for SSAATTBB unaccompanied This is a truly beautiful addition to the Christmas repertory, setting a specially commissioned poem by Charles Bennett. The flexible metre creates a sense of movement, while the luscious harmonies and often-homophonic textures provide an anchor to the choral writing. The Rose in the Middle of Winter will appeal to all mixed-voice choirs looking for a poignant centrepiece for a Christmas concert or service.

for flexible voices in one or two parts, with optional mixed-voice choir and piano or organ or chamber orchestra Due to popular demand, this tuneful carol is being made available as a separate choral publication. Setting a text by Timothy Dudley-Smith, the piece is characterized by a strong, memorable melody and warm harmonies. The choral leaflet preserves the flexible scoring of the original (first published in The Oxford Book of Flexible Carols), making it accessible to choirs of all types and sizes.

for SATB unaccompanied This lively and uplifting carol sets a joyful fifteenth-century Christmas text by James Ryman. The music is rhythmic and powerful, with moments of rich and vibrant harmony offset by the strong, fanfare-like Latin refrain.

for SATB and organ The four motets in this set are adapted from Bob Chilcott's large-scale choral work, Salisbury Vespers, which was premiered in Salisbury Cathedral in May 2009. Setting a variety of early Marian texts, the set includes the gentle and expressive 'I sing of a mayden' and the fervent 'Hail, Star of the sea most radiant'. Re-scored for SATB and organ, the motets will be welcomed by choirs of all sizes looking for a more intimate introduction to Chilcott's magnificent landmark work. The motets can be performed as a set or individually, and are suitable for concert and liturgical use. Accompaniments for instrumental ensemble or for brass and organ are available to hire separately for each of the accompanied motets.

Unlocks the secrets behind the images and music of an important Spanish musical manuscript compiled for a brotherhood of suspected heretics ca. 1500. The Rosary Cantoral is a rare and beautifully decorated manuscript of Latin plainchant for the Catholic Mass compiled in Toledo, Spain, around the year 1500. In an engaging and richly interdisciplinary essay, Lorenzo Candelaria approaches the Rosary Cantoral as a cultural artifact, unlocking the secrets behind its images and music to reveal the social history and rituals of an elite brotherhood dedicated to the rosary and aspects of the religious communityit served: the Dominicans of San Pedro Martir de Toledo. The Rosary Cantoral: Ritual and Social Design in a Chantbook from Early Renaissance Toledo presents a model for realizing the fuller significance of illuminatedmusic manuscripts as cultural artifacts and offers unprecedented insights into the social and devotional life of Toledo, Spain, around the turn of the sixteenth century. After solving the mystery of the Rosary Cantoral's origins,subsequent essays probe the meaning and cultural significance of the manuscript's iconography (including a border decoration after Albrecht Durer), its rare Spanish chants for the Mass, and two striking musical works for multiplevoices (one by Josquin Desprez and another on "L'homme arme"). Ultimately, this book focuses on the extraordinary circumstances that engendered the compilation of the Rosary Cantoral around 1500: a system of patronage between a brotherhood of suspected heretics and a religious house that was a key supporter of the Inquisition in Toledo. Lorenzo Candelaria (University of Texas at Austin) is co-author of American Music: A Panorama.

Peter Horton paints a detailed picture of the life and career of this remarkable man whose output includes such favourites as 'Blessed be the God and Father' and 'The wilderness'. Born into one of England's best-known families, Samuel Sebastian Wesley (1810-76) was not only the foremost organist and church musician of his generation, but a vigorous campaigner for higher standards in cathedral music. He was also a troubled, difficult character, and accounts of his abrasive personality or anecdotes about his fishing exploits have tended to obscure his very real achievements as a composer. Peter Horton has drawn on a wide range of source material to produce a detailed account of Wesley's life and career as he moved from cathedral to cathedral in search of an unattainable ideal, his youthful idealism gradually giving way to the cynicism and disillusion familiar to those who encountered him late in life. He also examines his development as a composer and presents a study of his complete output (including the many non-church works) against the background of his restless career and in a wider European context. The book is illustrated by a generous selection of musical examples and plates, and includes the most detailed list of works to appear in print.

First published in Carols for Choirs 1 in 1961, and then reprinted in 100 Carols for Choirs, David Willcocks' much-loved arrangement of O come, all ye faithful (Adeste, fideles) has come to epitomize Christmas, being sung countless times each year around the world. Using the harmonies from The English Hymnal for verses 1-5, it features his unsurpassed descant to verse 6 ('Sing, choirs of angels') and a reharmonized verse 7 which builds to a stirring climax. An accompaniment for orchestra and an opening brass fanfare are available for hire.

for SATB and organ This is Chilcott's first setting of the Evening Service (in English), written for the Choir of Downing College, Cambridge. The Magnificat is a powerful setting of the Canticle of Mary, with homophonic textures and strong harmonies, while the Nunc Dimittis is expressive and poignant. A long-awaited addition to the Evensong repertory!

The Oxford Book of Flexible Carols is the perfect resource for choirs of all types and sizes. Each carol is presented with flexible scoring options, clearly explained throughout, enabling performance by various combinations of singers. With a fabulous range of accessible, quality material, including traditional favourites and carols written specially for the collection, this is a must-have for all choirs at Christmas.

Timothy Dudley-Smith is one of the foremost hymn-writers of the Anglican Church, with work represented in over 250 hymnals throughout the English-speaking world. Praise to the Name is his seventh collection, and includes 36 hymn texts written between 2005 and 2008, and spanning seasons and services throughout the church's year. With textual notes and suggestions of suitable hymn tunes, the collection will be of interest to all who seek to invigorate hymn-singing and church worship in the Anglican Church.

for unaccompanied SSATB choir (with optional soprano solo) Combining a number of early lullaby texts in one setting, Adam and the Mother is a haunting carol recalling the fall of Adam. It combines irregular melodic lines with lilting ostinato passages and will appeal to experienced choirs looking for a unique addition to the Christmas repertory.

for SATB unaccompanied I saw three ships is a lively setting of the traditional English text for unaccompanied mixed voices. A simple melody, swapped between the outer voices and answered by altos and tenors, gradually builds to a forte last verse complete with chiming bells. Accessible and fun to sing, this would be an enjoyable addition to any carol concert.

for SATB and organ The World's Desire was commissioned by the Choir of Truro Cathedral for their service of Nine Lessons and Carols in December 2008, to be performed after the eighth lesson. Setting a text by G. K. Chesterton, it is highly original yet approachable, and develops the opening melodic motif to provide a sense of cohesion throughout the piece.

for equal voices in 4 parts
This unaccompanied carol is scored for four equal parts and comprises a sequence of three rounds. Rhythmic and engaging, this carol demonstrates the distinctive clarity of Skempton's musical language. It will particularly appeal to good chamber choirs.

for SSSAAA unaccompanied Published for the very first time, this is a beautiful arrangement of the old German tune 'Lasst uns das Kindlein Wiegan', setting words adapted from an old Scots poem by Ursula Wood. With flowing contrapuntal lines and characteristic harmonies, O my dear heart will be popular with all upper-voice choirs.

for SATB and piano or chamber orchestra This gentle setting of the traditional Welsh lullaby features a new English text by David Warner. An alternative Christmas text is included. The story depicts someone at the end of life who is asking to be led into eternal life. The altos sing the text of the hymn, while the sopranos, tenors, and basses accompany them on "oo." Accessible for most church choirs and suitable for performance throughout the year. An accompaniment for chamber orchestra is available on hire.

A vivid picture of the public and private life of a professional musician in late eighteenth- and early nineteenth-century London. This well-documented life of Samuel Wesley gives a vivid picture of the life of a professional musician in late eighteenth and early nineteenth-century London. Wesley was born in 1766, the son of the Methodist hymn-writer CharlesWesley and nephew of the preacher John Wesley. He was the finest composer and organist of his generation, but his unconventional behaviour makes him of more than ordinary interest. He lived through a crucial stage of English musicfrom the immediately post-Handel generation to the early Romantic period, and his large output includes piano and organ music, orchestral music, church music, glees, and songs. He also taught and lectured on music, and was involved in journalism, publishing, and promoting the music of J. S. Bach. This book draws on letters, family papers, and other contemporary documents to offer a full study of Wesley, his music, and his life and times. PHILIP OLLESON is Professor of Historical Musicology at the University of Nottingham. He has edited The Letters of Samuel Wesley: Professional and Social Correspondence, 1797-1837, is the joint author (with Michael Kassler) of Samuel Wesley (1766-1837): A Source Book, and has written extensively about other aspects of music in England in the eighteenth and nineteenth centuries.

for SATB and piano four hands or orchestra This refreshing dance-like arrangement of this traditional hymn speaks to the praise of God in all of creation. The first verse is sung in unison by the women and the second by the men. Verse three brings together all voices arranged in four parts. Suitable for general use throughout the liturgical calendar and particularly appropriate for Father's Day. Orchestral material is available on hire.

Of all the things we can know about J. S. Bach's Mass in B Minor and Christmas Oratorio, the most profound come from things we can hear. Listening to Bach explores musical style as it was understood in the early eighteenth century. It encourages ways of listening that that take eighteenth-century musical sensibilities into account and that recognize our place as inheritors of a long tradition of performance and interpretation. Daniel R. Melamed shows how to recognize old and new styles in sacred music of Bach's time, and how movements in these styles are constructed. This opens the possibility of listening to the Mass in B Minor as Bach's demonstration of the possibilities of contrasting, combining, and reconciling old and new styles. It also shows how to listen for elements that would have been heard as most significant in the early eighteenth century, including markers of sleep arias, love duets, secular choral arias, and other movement types. This offers a musical starting point for listening for the ways Bach put these types to use in the Mass in B Minor and the Christmas Oratorio. The book also offers ways to listen to and think about works created by parody, the re-use of music for new words and a new purpose, like almost all of the Mass in B Minor and Christmas Oratorio. And it shows that modern performances of these works are stamped with audible consequences of our place in the twenty-first century. The ideological choices we make in performing the Mass and Oratorio, part of the legacy of their performance and interpretation, affect the way the work is understood and heard today. All these topics are illustrated with copious audio examples on a companion Web site, offering new ways of listening to some of Bach's greatest music.

Male-centered theology, a dearth of men in the pews, and an overrepresentation of queer males in music ministry: these elements coexist within the spaces of historically black Protestant churches, creating an atmosphere where simultaneous heteropatriarchy and "real" masculinity anxieties, archetypes of the "alpha-male preacher", the "effeminate choir director" and homo-antagonism, are all in play. The "flamboyant" male vocalists formed in the black Pentecostal music ministry tradition, through their vocal styles, gestures, and attire in church services, display a spectrum of gender performances - from "hyper-masculine" to feminine masculine - to their fellow worshippers, subtly protesting and critiquing the otherwise heteronormative theology in which the service is entrenched. And while the performativity of these men is characterized by cynics as "flaming," a similar musicalized "fire" - that of the Holy Spirit - moves through the bodies of Pentecostal worshippers, endowing them religio-culturally, physically, and spiritually like "fire shut up in their bones". Using the lenses of ethnomusicology, musicology, anthropology, men's studies, queer studies, and theology, Flaming?: The Peculiar Theo-Politics of Fire and Desire in Black Male Gospel Performance observes how male vocalists traverse their tightly-knit social networks and negotiate their identities through and beyond the worship experience. Author Alisha Jones ultimately addresses the ways in which gospel music and performance can afford African American men not only greater visibility, but also an affirmation of their fitness to minister through speech and song.

for SATB and organ This tuneful and gentle setting of the Gaelic blessing is a perfect option for weddings and general use. Its shapely melody, floating soprano descant, and mellifluous closing 'Amen' make this a setting of great beauty.

Estos son los himnarios mas populares, utilizados por millones de creyentes, por sus himnos tradicionales de alabanza y adoracion. Los himnarios incluyen la musica."

for SATB and organ This inspiring and uplifting setting of a well-known text will appeal to all SATB choirs looking for fresh and accessible new repertoire for general church use. Alongside his own material Chilcott includes the traditional 'Morning has broken' melody, allowing members of the congregation to join in with the choir.

Joni Mitchell is one of the foremost singer-songwriters of the late twentieth century. Yet despite her reputation, influence, and cultural importance, a detailed appraisal of her musical achievement is still lacking. Whitesell presents a through exploration of Mitchell's musical style, sound, and structure in order to evaluate her songs from a musicological perspective. His analyses are conceived within a holistic framework that takes account of poetic nuance, cultural reference, and stylistic evolution over a long, adventurous career.
Mitchell's songs represent a complex, meticulously crafted body of work. The Music of Joni Mitchell offers a comprehensive survey of her output, with many discussions of individual songs, organized by topic rather than chronology. Individual chapters each explore a different aspect of her craft, such as poetic voice, harmony, melody, and large-scale form. A separate chapter is devoted to the central theme of personal freedom, as expressed through diverse symbolic registers of the journey quest, bohemianism, creative license, and spiritual liberation.
Previous accounts of Mitchell's songwriting have tended to favor her poetic vision, expansive verse structures, and riveting vocal delivery. Whitesell fills out this account with special attention to musical technique, showing how such traits as complex or conflicting sonorities, dualities of harmonic mode, dialectical tensions of texture and register, intricately layered instrumental figuration, and a variable vocal persona are all essential to her distinctive identity as a songwriter. The Music of Joni Mitchell develops a set of conceptual tools geared specifically to Mitchell's songs, in order todemonstrate the extent of her technical innovation in the pop song genre, to give an account of the formal sophistication and rhetorical power characterizing her work as a whole, and to provide grounds for the recognition of her intellectual stature as a composer within her chosen field.