 1804), a specialist in sacred music composition. This book is the first-ever study of Malta's major eighteenth-century composer, Benigno Zerafa (1726-1804), a specialist in sacred music composition. Zerafa's large-scale and small-scale vocal and choral works, mostly written during his long service as musical director at the Cathedral of Mdina, have been winning increased recognition in recent years. In addition to describing and analysing this extensive corpus, the book gives an account of Zerafa's sometimes eventful career against the wider background of the rich musical and cultural life in Malta, especial attention being paid to its strong links with Italy, and particularly Naples, where Zerafa was a student for six years. Itexamines in detail the complex relationship of music to Catholic liturgy and investigates the distinctive characteristics of the musical style, intermediate between baroque and classical, in which Zerafa was trained and always composed: one that today is commonly labelled "galant". Well stocked with music examples, the book makes copious reference to Italian and Maltese composers from Zerafa's time and to modern analytical studies of Italian music from the middle decades of the eighteenth century, thereby offering a useful general commentary on the galant period. Its central aim, however, is to stimulate further interest in, and revival of, Zerafa's music. To this end the book contains a complete work-list with supplementary indexes. Scholars and students of eighteenth-century music, in particular sacred music, the galant style and Italian music, will find it invaluable. FREDERICK AQUILINAis Senior Lecturer in Music Studies at the University of Malta.

for SATB and piano This is a peaceful and expressive setting of Oliver Cooke's hymn 'I Know a Fount', a musical reminder that by God's love and sacrifice our sins are washed away. The rich, homophonic choral writing and simple, rippling piano accompaniment give space for the text to be fully heard and embraced by the listener.

In Singing the Glory Down, William Lynwood Montell contributes to a fuller understanding of twentieth-century American culture by examining the complex relationships between gospel music and the culture of the nineteen-county study area in which this music has flourished for a hundred years. He has recorded the memories and feelings of those who were young while the movement gathered steam and who remember it at its high point, and stories about those who have passed over that river about which they loved to sing. In the early 1900s, a singing school or gospel convention was a major social event that enticed people to walk for miles to learn to sing or to hear someone who already had. The shape-note teachers of those days conducted days or even weeks of nightly practice, which culminated in a performance that confirmed the teacher's skill. Quartet music originated in these settings. Today, some area quartets still sound much like those early groups; others teach themselves to sing by imitating their favorite professional gospel ensembles.They travel every weekend in buses emblazoned with the names of their groups, with tapes and albums to sell. Through all the changes, the four-part southern harmony of Kentucky gospel music has remained the same. In the words of these performers, through letters, diaries, and interviews, Montell details the attitudes and joys of those involved most deeply in the gospel music scene. He also brings the reader into their personal relationships, their professional jealousies, and their struggles to keep alive the music they love.

for SATB, piano, and optional bass and drum kit The Nidaros Jazz Mass draws on a variety of jazz styles to present a fun and innovative setting of the Latin Missa brevis. With a gentle Kyrie, funky Gloria, ballad-like Sanctus, laid-back Benedictus, and passionate Agnus Dei, this work breathes new life into familiar words, perfectly combining the contemporary with the ancient. Recorded by a professional jazz trio (piano, bass, and drums), this backing track is a useful tool for rehearsal and performance, and is compatible with both mixed- and upper-voice versions.

for baritone solo, SATB chorus, children's choir (or semi-chorus), and small orchestra (or piano/organ) McDowall's setting of the Stabat Mater has been described as 'an outstanding work of great solemnity and poignancy' (Tempo, 2013). The work comprises seven movements in a symmetrical structure-from the impassioned choral opening, through two intense yet diverse baritone solos and contemplative plainchant chorales, to the stately finale uniting all the voices. The optimistic central movement, in a major tonality, may be performed by children's choir or a semi-chorus of sopranos and altos from the main group. A plaintive meditation on the sorrows of the Virgin Mary as she stands by the Cross, McDowall's Stabat Mater is a sophisticated modern alternative to more well-known settings, ideal for performance at non-liturgical Lenten services. The piano reduction in the score, which can be adapted for organ, may be used for concert performance if an orchestra is not available.

With a host of accessible, quality new settings, and with pieces based on all the major hymn tunes, these volumes are a must for every church organistas library.

The music of clarinetists Naftule Brandwein and Dave Tarras is iconic of American klezmer music. Their legacy has had an enduring impact on the development of the popular world music genre. Since the 1970s, klezmer music has become one of the most popular world music genres, at the same time influencing musical styles as diverse as indie rock, avant-garde jazz, and contemporary art music. Klezmer is the celebratory instrumental music that developed in the Jewish communities of eastern Europe over the course of centuries and was performed especially at weddings. Brought to North America in the immigration wave in the late nineteenth century, klezmer thrived and developed in the Yiddish-speaking communities of New York and other cities during the period 1880-1950. No two musicians represent New York klezmer more than clarinetists Naftule Brandwein (1884-1963)and Dave Tarras (1897-1989). Born in eastern Europe to respected klezmer families, both musicians had successful careers as performers and recording artists in New York. Their legacy has had an enduring impact and helped to spurthe revival of klezmer since the 1970s. Using their iconic recordings as a case study, New York Klezmer in the Early Twentieth Century looks at the inner workings of klezmer dance music, from its compositional aspects to the minutiae of style. Making use of historical and ethnographic sources, the book places the music within a larger social and cultural context stretching from eastern Europe of the nineteenth century to the United Statesof the present. JOEL E. RUBIN is Associate Professor of Music at the University of Virginia and an acclaimed performer of traditional klezmer music.

for SATB and organ Archer's setting of this well-known Christmas text is lilting and buoyant, with a memorable melody and charming organ interludes. Suitable for liturgical or concert use, the carol features great textual variety, building to a rousing finish that is sure to fill audiences with Christmas cheer!

for SATB and piano or orchestra Written for the Mormon Tabernacle Choir, this new arrangement of the well-known spiritual is presented in two versions: one for mixed chorus and the other for men's voices. Each version opens gently with an effective unaccompanied unison section, and the accompaniment and further choral parts are gradually added. In classic Wilberg style, the piece builds up verse by verse with expanding textures, via two upward modulations, towards a grand and triumphant climax, leaving no doubt about the joy expressed in the text. Orchestral material is available on hire/rental.

for TTBB and piano or orchestra Written for the Mormon Tabernacle Choir, this new arrangement of the well-known spiritual is presented in two versions: one for mixed chorus and the other for men's voices. Each version opens gently with an effective unaccompanied unison section, and the accompaniment and further choral parts are gradually added. In classic Wilberg style, the piece builds up verse by verse with expanding textures, via two upward modulations, towards a grand and triumphant climax, leaving no doubt about the joy expressed in the text. The male-voice version of He's got the whole world in his hands features on the CD 'Men of the Mormon Tabernacle Choir', with the Orchestra at Temple Square, conducted by Mack Wilberg (SKU 5053126). Orchestral material is available on hire/rental.

for soloists, SATB, and organ Written for the Choir of Wells Cathedral, of which Matthew Owens is Organist and Master of the Choristers, this setting of the St Matthew Passion is ideally suited to liturgical performance during Holy Week. The principal role of the Evangelist is taken by a baritone soloist, who narrates the story of Christ's trial and Crucifixion in unaccompanied chant. The other, smaller, solo roles of Judas (tenor), Pilate (tenor), Jesus (bass), and Pilate's wife (alto) continue in the same vein, with four-part choral interspersions from the crowds, soldiers, and priests providing a contrast in texture. The hymn 'When I survey the wondrous cross', set to the Rockingham hymn tune, appears twice throughout the work, and the congregation are encouraged to join in on both occasions. The simple organ part supports the voices for the hymn, and may also optionally double the choir during the narrative.

for TTBB and piano or organ or small orchestra Originally published in versions for SA and SATB voices, this classic Rutter anthem has now been adapted by the composer for performance by male-voice choirs. The flowing choral melodies perfectly complement the positive message of the well-known thanksgiving text by F. S. Pierpoint, and the gentle, arpeggiated keyboard part provides a supportive harmonic accompaniment.

for SATB and organ Setting a joyful text by William Chatterton Dix, Alleluia, sing to Jesus! is suitable for performance throughout the church year, although its Eucharistic imagery will make it particularly poignant at Holy Communion, Easter, and Ascension. With a bright melody set against a rhythmic organ accompaniment, this triumphant anthem will lift the spirits of performers and listeners alike.

for SATB and organ or chamber orchestra This offering from Mack Wilberg is a joyful yet graceful arrangement of the well-known hymn tune by Conrad Kocher. Featuring a lyrical accompaniment and variations in choral textures, this piece is ideal for Harvest or Thanksgiving celebrations, but can also be used all year round. An orchestral accompaniment is available on hire/rental.