for SAATB and organ or strings Material for viols or modern strings is also available .

Rejoice in the Lord Alway is suitable for SATB and optional organ. It is taken from Philippians 4:4-7.

Sir Peter le Page Renouf (1822-97), a Guernseyman, was described by Lord Acton as "the most learned Englishman I know". The remarkable collection of his surviving letters covers Renouf's varied career from his days as a student in Oxford, his time as a lecturer in the 1850s at the new Catholic University in Dublin until after his retirement as Keeper of Egyptian and Assyrian Antiquities at the British Museum. The letters in volume one cover the early years of Renouf's life, including his time as an undergraduate at Oxford, and as a tutor at Oscott. They include much colourful chitchat about fellow students and teachers; but they also reveal the reaction of a clever and serious young undergraduate to the intellectual and spiritual excitement of the Oxford Movement. Renouf had already published a theological pamphlet in his 19th year. The study of Arabic, Ethiopic, Hebrew and Syriac would influence his future career more profoundly than he could possibly have guessed in these early years. At Oxford and Oscott he came in contact with many prominent Victorians, including Newman, Frederick William Faber, Pugin, Pusey, Wiseman, Lord John Manners, and Ambrose Lisle Phillipps.

In the last ten years or so an interest in 'authenticity' has reached a wide public. Many of the best-selling records of Bach, Handel, Haydn and Mozart are those in which period techniques and period instruments are used. There is however a danger that new 'authentic' dogmas of style and interpretation will come to replace the anachronistic dogmas of the late romantic tradition. 'The search for an 'authentic' interpretation', writes Peter le Huray in his opening chapter, 'is not the search for a single hard and fast answer, but for a range of possibilities from which to make performing decisions.' This book introduces the performer to the problems that must be faced when preparing an 'authentic' interpretation. It does so by focusing on nine representative and well-known works from the Baroque and Classical periods, defining some of the more important questions that the performer and listener should ask, and suggesting fruitful lines of enquiry. It is essential reading and reference material for player, student and listener alike.

This is an abridged, paperback edition of Peter le Huray and James Day's invaluable anthology of writings concerned with the role of music in eighteenth- and early-nineteenth-century aesthetics. This volume retains all the most important and significant items from the original hardcover edition. Over fifty writers are represented here, including such major figures as Rousseau, Kant, Schlegel, Schopenhauer and Hegel, and the useful introductions and biographical details of the original are also retained. The aesthetic literature of the period is profuse but this carefully edited volume offers a balanced selection which illuminates the ways people experienced music and how they came to an understanding in particular of the new music of their day.

The period covered by this volume is one of the most eventful and fruitful in the history of English music. This selection - embracing the motet, festal psalm, anthem, canticle and devotional song - has been edited according to modern scholarly standards, but with the needs of practical performance in mind. The choice of music gives a comprehensive picture of the period, with many well-known works included as outstanding examples of their kind. Less familiar compositions are also featured, and they fill important gaps in the available repertory - notably settings of the Nunc dimittis by Tye, Robert Parsons and Thomas Tomkins, a festal psalm by Tallis, verse anthems by William Mundy and Walter Porter, and full anthems by Amner, Batten, Thomas Tomkins and William Child. A general historical introduction and a calendar of events are supplied, together with notes on each piece and a list of the sources used.

In the years following the Act of Uniformity in 1549, musicians seemed to thrive on the challenge of the New Prayer Book, and the successive reigns of Elizabeth I, James I and Charles I bought a rich and varied repertory of vernacular church music. Peter Le Huray traces these developments in great detail, drawing on many contemporary sources to illuminate the music and its social and religious background.

Sir Peter le Page Renouf (1822-97), a Guernseyman, was described by Lord Acton as "the most learned Englishman I know". The remarkable collection of his surviving letters, to be published in four volumes by University College Dublin Press between 2002 and 2004, covers Renouf's varied career from his days as a student in Oxford, his time as a lecturer in the 1850s at the new Catholic University in Dublin until after his retirement as Keeper of Egyptian and Assyrian Antiquities at the British Museum. The letters in volume 2 cover Renouf's years as Tutor to the son of the Comte de Vaulchier in France and, from 1850, there are frequent trips to Switzerland. People and places are vividly described in his letters to his family. The letters of 1848 are particularly interesting on account of the revolution. Through the Comte de Vaulchier he had come to know Adolphe de Circourt, Lamartine's friend, and he was kept well informed about the political situation as it developed. He was preoccupied with politics again in 1851 and for a time helped the Comte, who was a liberal and well-educated man, to edit Union France-Comte, the provincial newspaper of Franche-Comte.

Sir Peter le Page Renouf (1822-97), a Guernseyman, was described by Lord Acton as "the most learned Englishman I know". The remarkable collection of his surviving letters covers Renouf's varied career from his days as a student in Oxford, his time as a lecturer in the 1850s at the new Catholic University in Dublin until after his retirement as Keeper of Egyptian and Assyrian Antiquities at the British Museum. The letters in volume three cover Renouf's years in Dublin. He had been invited by John Henry Newman to be a lecturer in French at the opening of the Catholic University, which was later to become University College Dublin. He was subsequently appointed Professor of Ancient History and Geography. In his letters to his family he provides a vivid impression of life in the early years of the university. During this time he married Ludovica Brentano of Aschaffenburg, Germany, niece of the poet Clemens Brentano, and they started a family. On the low salary of the Catholic University, the young couple found it very difficult to make ends meet. Renouf's talents in Egyptology become apparent and he edited the "Atlantis", the university's own journal, and then helped with the editing of Sir John Dalberg Acton's "Home and Foreign Review". His extensive correspondence with Acton is included in this volume. In 1864, Acton helps to obtain a post for Renouf in England as Inspector of Schools.