Choral music Books
Bodleian Library Making of Handel's Messiah, The
Book SynopsisThe first performance of Handel’s 'Messiah' in Dublin in 1742 is now legendary. Gentlemen were asked to leave their swords at home and ladies to come without hoops in their skirts in order to fit more people into the audience. Why then, did this now famous and much-loved oratorio receive a somewhat cool reception in London less than a year later? Placing Handel’s best-known work in the context of its times, this vivid account charts the composer’s working relationship with his librettist, the gifted but demanding Charles Jennens, and looks at Handel’s varied and evolving company of singers together with his royal patronage. Through examination of the composition manuscript and Handel’s own conducting score, held in the Bodleian, it explores the complex issues around the performance of sacred texts in a non-sacred context, particularly Handel’s collaboration with the men and boys of the Chapel Royal. The later reception and performance history of what is one of the most successful pieces of choral music of all time is also reviewed, including the festival performance attended by Haydn, the massed-choir tradition of the Victorian period and today’s ‘come-and-sing’ events.Table of ContentsIntroduction 71. Handel’s world: Germany, Italy, London, Dublin 132. The sacred oratorio: form and context 253. Charles Jennens, librettist 374. The composition of Messiah and Handel’s ‘borrowings’ 515. ‘For this may all your sins be forgiven’: the Dublin premiere 676. Handel’s performers and performances 837. ‘We shall be changed’: versions and variants 958. ‘For ever and ever’: the later performance history of Messiah 105Conclusion 119Appendix 1: Scene Structure 121Appendix 2: Libretto 123Notes 133Further Reading 139Selected Discography 140Picture Credits 142Index 143
£13.50
Oxford University Press 100 Carols for Choirs
Book Synopsis74 of the most popular items from Carols for Choirs 1, 2 and 3 in one volume, plus 26 pieces new to the series. The volume contains both accompanied and unaccompanied items, and the Order of Service for a Festival of Nine Lessons and Carols. Orchestral and brass ensemble accompaniments for many of the items are available on hire.Table of ContentsAdam lay ybounden ; All my heart this night rejoices ; Alleluya, a new work is come on hand ; Angels, from the realms of glory ; Angelus ad virginem ; As with gladness men of old ; Ave plena gracia ; Away in a manger ; A babe is born ; Birthday Carol ; The cherry tree carol ; Child in a manger ; A child is born in Bethlehem ; Christmas night ; Coventry carol ; Coventry carol ; Cradle song ; The crown of roses ; Deck the hall ; Ding dong! merrily on high ; Ding dong! merrily on high ; The first Nowell ; Gabriel to Mary came ; Gabriel's message ; God rest you merry, gentlemen ; Good King Wenceslas ; A great and mighty wonder ; Hail! Blessed Virgin Mary ; Hark! the herald-angels sing ; He is born the divine Christ-child ; Here we come a-wassailing ; The holly and the ivy ; Hush! my dear, lie still and slumber ; I saw a maiden ; I saw three ships ; I saw three ships ; I wonder as I wander ; Il est ne le divin enfant ; In Dulci Jubilo ; In the bleak mid-winter ; In the bleak mid-winter ; Infant holy, infant lowly ; The Infant King ; It came upon the midnight clear ; Jesus child ; Jesus Christ is risen today ; Jesus Christ the apple tree ; Jingle, bells ; Joy to the world ; Joys seven ; King Jesus hath a garden ; Kings of Orient ; Lo! he comes with clouds descending ; Lo, how a Rose e'er blooming ; Longfellow's carol ; Lord of the Dance ; Lute-book lullaby ; A maiden most gentle ; Mary's Lullaby ; A merry Christmas ; Myn lyking ; Nativity carol ; A New Year carol ; O come, all ye faithful ; O come, o come, Emmanuel ; O little one sweet ; O little town of Bethlehem ; O little town of Bethlehem ; O Queen of heaven ; Of the Father's heart begotten ; Once, as I remember ; Once in royal David's city ; Out of your sleep ; Past three a clock ; Personent hodie ; Quelle est cette odeur agreable? ; Quem pastores laudavere ; Rise up, shepherd, and follow ; Sans Day Carol ; See amid the winter's snow ; The shepherds' farewell ; Shepherds in the field abiding ; Shepherds left their flocks a-straying ; Shepherd's pipe carol ; Silent night ; Sing aloud on this day! ; Sir Christemas ; A spotless Rose ; Star carol ; Still, still, still ; Stille Nacht ; Sussex carol ; There is a flower ; There is no rose ; This Christmas night ; This joyful Eastertide ; The three kings ; Tomorrow shall be my dancing day ; The truth from above ; The twelve days of Christmas ; Unto us is born a son ; Up! good Christen folk, and listen ; A virgin most pure ; Wassail song ; Wexford carol ; What cheer? ; When Christ was born ; Whence is that goodly fragrance flowing? ; While shepherds watched their flocks ; Ye choirs of new Jerusalem
£23.28
Oxford University Press Carols for Choirs 5
Book Synopsisfor SATB, accompanied and unaccompaniedTo celebrate the 50th anniversary of the publication of Carols for Choirs 1, OUP presents a new volume in this ground-breaking series. Carols for Choirs 5 continues the tradition of its predecessors by providing a complete resource for choirs from Advent through to Epiphany. Featuring brand new carols and arrangements of classic tunes, the collection showcases the very best established and new names in choral composition today, both in the UK and world-wide.Trade ReviewWith the publication of Carols for Choirs 5 there has never been a better time to consider upgrading those worn-out green copies to shiny new gold ones . . . The collection successfully captures a balance of choral styles indicative of this decade with nothing out of place. While messrs Rutter and Willcocks are represented, nothing is reproduced from earlier volumes; CC5 represents excellent value for money. * Rupert Gough, Choir & Organ November 2011 *It is a wonderful collection: order a copy right away! * Philip Brunelle , The American Organist, December 2011 *The number of choral directors who can remember Christmas before Carols for Choirs is dwindling fast. The series was born in 1961, and fifty years on the fifth volume has appeared. Its pedigree is impeccable, and it fully maintains the high standards of its predecessors . . . This treasure chest of new and old carols should be in every choir library. If you need any further persuasion, turn to the end and play Thomas Hewitt Jones's haunting setting of What child is this? The carol is alive and well. * Rosemary Broadbent, Church Music Quarterly, December 2011 *There are some snazzy descants, which may not displace the best of Willcocks but are nice alternatives to have, and striking new versions of carols one had imagined done to death, such as Andrew Simpsons engaging take on I saw three ships. If anything, the balance by comparison with Carols 1 to 4 seems to favour new composition, with a whole fresh roster of composers brought on board there are outstanding pieces by Howard Skempton (Adam lay ybounden) and Gabriel Jackson (The Christ Child), among others . . . Carols for Choirs 5 is a high quality publication that fully maintains the standards of this illustrious series. * Matthew Greenall, Classical Music, November 2011 *Table of ContentsA Heavenly Song ; A little child there is yborn ; A Patre Unigenitus ; Adam lay ybounden ; Away in a manger (UK tune) ; Away in a manger (US tune) ; Blest Mary wanders through the thorn ; Candlelight Carol ; Carol ; Ding dong! merrily on high ; Glory to the Christ Child ; God rest you merry, gentlemen ; Good King Wenceslas ; Hark! the herald-angels sing ; Hush! my dear ; I saw a stable ; I saw three ships ; I sing of a maiden ; In dulci jubilo ; It came upon the midnight clear (UK tune) ; It came upon the midnight clear (US tune) ; Joy to the world! ; Lo, how a Rose e'er blooming ; Lullay, my liking ; My Lord has Come ; New Year ; O come, all ye faithful ; O come, O come, Emmanuel ; O little town ; Old Christmas Returned (or Hospitality Revived) ; Out of the Orient crystal skies ; Pilgrim Jesus ; Scots Nativity ; See amid the winter's snow ; Silent night ; Sussex Carol ; The Bell Carol ; The Christ-child ; The holly and the ivy ; The Sparrows' Carol ; The Virgin's Song ; There is no rose ; There is no rose ; There's a song in the air! ; This endris night ; Voices in the Mist ; Wassail ; We three kings of Orient are ; What child is this? ; While shepherds watched their flocks
£19.90
Oxford University Press Carols for Choirs 6
Book Synopsisfor SATB, accompanied, and unaccompanied To celebrate the centenary of the Oxford University Press Music Department, this volume of 50 new carols complements the five previous volumes, bringing new names and styles to the series while providing a complete resource for choirs from Advent to Epiphany. Featuring newly commissioned carols and arrangements of classic melodies, the collection showcases some of today''s most exciting names in choral composition.
£19.90
Oxford University Press The Oxford Book of Flexible Choral Songs
Book SynopsisThe Oxford Book of Flexible Choral Songs is the perfect resource for secular choirs and singing groups who like the flexibility to perform songs in a range of combinations from unison to SATB. Each piece may be performed by a mixed choir, but is also presented with flexible scoring options, clearly explained throughout, enabling performance by various combinations of singers, including upper voices or men''s voices alone. As well as new arrangements of existing repertoire, the collection also features newly commissioned original works, specially written for flexible forces.Trade ReviewThis very finely produced volume ought to form a staple in the libraries and repertoires of all self-respecting choirs and choral societies. Indeed, such is the quality of the wide-ranging selection, the practicalities of the editing and aids to performance, and the presentation throughout that one can but agree with the publisher's claim that the volume offers the perfect resource for secular choirs and singing groups, providing the flexibility to perform songs in a range of combinations from unison to SATB . . . All-in-all, this is a terrific volume that all choir-masters (and their librarians) should acquire without delay. * The Organ, Autumn 2019 *
£24.94
Penguin Books Ltd I Saw Eternity the Other Night Kings College
Book Synopsis''Erudite, original and surprisingly moving ... This Christmas, as at every Christmas, millions of listeners will have relished the ethereal King''s choir ... Day''s meticulous history of a special choral sound investigates the creation of a style, and the evolution of a tradition, that now feels as anciently English as the stonework of King''s chapel itself'' Boyd TonkinThe sound of the choir of King''s College, Cambridge - its voices perfectly blended, its emotions restrained, its impact sublime - has become famous all over the world, and for many, the distillation of a particular kind of Englishness. This is especially so at Christmas time, with the broadcast of the Festival of Nine Lessons and Carols, whose centenary is celebrated this year. How did this small band of men and boys in a famous fenland town in England come to sing in the extraordinary way they did in the twentieth and early twenty-first centuries?It has been widely assumed that the King''s sTrade ReviewThe King's choir's glory years under Ord and Willcocks are at the heart of Day's massive, impeccably researched book. Its scope, however, is far wider. ... The sound is a 20th-century British invention, which - because it coincided with the rise of broadcasting and recording - went on to conquer the world. -- Richard Morrison * The Times *This eye-opening - and ear-opening - book ... investigates the creation of a style, and the evolution of a tradition, that now feels as anciently English as the tentacular late-Gothic stonework of King's chapel itself. Along the way, Day's meticulous history of a special choral sound opens out into an exploration of the ever-shifting bonds between music and society, and art and faith. -- Boyd Tonkin * Arts Desk *Magisterial but extremely readable ... full of fascinating detail and shrewd insights -- Clare Stevens * Choir & Organ *
£11.69
Oxford University Press Progressive Sight Singing
Book SynopsisDesigned for students who enter the music theory sequence with very little formal training master essential sight-singing, ear-training, and rhythm skills, Progressive Sight Singing provides a step-by-step introduction to the underlying grammar and syntax of musical structure and prepares students to perceive that structure with both the ear and the eye. Working from the premise that students learn musical skills in much the same order as they do language skills, the book trains the ear first--through hearing and imitating patterns--before teaching students to read and write. Its rich variety of well-paced, graduated exercises provide ample opportunity for practice.Get the most from Progressive Sight Singing. Visit www.oup.com/he/krueger4e to access the full suite of student and instructor resources.Trade ReviewProgressive Sight Singing is thorough and comprehensive and gives equal importance to rhythm and melody. It is the best ear training text I have come across that helps students build fundamental skills and also tackle complex exercises. * Jennifer Bratz, Rocky Mountain College *Logical, clear, and accompanied by copious examples, Progressive Sight Singing progresses in difficulty, contains an excellent rhythm reading section, and is the most pedagogically strong and practical offering for aural skills courses today. * Stephen Emmons, Angelo State University *Table of ContentsPreface for the Instructor Preface for the Student An Introduction to the Musical Literacy Process Strategies for Successful Sight Singing Building Musicianship and Independence Part I Rhythmic Reading 1. Simple Meter: Quarter Note 5 Beat Unit; Undivided Beat 1.1 Building Aural/Oral Skills 1.2 Symbolic Association 1.3 Rhythm Patterns 1.4 Exercises 1.5 Dictation and Improvisation Skills 2. Simple Meter: Quarter Note 5 Beat Unit; Divided Beat 2.1 Building Aural/Oral Skills 2.2 Symbolic Association 2.3 Rhythm Patterns 2.4 Exercises 2.5 Dictation and Improvisation Skills 3. Simple Meter: Quarter Note 5 Beat Unit; Slur, Tie, and Extension Dot 3.1 Building Aural/Oral Skills 3.2 Symbolic Association 3.3 Rhythm Patterns 3.4 Exercises 3.5 Dictation and Improvisation Skills 4. Terms and Symbols 4.1 Symbolic Association: Performance Markings 4.2 Exercises 4.3 Dictation and Improvisation Skills 5. Compound Meter: Dotted Quarter Note 5 Beat Unit; Divided Beats 5.1 Building Aural/Oral Skills 5.2 Symbolic Association 5.3 Rhythm Patterns 5.4 Exercises 5.5 Dictation and Improvisation Skills 6. Simple Meter: Half Note 5 Beat Unit; Divided Beat 6.1 Building Aural/Oral Skills 6.2 Symbolic Association 6.3 Rhythm Patterns 6.4 Exercises 6.5 Dictation and Improvisation Skills 7. Simple Meter: Eighth Note 5 Beat Unit; Divided Beat 7.1 Building Aural/Oral Skills 7.2 Symbolic Association 7.3 Rhythm Patterns 7.4 Exercises 7.5 Dictation and Improvisation Skills 8. Compound Meter: Dotted Half Note 5 Beat Unit; Divided Beat 8.1 Building Aural/Oral Skills 8.2 Symbolic Association 8.3 Rhythm Patterns 8.4 Exercises 8.5 Dictation and Improvisation Skills 9. Compound Meter: Dotted Eighth Note 5 Beat Unit; Divided Beat 9.1 Building Aural/Oral Skills 9.2 Symbolic Association 9.3 Rhythm Patterns 9.4 Exercises 8.5 Dictation and Improvisation Skills 10. Simple Meter: Quarter Note 5 Beat Unit; Borrowed Beat Division 10.1 Building Aural/Oral Skills 10.2 Symbolic Association 10.3 Rhythm Patterns 10.4 Exercises 10.5 Dictation and Improvisation Skills 11. Simple Meter: Quarter Note 5 Beat Unit; Syncopation 11.1 Building Aural/Oral Skills 11.2 Symbolic Association 11.3 Rhythm Patterns 11.4 Exercises 11.5 Dictation and Improvisation Skills 12. Simple Meter: Quarter Note 5 Beat Unit; Subdivided Beats 12.1 Building Aural/Oral Skills 12.2 Symbolic Association 12.3 Rhythm Patterns 12.4 Exercises 12.5 Dictation and Improvisation Skills 13. More Terms and Symbols 13.1 Symbolic Association: Performance Markings 13.2 Exercises 13.3 Dictation and Improvisation Skills 14. Simple Meter: Quarter Note 5 Beat Unit; More Rhythms with Borrowed Beat Division 14.1 Building Aural/Oral Skills 14.2 Symbolic Association 14.3 Rhythm Patterns 14.4 Exercises 14.5 Dictation and Improvisation Skills 15. Simple Meter: Quarter Note 5 Beat Unit; More Rhythms with Syncopations 15.1 Building Aural/Oral Skills 15.2 Symbolic Association 15.3 Rhythm Patterns 15.4 Exercises 15.5 Dictation and Improvisation Skills 16. Simple Meter: Quarter Note 5 Beat Unit; More Rhythms with Subdivided Beats 16.1 Building Aural/Oral Skills 16.2 Symbolic Association 16.3 Rhythm Patterns 16.4 Exercises 16.5 Dictation and Improvisation Skills 17. Simple Meter: Half Note 5 Beat Unit; More Rhythms 17.1 Building Aural/Oral Skills 17.2 Symbolic Association 17.3 Rhythm Patterns 17.4 Exercises 17.5 Dictation and Improvisation Skills 18. Simple Meter: Eighth Note 5 Beat Unit; More Rhythms 18.1 Building Aural/Oral Skills 18.2 Symbolic Association 18.3 Rhythm Patterns 18.4 Exercises 18.5 Dictation and Improvisation Skills 19. Compound Meter: Dotted Quarter Note 5 Beat Unit; More Rhythms 19.1 Building Aural/Oral Skills 19.2 Symbolic Association 19.3 Rhythm Patterns 19.4 Exercises 19.5 Dictation and Improvisation Skills 20. Compound Meter: Dotted Half Note 5 Beat Unit; More Rhythms 20.1 Building Aural/Oral Skills 20.2 Symbolic Association 20.3 Rhythm Patterns 20.4 Exercises 20.5 Dictation and Improvisation Skills 21. Compound Meter: Dotted Eighth Note 5 Beat Unit; More Rhythms 21.1 Building Aural/Oral Skills 21.2 Symbolic Association 21.3 Rhythm Patterns 21.4 Exercises 21.5 Dictation and Improvisation Skills 22. Simple Meter: Irregular Division of Beat 22.1 Building Aural/Oral Skills 22.2 Symbolic Association 22.3 Rhythm Patterns and Exercises: Quarter Note 5 Beat Unit 22.4 Exercises: Other Simple Meters 22.5 Dictation and Improvisation Skills 23. Compound Meter: Irregular Division of Beat 23.1 Building Aural/Oral Skills 23.2 Symbolic Association 23.3 Rhythm Patterns and Exercises: Dotted Quarter Note 5 Beat Unit 23.4 Exercises: Other Compound Meters 23.5 Dictation and Improvisation Skills 24. Hemiola and Cross-Rhythms 24.1 Symbolic Association: Hemiola, 2:3, 3:2 24.2 Exercises: Hemiola, 2:3, 3:2 24.3 Symbolic Association: 3:4, 4:3, 2:5 24.4 Exercises: 5:4, 4:5, 2:5 24.5 Dictation and Improvisation Skills 25. Asymmetrical Meters 25.1 Symbolic Association 25.2 Rhythm Patterns and Exercises: Beat Constant 25.3 Rhythm Patterns and Exercises: Beat Division Constant 25.4 Dictation and Improvisation Skills 26. Mixed Meters 26.1 Symbolic Association 26.2 Exercises 26.3 Dictation and Improvisation Skills Part II Melodic Reading 1. Tonic Pentachord in Major Mode; Simple Meters, Undivided Beat 1.1 Building Aural/Oral Skills: Diatonic Steps 1.2 Symbolic Association: Diatonic Steps 1.3 Tonal and Melodic Patterns: Diatonic Steps 1.4 Exercises: Diatonic Steps 1.5 Building Aural/Oral Skills: Tonic Triad 1.6 Symbolic Association: Tonic Triad 1.7 Tonal and Melodic Patterns: Diatonic Steps, Tonic Triad 1.8 Exercises: Diatonic Steps, Tonic Triad 1.9 Dictation and Improvisation Skills 2. Diatonic Steps and Tonic Triad in the Major Scale; Simple Meters, Undivided Beat 2.1 Building Aural/Oral Skills: Diatonic Steps 2.2 Symbolic Association: Diatonic Steps 2.3 Tonal and Melodic Patterns: Diatonic Steps 2.4 Exercises: Diatonic Steps 2.5 Building Aural/Oral Skills: Diatonic Steps, Tonic Triad 2.6 Symbolic Association: Diatonic Steps, Tonic Triad 2.7 Tonal and Melodic Patterns: Diatonic Steps, Tonic Triad 2.8 Exercises: Diatonic Steps, Tonic Triad 2.9 Dictation and Improvisation Skills 3. Diatonic Steps and Tonic Triad in the Natural Minor Scale; Simple Meters, Undivided Beat 3.1 Building Aural/Oral Skills: Diatonic Steps, Tonic Triad 3.2 Symbolic Association: Diatonic Steps, Tonic Triad 3.3 Tonal and Melodic Patterns: Diatonic Steps, Tonic Triad 3.4 Exercises: Diatonic Steps, Tonic Triad 3.5 Dictation and Improvisation Skills 4. Diatonic Steps and Tonic Triad in the Major Scale; Simple Meters, Divided Beat 4.1 Integrating Rhythm and Tonal Skills: Major Mode 4.2 Symbolic Association: Major Mode 4.3 Melodic Patterns: Major Mode 4.4 Exercises: Major Mode 4.5 Dictation and Improvisation Skills 5. Diatonic Steps and Tonic Triad in the Major Scale; Simple Meters, Dotted Quarter Notes 5.1 Integrating Rhythm and Tonal Skills: Major Mode 5.2 Symbolic Association: Major Mode 5.3 Melodic Patterns: Major Mode 5.4 Exercises: Major Mode 4.5 Dictation and Improvisation Skills 6. Natural Minor Scale; Simple Meters, Eighth and Dotted Quarter Notes 6.1 Building Aural/Oral Skills: Natural Minor Scale 6.2 Symbolic Association: Natural Minor Scale 6.3 Tonal and Melodic Patterns: Natural Minor Scale 6.4 Exercises: Natural Minor Scale 6.5 Dictation and Improvisation Skills 7. Harmonic and Melodic Minor Scales; Simple Meters, Eighth and Dotted Quarter Notes 7.1 Building Aural/Oral Skills: Harmonic Minor Scale 7.2 Symbolic Association: Harmonic Minor Scale 7.3 Tonal and Melodic Patterns: Harmonic Minor Scale 7.4 Exercises: Harmonic Minor Scale 7.5 Building Aural/Oral Skills: Melodic Minor Scale 7.6 Symbolic Association: Melodic Minor Scale 7.7 Tonal and Melodic Patterns: Melodic Minor Scale 7.8 Exercises: Melodic Minor Scale 7.9 Exercises: Intervals in Tonic Triad (i) and Mediant Triad (III)/Relative Major 7.10 Dictation and Improvisation Skills 8. Major and Minor Modes; Compound Meters: Dotted Quarter Note 5 Beat Unit 8.1 Integrating Rhythm and Tonal Skills: Major Mode 8.2 Symbolic Association: Major Mode 8.3 Melodic Patterns: Major Mode 8.4 Exercises: Major Mode 8.5 Integrating Rhythm and Tonal Skills: Minor Mode 8.6 Symbolic Association: Minor Mode 8.7 Melodic Patterns: Minor Mode 8.8 Exercises: Minor Mode 8.9 Exercises: Intervals in Tonic Triad (i) and Major Triad (III)/Relative Major 8.10 Dictation and Improvisation Skills 9. I and V7 in Major Mode; Simple and Compound Meters 9.1 Building Aural/Oral Skills: Dominant Triad, Major Mode 9.2 Symbolic Association: Dominant Triad, Major Mode 9.3 Tonal Patterns: Dominant Triad, Major Mode 9.4 Exercises: Dominant Triad, Major Mode, Simple Meters 9.5 Building Aural/Oral Skills: Dominant Seventh Chord, Major Mode 9.6 Symbolic Association: Dominant Seventh Chord, Major Mode 9.7 Tonal Patterns: Dominant Seventh Chord, Major Mode 9.8 Exercises: Dominant Seventh Chord, Major Mode, Simple Meters 9.9 Exercises: Dominant and Dominant Seventh, Major Mode, Compound Meters 9.10 Dictation and Improvisation Skills 10. i and V7 in Minor Mode; Simple and Compound Meters 10.1 Building Aural/Oral Skills: Dominant Triad, Minor Mode 10.2 Symbolic Association: Dominant Triad, Minor Mode 10.3 Tonal Patterns: Dominant Triad, Minor Mode 10.4 Exercises: Dominant Triad, Minor Mode, Simple Meters 10.5 Building Aural/Oral Skills: Dominant Seventh Chord, Minor Mode 10.6 Symbolic Association: Dominant Seventh Chord, Minor Mode 10.7 Tonal Patterns: Dominant Seventh Chord, Minor Mode 10.8 Exercises: Dominant Seventh Chord, Minor Mode, Simple Meters 10.9 Exercises: Dominant and Dominant Seventh, Minor Mode, Compound Meters 10.10 Dictation and Improvisation Skills 11. I and V7 in Major Mode; Other Rhythms in Simple Meters 11.1 Integrating Rhythm and Tonal Skills: Major Mode 11.2 Symbolic Association 11.3 Melodic Patterns and Exercises: Triplets, Tonic Only 11.4 Melodic Patterns and Exercises: Syncopation, Tonic Only 11.5 Melodic Patterns and Exercises: Subdivided Beat, Tonic Only 11.6 Exercises: Combined Rhythms, Tonic Only 11.7 Exercises: Combined Rhythms, Tonic and Dominant 11.8 Dictation and Improvisation Skills 12. i and V7 in Minor Mode; Other Rhythms in Simple Meters 12.1 Integrating Rhythm and Tonal Skills: Minor Mode 12.2 Symbolic Association 12.3 Melodic Patterns and Exercises: Triplets, Tonic Only 12.4 Melodic Patterns and Exercises: Syncopation, Tonic Only 12.5 Melodic Patterns and Exercises: Subdivided Beat, Tonic Only 12.6 Exercises: Combined Rhythms, Tonic Only 12.7 Exercises: Combined Rhythms, Tonic and Dominant 12.8 Dictation and Improvisation Skills 13. I and V7 in Major and Minor Modes; Half Note 5 Beat Unit 13.1 Integrating Rhythm and Tonal Skills: Major and Minor Modes 13.2 Symbolic Association 13.3 Melodic Patterns and Exercises: Major Mode, Tonic Only 13.4 Exercises: Major Mode, Tonic and Dominant 13.5 Melodic Patterns and Exercises: Minor Mode, Tonic Only 13.6 Exercises: Minor Mode, Tonic and Dominant 13.7 Dictation and Improvisation Skills 14. I and V7 in Major and Minor Modes; Eighth Note 5 Beat Unit 14.1 Integrating Rhythm and Tonal Skills: Major and Minor Modes 14.2 Symbolic Association 14.3 Melodic Patterns and Exercises: Major Mode, Tonic Only 14.4 Exercises: Major Mode, Tonic and Dominant 14.5 Melodic Patterns and Exercises: Minor Mode, Tonic Only 14.6 Exercises: Minor Mode, Tonic and Dominant 14.7 Dictation and Improvisation Skills 15. I and V7 in Major and Minor; Compound Meters, More Rhythms 15.1 Integrating Rhythm and Tonal Skills: Major and Minor Modes 15.2 Symbolic Association 15.3 Melodic Patterns and Exercises: Major Mode, Tonic Only 15.4 Exercises: Major Mode, Tonic and Dominant 15.5 Melodic Patterns and Exercises: Minor Mode, Tonic Only 15.6 Exercises: Minor Mode, Tonic and Dominant 15.7 Dictation and Improvisation Skills 16. The Moveable C Clefs 16.1 Symbolic Association 16.2 Exercises: Major and Minor Modes, Tonic and Dominant 16.3 Dictation and Improvisation Skills 17. I, IV, and V7 in Major Mode; Simple and Compound Meters 17.1 Building Aural/Oral Skills: Subdominant Triad, Major Mode 17.2 Symbolic Association 17.3 Tonal Patterns: Subdominant Triad, Major Mode 17.4 Exercises: I, IV, V7, Major Mode, Simple Meters 17.5 Exercises: I, IV, V7, Major Mode, Compound Meters 17.6 Dictation and Improvisation Skills 18. i, iv, and V7 in Minor Mode; Simple and Compound Meters 18.1 Building Aural/Oral Skills: Subdominant Triad, Minor Mode 18.2 Symbolic Association 18.3 Tonal Patterns: Subdominant Triad, Minor Mode 18.4 Exercises: i, iv, IV, and V7, Minor Mode, Simple Meters 18.5 Exercises: i, iv, IV and V7, Minor Mode, Compound Meters 18.6 Dictation and Improvisation Skills 19. Other Diatonic Triads and Seventh Chords in Major and Minor Modes 19.1 Building Aural/Oral Skills: Diatonic Triads and Seventh Chords in Major Mode 19.2 Symbolic Association: Diatonic Seventh Chords, Major Mode 19.3 Tonal Patterns: ii, iii, vi, vii°, Major Mode 19.4 Exercises: ii, iii, vi, vii°, Major Mode 19.5 Building Aural/Oral Skills: Diatonic Triads and Seventh Chords in Minor Mode 19.6 Symbolic Association: Diatonic Seventh Chords, Minor Mode 19.7 Tonal Patterns: ii°, III, VI, VII, Minor Mode 19.8 Exercises: ii°, III, VI, VII, Minor Mode 19.9 Dictation and Improvisation Skills 20. Chromaticism: Nonharmonic Tones 20.1 Building Aural/Oral Skills 20.2 Symbolic Association 20.3 Tonal Patterns 20.4 Exercises 20.5 Dictation and Improvisation Skills 21. Chromaticism: Secondary Dominants 21.1 Building Aural/Oral Skills 21.2 Symbolic Association 21.3 Tonal Patterns and Exercises: Raised Fourth Scale Degree, Major Mode 21.4 Tonal Patterns and Exercises: Raised Fourth Scale Degree, Minor Mode 21.5 Tonal Patterns and Exercises: Lowered Seventh Scale Degree, Major Mode 21.6 Tonal Patterns and Exercises: Raised Tonic, Major Mode 21.7 Tonal Patterns and Exercises: Raised Second Scale Degree, Major Mode 21.8 Tonal Patterns and Exercises: Raised Third Scale Degree, Minor Mode 21.9 Exercises: Secondary Dominants and Nonharmonic Tones 21.10 Dictation and Improvisation Skills 22. Chromaticism: Modulation 22.1 Symbolic Association 22.2 Exercises: Modulation to the Dominant 22.3 Exercises: Modulation to Closely Related Keys 22.4 Exercises: Modulation to Remote Keys 22.5 Dictation and Improvisation Skills 23. Chromatic Alterations: Modal Mixture and Neapolitan Sixth 23.1 Building Aural/Oral Skills 23.2 Symbolic Association 23.3 Tonal Patterns: Modal Mixture 23.4 Exercises: Modal Mixture 23.5 Exercises: The Neapolitan Sixth 23.6 Dictation and Improvisation Skills 24. Modes 24.1 Building Aural/Oral Skills 24.2 Symbolic Association: Diatonic Seven-Tone Scales 24.3 Exercises 24.4 Dictation and Improvisation Skills Appendices A Rhythm Reading Systems B Tonal Reading Systems C Dictation D Improvisation E Vertical Harmony/Chord Progressions F Conducting Patterns G Glossary of Foreign Terms Index
£112.09
Oxford University Press Four Coronation Anthems Vocal Score
Book SynopsisThese four splendid anthems were composed for the coronation of George II in October 1727 and have since retained a position at the heart of the English choral tradition. The popular anthem Zadok the priest has been performed at all subsequent coronations, and Handel''s other contributions to the royal occasion - Let thy hand be strengthened, The King shall rejoice, and My heart is inditing - have the same majestic grandeur, with affecting contrasts between different sections of the sacred texts. The editor, Clifford Bartlett, has corrected various inconsistencies in Handel''s score, and complete details of sources and editorial method, additional performance notes, and a critical commentary can be viewed in the companion full score available on hire.Table of ContentsZadok the priest ; Let thy hand be strengthened ; The King shall rejoice ; My heart is inditing
£15.91
Oxford University Press The Oxford Book of Flexible Anthems
Book SynopsisThe Oxford Book of Flexible Anthems is the perfect resource for church choirs of all types and sizes. Each piece is presented with flexible scoring options, clearly explained throughout, enabling performance by various combinations of singers. With complete coverage of the Church's year, this is a must-have collection for all church choirs.Trade ReviewI do recommend this book very highly to organists and choirmasters of all levels, for OUP's collection has something for everybody and at the price is a real bargain. It can genuinely claim to be "a complete resource for every church choir". * The Organ, March 08 *The main question with this book is why no one has thought to do this before . . . This is a book that could transform your choir's repertoire and is well worth the price. OUP should be congratulated. * Jonathan Wikeley, The Singer, June 06 *The groups that will benefit most from this book are the myriad parish church and school choirs up and down the country who often struggle for numbers or voice parts . . . this is a life-saver if you conduct a choir of the only-one-80-year-old-tenor or men-only-at-Christmas sort . . . This book will surely become a staple for choirs throughout the country. * Jonathan Wikeley, Music Teacher March 08 *Table of ContentsA Clare Benediction ; A Prayer of St Richard of Chichester ; Alleluia ; Author of life divine ; Be still for the presence of the Lord ; Bread of the world ; Brightest and best ; Christ is the world's true light ; Christ the Lord is risen again ; Christians shout for joy and gladness ; Come down, O love divine ; Creator of the Stars ; Drop, drop slow tears ; Evening Service in C ; Fairest Lord Jesus ; Gabriel to Mary came ; Give thanks to God ; God be in my head ; God in mine eternity ; God so loved the world ; God that madest earth and heaven ; Hail, Virgin Mary (Ave Maria) ; Hark, the glad sound ; Harvest Carol ; He is risen ; Hide not thy face ; Holy, holy, holy, Holy is the Lord ; Holy, holy, holy! Lord God Almighty ; Hosanna to the Son of David ; Irish Blessing ; Jesu, Lamb of God, Redeemer (Ave verum corpus) ; Jesus Christ the Apple Tree ; Jubilate (Let us praise you) ; Lamb of God (Agnus Dei) ; Let all mortal flesh keep silence ; Like the murmur of the dove's song ; Lord, in thy mercy ; Magnificat and Nunc Dimittis in C ; Never weather-beaten sail ; Now the green blade riseth ; O Breath of life ; O for a closer walk with God ; O God of mercy ; O God, your goodness ; O praise God in his holiness ; Panis angelicus ; Peace between nations ; Pie Jesu ; Praise to the Trinity ; Psalm 150 ; Rejoice in the Lord always ; Shout for joy ; Star of Wonder ; The eternal gifts of Christ the King ; The Heavens sing praises to God ; The Lord ascendeth ; The Lord bless you and keep you ; The Lord's my Shepherd ; The Peace of God ; The True and Living Bread ; There is no rose ; Thou visitest the earth ; To be a Pilgrim ; Were you there? ; Where all charity and love are (Ubi caritas) ; Wondrous cross
£19.90
Oxford University Press The Oxford Book of Flexible Anthems
Book SynopsisThe Oxford Book of Flexible Anthems is the perfect resource for church choirs of all types and sizes. Each piece is presented with flexible scoring options, clearly explained throughout, enabling performance by various combinations of singers. With complete coverage of the Church's year, this is a must-have collection for all church choirs.Trade ReviewI do recommend this book very highly to organists and choirmasters of all levels, for OUP's collection has something for everybody and at the price is a real bargain. It can genuinely claim to be "a complete resource for every church choir". * The Organ, March 08 *The groups that will benefit most from this book are the myriad parish church and school choirs up and down the country who often struggle for numbers or voice parts . . . this is a life-saver if you conduct a choir of the only-one-80-year-old-tenor or men-only-at-Christmas sort . . . This book will surely become a staple for choirs throughout the country. * Jonathan Wikeley, Music Teacher March 08 *The main question with this book is why no one has thought to do this before . . . This is a book that could transform your choir's repertoire and is well worth the price. OUP should be congratulated. * Jonathan Wikeley, The Singer, June 06 *Table of ContentsA Clare Benediction ; A Prayer of St Richard of Chichester ; Alleluia ; Author of life divine ; Be still for the presence of the Lord ; Bread of the world ; Brightest and best ; Christ is the world's true light ; Christ the Lord is risen again ; Christians shout for joy and gladness ; Come down, O love divine ; Creator of the Stars ; Drop, drop slow tears ; Evening Service in C ; Fairest Lord Jesus ; Gabriel to Mary came ; Give thanks to God ; God be in my head ; God in mine eternity ; God so loved the world ; God that madest earth and heaven ; Hail, Virgin Mary (Ave Maria) ; Hark, the glad sound ; Harvest Carol ; He is risen ; Hide not thy face ; Holy, holy, holy, Holy is the Lord ; Holy, holy, holy! Lord God Almighty ; Hosanna to the Son of David ; Irish Blessing ; Jesu, Lamb of God, Redeemer (Ave verum corpus) ; Jesus Christ the Apple Tree ; Jubilate (Let us praise you) ; Lamb of God (Agnus Dei) ; Let all mortal flesh keep silence ; Like the murmur of the dove's song ; Lord, in thy mercy ; Magnificat and Nunc Dimittis in C ; Never weather-beaten sail ; Now the green blade riseth ; O Breath of life ; O for a closer walk with God ; O God of mercy ; O God, your goodness ; O praise God in his holiness ; Panis angelicus ; Peace between nations ; Pie Jesu ; Praise to the Trinity ; Psalm 150 ; Rejoice in the Lord alway ; Shout for joy ; Star of Wonder ; The eternal gifts of Christ the King ; The Heavens sing praises to God ; The Lord ascendeth ; The Lord bless you and keep you ; The Lord's my Shepherd ; The Peace of God ; The True and Living Bread ; There is no rose ; Thou visitest the earth ; To be a Pilgrim ; Were you there? ; Where all charity and love are (Ubi caritas) ; Wondrous cross
£24.94
Oxford University Press Schau auf die Welt Look at the world Vocal score
Book SynopsisAn easy anthem for unison children's and/or SATB choir, with piano/organ or orchestra. This German translation of Look at the world is suitable for Harvest or for any occasion where God is praised for his creation. Also available in English in John Rutter Anthems and in German in Glory to God. An orchestral accompaniment is available on hire.
£6.41
Oxford University Press Cantique de Jean Racine
Book Synopsisfor SATB accompanied by strings and harp, or organ or piano Fauré's Cantique de Jean Racine has all the emotional appeal and refined elegance that one associates with its composer, and has a cherished place in the repertory of both sacred and secular choirs. The orchestration makes the work suitable for programming with Rutter's edition of Fauré's Requiem.Trade ReviewProvided with a good singable translation by Rutter himself, this new publication deserves a warm welcome, especially in a year of Fauré celebrations. * Mastersinger *
£9.67
OUP Oxford All for Love of One Vocal score
Book Synopsisfor SA and piano This is a beautiful setting of an anonymous medieval text that follows a broken-hearted lover into the woods. Fluctuating between major and minor keys, Chilcott's melody is full of nostalgia and grows intensely towards the middle of the piece. The parts are supported by a warm and flowing piano accompaniment.
£4.79
Oxford University Press Shenandoah
Book Synopsisfor SSAA and piano four-hands, or orchestra This lovely arrangement of the popular American folk song perfectly captures the sense of loss and longing in the words. From the gentle unison opening, the music builds up through a range of textures and harmonies to a rich climax, before gently relaxing for a quietly evocative close. Ideal with either piano or orchestral accompaniment. There is also a version for SATB. Orchestral material is available on hire.
£7.12
Oxford University Press Tread Softly Vocal score
Book Synopsisfor SA (with divisions) and pianoSetting a love poem by W. B. Yeats, Tread Softly is a charming addition to the upper-voice repertory. Gradually opening out from unison, this piece features melodic vocal lines, colourful harmonies, and luscious modulations, and the rhythmic contrasts in the choir are complemented by a gently flowing piano part. Suitable for use in a variety of concert programmes and at weddings.
£6.41
Oxford University Press When Icicles Hang
Book SynopsisA cycle of choral settings with words by Campion, Shakespeare, and anon. for SATB (with tenor solo) and small orchestra. Full scores and orchestral parts are available on hire. Good ale and Blow, blow, thou winter wind are available separately.Table of ContentsIcicles ; Winter nights ; Good ale ; Blow, blow thou winter wind ; Winter wakeneth all my care ; Hay, ay
£21.37
Oxford University Press Mass in Blue
Book Synopsisfor soprano solo, SATB, piano, bass, drums and optional alto saxophone This piece is a dynamic, uplifting, and highly popular jazz setting of the Latin mass, featuring driving grooves and blues harmonies, with provision for short piano solos (notated or improvised) and great moments of musical interplay between soprano soloist and choir.
£14.75
Oxford University Press Shepherds Pipe Carol
Book Synopsisfor SATB and organ or small orchestra This much-loved carol is presented with background information and helpful performance hints. Recognising the frequency with which this piece is performed with organ accompaniment, John Rutter has made an organ reduction of the orchestral material. Conductor's scores and instrumental parts are available on sale and on hire.Trade ReviewThe Shepherd's Pipe Carol remains fresh and conceptually original, and I am talking here about the whole package: effervescent music; touching text; and irrepressible Christmas spirit. If there were to be a 'Desert Island Carols' programme - and that would be quite hard to stomach, even for a carol-lover like myself - then Rutter's SPC would surely be one of the eight. * Jeremy Summerly, Choir & Organ September 2015 *
£7.13
Oxford University Press The Oxford Book of Easy Flexible Anthems
Book SynopsisThis collection caters for church choirs of all types and sizes and presents flexibility of scoring in a constructive and realistic way, with particular provision for unison or two-part singing, while not forgetting SATB choirs, and a focus on ease of learning and performance. With complete coverage of the Church's year, this is a vital resource for all church choirs.Trade ReviewIt is an excellent collection of 66 anthems suitable for the church choir that wants to sing anthems regularly but may sometimes struggle to have a balanced number of parts. Most of these pieces can be sung effectively in unison, and all have suggestions for performance by varied ensembles, so some are most effective as two-part pieces, others SATB or SAB. For church choirs with limited rehearsal time, this book will be valuable. With this collection, you don't have to abandon a particular anthem when your only tenor is away. Flexibility allows omitting or rearranging parts without sacrificing the integrity of the composition. * Part 1 of review by Gordon Appleton, www.rscm.com, June 2017 *OUP has a great advantage in that it has been able to trawl through its many past publications and reuse them (sometimes in new arrangements) here . . . As editor, composer and arranger, [Alan Bullard] has ensured that what is provided here is both practical and accessible, yet of good quality. It contains a variety of music for the Church's year and a comprehensive liturgical and thematic index. A dedicated website, www.oup.com/flexible, allows many of the anthems to be heard in performance â a useful aid to choir directors and singers . . . This collection is wholeheartedly recommended - but if you need a copy that stays flat on the keyboard music stand, do opt for the spirally bound edition; both this and the ordinary paperback are excellent value. * Part 2 of review by Gordon Appleton, www.rscm.com, June 2017 *Composer Alan Bullard has assembled sixty-six anthems covering the entire liturgical year and representing a wide swath of traditional English choral repertoire. Selections for Evensong are also included, extending the reach of the collection . . . The result is a highly practical resource for summer choirs or for any time when there is a question as to which singers will actually show up on a Sunday morning. The adaptability of the pieces and the high quality of editorial choices make for a safe collection in less than ideal circumstances. The anthology is also available in a spiral bound edition, particularly attractive for organists and conductors. * The Journal of the Assoc. of Anglican Musicians, May 2017 *. . . the variety of performance options are all explained carefully in the preface, which also provides details of the associated web page (www.oup.com/flexible) where more details about the original format and publication of each piece are sensibly provided. * Geoffrey Webber, Church Music Quarterly, May 2017 *
£19.90
Oxford University Press The Oxford Book of Easy Flexible Anthems
Book SynopsisThe Oxford Book of Easy Flexible Anthems caters for church choirs of all types and sizes, enabling them to have at their fingertips easy music for every occasion. The collection presents flexibility of scoring in a constructive and realistic way, with particular provision for unison or two-part singing, while not forgetting SATB choirs, and a focus on ease of learning and performance. With complete coverage of the Church''s year, and a fabulous range of accessible, quality material, this is a vital resource for all church choirs.Trade ReviewIt is an excellent collection of 66 anthems suitable for the church choir that wants to sing anthems regularly but may sometimes struggle to have a balanced number of parts. Most of these pieces can be sung effectively in unison, and all have suggestions for performance by varied ensembles, so some are most effective as two-part pieces, others SATB or SAB. For church choirs with limited rehearsal time, this book will be valuable. With this collection, you don't have to abandon a particular anthem when your only tenor is away. Flexibility allows omitting or rearranging parts without sacrificing the integrity of the composition. * Part 1 of review by Gordon Appleton, www.rscm.com, June 2017 *OUP has a great advantage in that it has been able to trawl through its many past publications and reuse them (sometimes in new arrangements) here . . . As editor, composer and arranger, [Alan Bullard] has ensured that what is provided here is both practical and accessible, yet of good quality. It contains a variety of music for the Church's year and a comprehensive liturgical and thematic index. A dedicated website, www.oup.com/flexible, allows many of the anthems to be heard in performance - a useful aid to choir directors and singers . . . This collection is wholeheartedly recommended â but if you need a copy that stays flat on the keyboard music stand, do opt for the spirally bound edition; both this and the ordinary paperback are excellent value. * Part 2 of review by Gordon Appleton, www.rscm.com, June 2017 *Composer Alan Bullard has assembled sixty-six anthems covering the entire liturgical year and representing a wide swath of traditional English choral repertoire. Selections for Evensong are also included, extending the reach of the collection . . . The result is a highly practical resource for summer choirs or for any time when there is a question as to which singers will actually show up on a Sunday morning. The adaptability of the pieces and the high quality of editorial choices make for a safe collection in less than ideal circumstances. The anthology is also available in a spiral bound edition, particularly attractive for organists and conductors. * The Journal of the Assoc. of Anglican Musicians, May 2017 *. . . the variety of performance options are all explained carefully in the preface, which also provides details of the associated web page (www.oup.com/flexible) where more details about the original format and publication of each piece are sensibly provided. * Geoffrey Webber, Church Music Quarterly, May 2017 *
£24.94
Oxford University Press For the beauty of the earth SA vocal score
Book SynopsisThere are two versions of the vocal parts - for SATB and piano or orchestra, or SS or SA and piano or orchestraOrchestral material is available on hire
£6.41
Oxford University Press Feel the Spirit
Book Synopsisfor mezzo-soprano solo, mixed choir, and orchestra or chamber ensemble Feel the Spirit is a cycle of seven familiar spirituals equally suitable for concert, school, or church use. These vivid and expressive arrangements can be performed individually, or as a complete cycle that showcases the rich heritage of the spiritual.
£11.25
Oxford University Press FolkSongs for Choirs 1
Book SynopsisTwelve arrangements for unaccompanied SATB of folk-songs from the British Isles and North AmericaTable of ContentsAmong the leaves so green, O ; She's like the Swallow ; Londonderry Air ; My sweetheart's like Venus ; Bushes and briars ; Black sheep ; Dashing away with the smoothing iron ; O waly, waly ; Sourwood mountain ; Greensleeves ; Early one morning ; Bobby Shaftoe
£18.95
Oxford University Press John Rutter Anthems for SA and Men
Book Synopsisfor SA Men accompanied and unaccompanied This collection of nine of John Rutter's finest and most popular anthems, scored for SA Men, has been carefully compiled to be both accessible to a wide range of choirs and appropriate to the needs of today's liturgy.Trade ReviewRutter selected nine of his most frequently sung anthems for this anthology . . . The inclusion of God by in my head is notable as one of two unaccompanied works included. Rutter gently revoiced the independent tenor and bass parts to retain the essential flavour of this standard work, making it available to smaller ensembles. * Jason Overall, Journal of the Association of Anglican Musicians, April 2019 *Meeting the needs of choirs who need a single melody line shared by tenors and basses, John Rutter has arranged nine of his most popular anthems for S, A and Men, including A Clare Benediction, A Gaelic Blessing, The Lord bless you and keep you, Open Thou mine eyes, and three great anthems for harvest or creation celebrations: All things bright and beautiful, For the beauty of the earth and Look at the world. At only £6.95 for the book of 64 pages, this is excellent value for money and provides a great resource for many parish choirs. * Gordon Appleton, www.rscm.com, December 2017 *
£9.75
Oxford University Press Angels we have heard on high Vocal score Festival
Book Synopsisfor SATB (with divisions) and pianoBenjamin Harlan's spirited arrangement of the French carol Angels we have heard on high has an energetic drive, a sparkling piano part, and a joyful refrain. Its sprightly 7/8 metre brings a fresh take to this perennial favourite.Trade ReviewHarlan foreshortens the traditional tune Gloria by omitting an eighth note pulse, setting the tune in 7/8 throughout. The piano accompaniment is spirited yet not overpowering. The homophonic choral writing is fairly conventional, although Harlan has a few well-timed harmonic twists. Generally, though, the music is not particularly challenging. Most experienced choirs could pick this anthem up in short order to fill out a program with an ebullient bit of Christmas cheer. * Jason Overall, Journal of the Association of Anglican Musicians , November 2018 *
£4.38
Oxford University Press Samba Mass
Book Synopsisfor SATB, piano, and optional guitar, bass, and drum kitSamba Mass is a joyous and colourful setting of the Latin Missa brevis. The work is framed by the gentle bossa nova style of the warm Kyrie and relaxed Agnus Dei, which is prefaced by a funky Benedictus. The compelling rhythms of samba come to the fore in the second movement, a vivacious Gloria, which is followed by a beautiful Sanctus that offsets a steady flow of quavers with rhythmic syncopations. The stylistic piano part can be played as written or serve as a guide, and an optional guitar, bass, and drum kit part is available separately for band accompaniment. Performers will enjoy exploring the interplay between voices and the rich, warm colours of the samba and bossa nova styles.This work was originally commissioned in a version for upper voices by the New Orleans Children''s Chorus, Cheryl Dupont, Director, in celebration of the 20th anniversary of the Crescent City Choral Festival, June 2019.
£12.93
Oxford University Press Folk Songs of the Four Seasons
Book Synopsisfor women''s chorus and piano. This cantata features sixteen highly-varied folk song settings, bound together in seasonal groupings to take the listener on an engaging journey through the year from Spring to Winter. The prologue implores us to ''sing and be merry'', and many of the songs facilitate this with their charmingly light-hearted melodies and imaginative orchestral accompaniment. There are also darker moments, such as the haunting and heart-rending setting of ''The Unquiet Grave'' in ''Autumn''. For this comprehensive new edition, the editor Graham Parlett has drawn on all available sources, providing an authoritative full score with critical commentary. This edition also makes available new materials for the version for string orchestra and piano, and a new vocal score.
£15.91
Oxford University Press Lightwaves Vocal score
Book Synopsisfor SATB (with divisions) and piano This dazzling work presents an exploration of light in its many forms and uses, from starlight and sunlight to electricity, photosynthesis, or guiding ships to safety. Both piano and voices are used pictorially, conjuring the beautifully descriptive images from Charles Bennett''s text in a musical setting that contrasts moments of high energy and tranquility. Lightwaves is sure to capture the imagination and provide an illuminating take on this fascinating subject.
£12.25
Oxford University Press Carols for Choirs 2
Book SynopsisA second collection of 50 carols, mostly for SATB, some unaccompanied, and some having accompaniments for piano, organ, orchestra, or brass ensemble. Many of the carols are from traditional sources, rearranged, as well as carols written especially for this volume by composers including William Walton, Benjamin Britten, Richard Rodney Bennett, and William Mathias.Instrumental material for most of the accompanied items is available on hire. Eight Carols for Brass for 5 and 8 part brass (to accompany carols from Carols for Choirs 1 and Carols for Choirs 2) are also on sale.Table of ContentsA babe is born I wys ; A child is born in Bethlehem ; Adam lay ybounden ; All my heart this night rejoices ; All this time ; The angels and the shepherds ; The cherry tree carol ; Come leave your sheep ; Come, thou Redeemer of the earth ; Deck the hall ; Ding dong! merrily on high ; Down in yon forest ; Gabriel's message ; Hail! Blessed Virgin Mary ; Hark! the herald angels sing ; He is born the divine Christ child ; Here we come a-wassailing ; The holly and the ivy ; How far is it to Bethlehem? ; I saw a maiden ; I sing of a maiden ; Il est ne le divin enfant ; The Infant King ; It came upon the midnight clear ; The Lord at first did Adam make ; Masters in this hall ; Matin responsory ; Myn lyking ; Nativity carol ; A New Year carol ; Noel nouvelet ; Nowell, sing nowell ; O come, all ye faithful ; O come, O come, Emmanuel ; Of the father's heart begotten ; Once in royal David's city ; Out of your sleep ; Past three a clock ; Patapan ; Personent hodie ; Quelle est cette odeur agreable? ; Quem pastores laudavere ; Quittez, pasteurs ; Resonemus laudibus ; Sans day carol ; The shepherds' cradle song ; Shepherds left their flocks a-straying ; Shepherd's pipe carol ; Silent night ; Sir Christemas ; There is no rose ; Tomorrow shall be my dancing day ; The truth from above ; The twelve days of Christmas ; While shepherds watched their flocks ; Zion hears the watchmen's voices
£19.90
Oxford University Press Carols for Choirs 3
Book SynopsisA third collection of 50 carols, mostly for SATB, some unaccompanied, and some having accompaniments for piano, organ, or orchestra. The carols reflect a diversity of styles and periods, while remaining within the capacity of an average group of amateur performers. Includes compositions and arrangements by Britten, Holst, Howells, Hurford, Vaughan Williams, and Walton.Orchestral and brass accompaniments for many of the items are available on hire.Table of ContentsA babe is born ; A babe is born in Bethlehem ; A child this day is born ; All in the morning ; Angel tidings ; Angelus ad Virginem ; Bethlehem, of noblest cities ; Birthday Carol ; Boar's head carol ; Child in a manger ; Christ was born on Christmas Day ; Christe, redemptor omnium ; Christmas Oratorio (3 extracts) ; Come all you worthy gentlemen ; Come, rock the cradle for him (from Psalteriolum Harmonicum) ; The Cradle ; Cradle song ; The crown of roses ; Deck the hall ; Donkey carol ; Earth has many a noble city ; Flemish carol ; Gabriel's message ; Hark! the herald angels sing ; He smiles within his cradle ; Hush! my dear, lie still and slumber ; I saw three ships ; Il est ne le divin enfant ; In dulci jubilo ; In the bleak mid-winter ; Jesus Child ; King Herod and the cock ; King Jesus hath a garden ; Kings of orient ; Lo! he comes with clouds descending ; O come, all ye faithful ; O little town of Bethlehem ; Omnis mundus jocundetur ; Once, as I remember ; Psallite unigenito ; Salve puerule ; Shepherds, in the field abiding ; Silent night ; Sing we to this merry company ; Star carol ; Sunny bank ; Susanni ; There is no rose ; This joyful Eastertide ; Tryste Noel ; Wexford Carol ; What child is this? ; What sweeter music
£19.90
Oxford University Press Carols for Choirs 4
Book Synopsis50 carols for sopranos and altos (suitable for boys'', girls'', or women''s choirs). It contains mostly simple arrangements of the best-loved carols, some less well-known ones, and four original pieces by Britten (2), Rutter, and Hadley. Most of the Christmas hymns are presented in two versions; for choirs only, unaccompanied, and for choir and audience/congregation, with accompaniment.Orchestral accompaniments for many of the carols are available on hire.Table of ContentsAdeste fideles ; Angels, from the realms of glory ; Angelus ad Virginem ; As with gladness men of old (2 versions) ; Away in a manger ; The cherry tree carol ; Coventry carol ; Deck the hall ; Ding dong! merrily on high ; Donkey carol ; The first Nowell ; Gabriel to Mary came ; Gabriel's message ; God rest you merry, gentlemen (2 versions) ; Good King Wenceslas ; Hail! blessed Virgin Mary ; Hark! the herald angels sing (2 versions) ; He smiles within his cradle ; The holly and the ivy ; How far is it to Bethlehem? ; I saw three ships ; I sing of a maiden ; Il est ne le divin enfant ; In dulci jubilo (4-part version) ; In dulci jubilo (3-part version) ; The Infant King ; It came upon the midnight clear ; King Jesus hath a garden ; The Linden tree carol ; Lute-book lullaby ; A Merry Christmas ; Nativity Carol ; A New Year carol ; O come, all ye faithful ; O come, O come, Emmanuel ; O little town of Bethlehem ; Once in royal David's city (2 versions) ; Past three a clock ; Personent hodie ; Quelle est cette odeur agreable ; Quem pastores laudavere ; Rocking ; See amid the winter's snow ; Shepherd's Pipe Carol ; Star Carol ; Stille Nacht ; Sussex Carol ; There is no rose ; Tomorrow shall be my dancing day ; Unto us is born a son ; Up! good Christen folk, and listen ; A Virgin most pure ; While shepherds watched
£19.90
Oxford University Press Come my Way my Truth my Life Vocal score
Book SynopsisSATB (with divisions) unaccompaniedMcGlade's setting of 'The Call' by George Herbert is simple but effective, reflecting the directness of the original poem. The three-bar phrases create a feeling of expectancy throughout the verses, and are beautifully intensified by harmonic shifts in one verse and a soaring descant in another.
£5.28
Oxford University Press There are angels hovring round Full score
Book Synopsisfor SATB chorus and orchestra This arrangement for choir and orchestra of a traditional American spiritual conjures a deep fervency, belying its simple appearance. The opening instruction is ''With hushed awe'', and that encapsulates perfectly the gentle radiance of the tender lyrics and the music''s highly singable lines.
£17.34
Oxford University Press Blakes Lullaby Vocal score
Book Synopsisfor SATB choir and organ or string orchestra This appealing motet for SATB choir and organ accompaniment was written in aid of Macmillan Cancer Support. Although the prevailing mood of the gently flowing music is lyrical, with an atmosphere of loving peacefulness, William Blake''s Lullaby is not without its darker undertones, and they too are explored, with one or two bold harmonic touches.
£4.07
OUP Oxford Our Voice Vocal Score Songbird
Book Synopsisfor SSA and piano Our Voice sets the poem 'Murmuration' by contemporary poet Eleanor Stewart-Pointing, which explores the relationship between the human voice and the sounds and music of the natural world. The piano writing gives the piece an energetic, jazzy feel, while the voice parts are sustained and intuitive.
£5.32
Oxford University Press A Little Jazz Mass
Book Synopsis
£10.75
Oxford University Press The First Nowell
Book Synopsisfor SATB (with divisions), organ or piano, and brass Full score and set of parts for Bob Chilcott''s The first Nowell. The six verses of this tuneful and lilting carol deftly marry variety and diversity to create an attractive shape. This set contains the following parts: tpt 1, tpt 2, hn, tbn, tba, org or pno.
£32.78
Oxford University Press Building Choral Excellence Teaching SightSinging in the Choral Rehearsal
Book SynopsisDesigned for both the practicing choral director and the choral methods student, this is a compact and comprehensive overview of the many teaching methods, strategies, materials, and assessments available for choral sight-singing instruction. Sight-singing is an important, if sometimes neglected, facet of choral music education that often inspires fear and uncertainty in student and teacher alike. Written in an accessible style, this book takes the mystery out of teaching music reading. Topics covered include the history of sight-singing pedagogy and research, prominent methods and materials, and practical strategies for teaching and assessment. This is the only book to provide such a wealth of information under one cover and will become an essential part of every choral conductor''s library.Trade Review"Successful sight-singing instruction is perhaps a harbinger of choral success Building Choral Excellence will help the teaching and learning of sight-singing.Great ideas that stand the rigors of research are often left to research journals that ensemble directors and studio teachers rarely read. When an established researcher like Steven Demorest produces a book like Building Choral Excellence, designed to implement research finding into pedagogical practice, then we as a profession should embrace these efforts through purchase and use." --Choral Journal
£29.44
Oxford University Press J.S. Bachs Great Eighteen Organ Chorales
Book SynopsisOffers an in-depth look at the "Great Eighteen" organ chorales, among the most celebrated works for organ, and a milestone in the history of the chorale. Of interest to organists, scholars, and general listeners alike, this book examines the music from a wide spectrum of historical and analytical perspectives.Trade Review"Stinson is lucid and well organized, and he includes many high-quality facismiles of the original sources. He gives an up-to-date synthesis of recent scholarship on the collection, in particular of German writings that may be unfamiliar to English speakers."--Notes"A valuable introduction to these unique organ chorales." --Music and Letters"Stinson's treatment of the individual preludes is unfailingly just and sensitive, and abounds in valuable insights."--Early Music
£53.60
Oxford University Press Inc The Oxford Handbook of Choral Pedagogy
Book SynopsisWhere, in the digitizing world, is the field of choral pedagogy moving? Editors Frank Abrahams and Paul D. Head, both experienced choral conductors and teachers, offer here a comprehensive handbook of newly-commissioned chapters that provide key scholarly-critical perspectives on teaching and learning in the field of choral music, written by academic scholars and researchers in tandem with active choral conductors.Trade ReviewThe Oxford Handbook of Choral Pedagogy is crafted for all practitioners of the choral arts. The plethora of information within this handbook provides new insights and pedagogical practices to better understand choral pedagogy in the twenty-first century. * Alan Davis, Choral Journal *This book undoubtedly makes a major contribution to choral pedagogy. Uncompromisingly academic in tone and intent, there is much to ponder here. Often challenging accepted notions, this fine handbook is an excellent marker for where choral pedagogy is right now. Where the practice will be, say, in 50 years time, no one can know. But Abrahams and Head's volume will surely remain an essential reference tool for at least the next half century. * Philip Reed, hoir & Organ *Table of ContentsTheory I. Challenging Traditional Paradigms 1. Critical Pedagogy as Choral Pedagogy Frank Abrahams 2. Choral Pedagogy Responds to the Media: American Idol, Glee, The Voice, The Sing-Off, and DEL Patricia Madura Ward-Steinman 3. The Choral Experience - Turned Inside Out Paul Head 4. Going Green: The Application of Lucy Green's Informal Music Learning Strategies in High School Choral Ensembles Frank Abrahams 5. "Let the Whole World Rejoice!" Choral Music Education: The Kodály Perspective László Norbert Nemes II. Construction of Identity and Meaning 6. Fostering Musical and Personal Agency: Considering the Conductor Daniel Abrahams 7. Choral Pedagogy and the Construction of Identity Liz Garnett 8. Choral Pedagogy and the Construction of Identity: Boys Scott Harrison and Anthony Young 9. Choral Pedagogy and the Construction of Identity: Girls Matthew Owens and Graham Welch 10. Collaboration and Meaning-Making in the Women's Choral Rehearsal Nana Wolfe-Hill 11. Choral Pedagogy and the Construction of Meaning Frank Abrahams and Daniel Abrahams III. World Perspectives 12. The Framing of Choirs and the Conductors: A U.K. Perspective Colin Durrant 13. Striving for Authenticity in Learning and Teaching South African Choral Music Mollie Stone 14. Conducting Corporate Choirs in Brazil Eduardo Lakschevitz 15. Investigating Choral Pedagogies: The State of the Choral Art in Germany Martin Ramroth Practice IV. Repertoire as Pedagogy 16. The Art of Successful Programming: Study, Selection, and Synthesis Richard Bjella 17. Choral Repertoire as Pedagogy: Western Art Music Dennis Shrock 18. Diverse Cultures Mary Goetze V. Teaching and Conducting Diverse Populations 19. Adult Community Choruses: A Lifespan Perspective Susan Avery 20. "A different kind of goose bump": Notes towards an LGBTQ Choral Pedagogy Charles Beale 21. The Inclusion Conundrum and Community Children's Choirs in Canada Deborah Bradley 22. Professional Adult Choirs Jason Vodicka and Simon Carrington 23. Teaching and Conducting Diverse Populations: Boychoir Craig Denison 24. Black Gospel Choral Music: Identity, Race, Religion, and Community J. Donald Dumpson 25. The Gang Mentality of Choirs: How Choirs Have the Capacity to Transform Lives Arreon Harley 26. Collegiate Men's Chorus Paul Rardin VI. Choral Pedagogy and the Voice 27. Vocal Pedagogy in the Choral Rehearsal Duane Cottrell
£59.55
Oxford University Press Inc Choral Artistry A Kodály Perspective for Middle
Book SynopsisChoral Artistry provides a practical and organic approach to teaching middle school to college level choral singing and sight-reading according to the Kodály Concept of Music Education, grounded in current research from the fields of choral pedagogy, music theory, music perception and cognition.Trade ReviewBy covering a broad range of topics, from the logistics of running a school choral program to a thoughtfully-sequenced music literacy pedagogy, Choral Artistry and Sightreading are a significant contribution to the literature, and a compelling argument for the broad application of Kodály-inspired philosophy at any level. * Joshua Habermann, Artistic Director, Santa Fe Desert Chorale *These volumes cover a wide expanse of pedagogical practices for secondary and collegiate-level ensembles progressing from the step-by-step nuts and bolts to complex theoretical concepts. Furthermore, they provide a deeper understanding of processes for developing a solid singing foundation that are accessible for all levels of abilities – from beginners to more advanced ensembles. * Lynn M. Brinckmeyer, Professor of Music, Associate Dean of the College of Fine Arts and Communication, and Director of Choral Music Education, Texas State University *Too many times I meet people who do not understand what is special in being a choral conductor, why does one need to study it. Their opinion is, that any musician can do it. This wonderful book answers this question. This book teaches you the real craft, what is 'behind the scenes', behind the well-trained and well-practiced gestures. It will take you through the steps in the process with great detail on every level. What we see on the stage, what we hear when a choir sings beautifully is just the icing on the cake. This book will show you the way to achieve it in a holistic, unhurried and honest way. * Esther Hargittai, Guildhall School of Music and Drama, Liszt Academy/Kodály Institute *Table of ContentsAcknowledgments Introduction . Chapter 1. Framing a Choral Curriculum Based on the Kodály Approach Chapter 2: Getting Started: What to Teach During the First Few Weeks of a Choral Program Chapter 3: Laying the Foundations of Choral Singing Using Folk songs and Folk Song Arrangements Chapter 4. Developing Part-work Skills in the Choral Rehearsal for Beginner, Intermediate, and Advanced Choirs Chapter 5: Sound Ways to Develop Audiation, Reading, and Music Theory Skills in the Choral Rehearsal Chapter 6:Music Theory and Sight Reading Sequence for Level 1 Choirs Chapter 7:Music Theory and Sight Reading Sequence for Level 2 Choirs Chapter 8 : Music Theory and Sight Reading Sequence for Level 3 Choirs Chapter 9: An Organic Approach to Teaching Sight-reading in the Choral Rehearsal Chapter 10: How We Learn Impacts How We Teach: Creating an Effective Teaching Strategy for Choral Rehearsals Chapter 11: Putting It All Together: Choral Strategies and Rehearsal Plans Chapter 12. Evaluation and Assessment in the Choral Rehearsal
£40.57
Oxford University Press Inc The Ideology of Competition in School Music
Book SynopsisThe Ideology of Competition in School Music explores competition as a structuring force in school music and provides critiques of that system from multiple philosophical and theoretical perspectives. Competition is seen by many music teachers, students, and supporters as natural and inevitable--a taken-for-granted aspect of music education or an irresistible force, rather than a choice. This book uncovers this ideological nature of competition and examines its effect on student learning, teacher agency, and equity within music education. It considers ways in which music educators might reconsider the role of competition in their teaching practice and offers alternative frameworks for organizing school music.In this book, author Sean Robert Powell views competition as a microcosm of the wider neoliberal capitalist society, in which subjects are interpolated in an antagonistic competitive field as market logic dictates a system of accountability, reduction, and audit culture. Music teachTable of ContentsChapter 1. Introduction Chapter 2. It's Easier to Imagine the End of Music Education Than the End of Competition Chapter 3. The One-Dimensional Music Program Chapter 4. Cynicism Chapter 5. The Lost Trophy Chapter 6. Contingency | Agency | Act Chapter 7. Solidarity Bibliography Index
£24.99
Oxford University Press Inc Heres to the Ladies
Book SynopsisA fascinating look at the careers of some of Broadway''s greatest female performers in their own wordsIn Here''s to the Ladies, the follow-up to Nothing Like a Dame: Conversations with the Great Women of Musical Theater, theatre journalist Eddie Shapiro sits down for intimate, career-encompassing conversations with yet more of Broadway''s most prolific and fascinating leading women. Full of detailed stories and reflections, his conversations with such luminaries as Barbara Cook, Kelli O''Hara, Heather Headley, Faith Prince, Stephanie J. Block, Tonya Pinkins, and a host of others dig deep into each actor''s career -together, these chapters tell the story of what it means to be a leading lady on Broadway over the past fifty years. Alan Cumming described Nothing Like a Dame as an encyclopedia of modern musical theatre via a series of tender meetings between a diehard fan and his idols. Because of Eddie Shapiro''s utter guilelessness, these women open up and reveal more than they ever haveTrade ReviewEddie Shapiro has gathered the best in business for another fascinating collection of interviews. Reading his work is like sitting down with old friends, where the conversation is easy and the laughs are plenty. This backstage tour de force is one of my all-time favorites and a must-have for any theater loverâs library. * Susan Stroman, LGBTQ+ Studies *Table of Contents1. Barbara Cook 2. Tonya Pinkins 3. Faith Prince 4. Charlotte D'Amboise 5. Mary Beth Peil 6. Judy Kuhn 7. Beth Leavel 8. Carolee Carmello 9. Rachel York 10. Melissa Errico 11. Alice Ripley 12. Sherie Rene Scott 13. Kerry Butler 14. Heather Headley 15. Karen Olivo 16. Kelli O'Hara 17. Stephanie J. Block 18. Adrienne Warren 19. Jessie Mueller 20. Marin Mazzie
£30.99
Oxford University Press Inc Paul Robesons Voices
Book SynopsisPaul Robeson''s Voices is a meditation on Robeson''s singing, a study of the artist''s life in song. Music historian Grant Olwage examines Robeson''s voice as it exists in two broad and intersecting domains: as sound object and sounding gesture, specifically how it was fashioned in the contexts of singing practices, in recital, concert, and recorded performance, and as subject of identification. Olwage asks: how does the voice encapsulate modes of subjectivity, of being?Combining deep archival research with musicological theory, this book is a study of voice as central to Robeson''s sense of self and his politics. Paul Robeson''s Voices charts the dialectal process of Robeson''s vocal and self-discovery, documenting some of the ways Robeson''s practice revised the traditions of concert singing in the first half of the twentieth century and how his voice manifested as resistance.Trade Review“The key to understanding Paul Robeson's global humanitarian legacy and cosmopolitan musical imagination, Grant Olwage proposes, can be found by listening to his vocal intelligence, technique, and music-historical awareness. Bold, clear, lyrical, deeply researched and including new archival material, Olwage's polyvocal narrative follows Robeson's 'voices' across continents.” - Nina Eidsheim, author of The Race of Sound: Listening, Timbre, and Vocality in African American MusicThe key to understanding Paul Robeson's global humanitarian legacy and cosmopolitan musical imagination, Grant Olwage proposes, can be found by listening to his vocal intelligence, technique, and music-historical awareness. Bold, clear, lyrical, deeply researched and including new archival material, Olwage's polyvocal narrative follows Robeson's 'voices' across continents. * Nina Eidsheim, Author of The Race of Sound: Listening, Timbre, and Vocality in African American Music. *Table of ContentsAcknowledgments About the Companion Website Introduction: Voice-Thinking 1. Becoming Paul Robeson's Voice 2.
£25.99
Oxford University Press Inc Transforming Choral Singing
Book SynopsisChoral conductors and clinicians often focus on honing the technical and artistic elements of their choir''s performance, but what is the true purpose of choral singing? Choral performances sound beautiful, but they also tell stories, say something to someone, and create change in them. In that fundamental sense, they are always activist. In Transforming Choral Singing: An Activist''s Guide for Choir Directors, author Charles W. Beale draws from his nearly 20 years of leading major choirs in the LGBTQIA+ choral movement internationally as well as his long experience as a singer, organist, conductor, and educator to put forth a new vision for choral singing: to move audiences and change the world. Four main principles underpin this vision: connection, impact, social justice, and stylistic openness. Beale lays down a non-canonical and inclusive framework, grounded in critical musicology and pedagogy, for mission-driven and activist-oriented engagement with the choral arts, and provides p
£19.99
Oxford University Press, USA Johann Sebastian Bachs St John Passion Genesis Transmission and Meaning
Book SynopsisA comprehensive guide to the genesis, transmission, structure, meaning and performance considerations of Bach's "St John Passion". One of Bach's most fascinating works, its text demonstrates a profound understanding of St John's Gospel.Trade ReviewDürr writes illuminatingly and perceptively on topics such as the theology of St John's Gospel and its relationship to Bach's setting, questions of overall design and tonal architecture * Early Music *Presents in convenient form many of the findings of Bach scholarship on the genesis and transmission of the work * Early Music *If it is reliable information on this remarkable work that you want, Dürr's study is the obvious place to start. Bach could have no more faithful servant * John Butt, Times Literary Supplement *Table of ContentsAPPENDICES: PROBLEMATICAL POINTS
£159.38
Oxford University Press Choral Scores
Book SynopsisA companion volume to Denis Shrock's Choral Repertoire (Oxford 2009), Choral Scores is an anthology of music exemplifying distinctive choral repertoire by the most noteworthy composers throughout the history of Western music.Trade Review"...a valuable resource and rich testament to the Western choral tradition. Conductors, choral scholars, instructors, and students alike will find this scholarly book informative and rewarding..." - The American OrganistTable of ContentsIntroduction ; Acknowledgments ; The Medieval Era ; 1. Gregorian chant - Salve regina ; 2. Hildegard von Bingen - O viridissima virga ; 3. Guillaume de Machaut - Messe de nostre dame (Kyrie) ; 4. Johannes Ciconia - Venecie, mundi splendor / Michael, qui Stena domus / Italie, mundicie ; 5. John Dunstable - Quam pulcra es ; The Renaissance Era ; France ; 6. Guillaume Dufay - Missa L'homme arme (Kyrie) ; 7. Josquin Desprez - Missa de beata virgine (Agnus Dei) ; 8. Clement Janequin - Au joli jeu ; 9. Claude Goudimel - Ainsi qu'on oit le cerf bruire ; 10. Claude Le Jeune - Amour cruel que pense tu ; 11. Jan Pieterszoon Sweelinck - Or sus, serviteurs du seigneur ; Italy ; 12. Philippe Verdelot - Italia mia ; 13. Jacques Arcadelt - Io dico che fra voi ; 14. Cipriano de Rore - Ancor che col partire ; 15. Giovanni Pierluigi da Palestrina - Tu es Petrus - Quodcumque ligaveris ; 16. Giovanni Pierluigi da Palestrina - Missa Tu es Petrus (Kyrie) ; 17. Orazio Vecchi - Fa una canzona ; 18. Luca Marenzio - Leggiadre ninfe ; 19. Giovanni Giacomo Gastoldi - Amor vittorioso ; 20. Giovanni Gabrieli - Hodie Christus natus est ; 21. Carlo Gesualdo - Resta di darmi noia ; Spain and the New World ; 22. Cristobal de Morales - Magnificat primi toni (Anima mea) ; 23. Francisco Guerrero - A un nino llorando ; 24. Tomas Luis de Victoria - Vere languores nostros ; Germany and Austria ; 25. Heinrich Isaac - Innsbruck, ich muss dich lassen ; 26. Orlando di Lasso - Musica Dei donum optimi ; 27. Orlando di Lasso - Tutto lo di ; 28. Jacob Handl - Pater noster ; 29. Hans Leo Hassler - Dixit Maria ; 30. Michael Praetorius - Es ist ein Ros entsprungen ; 31. Melchior Franck - Meine Schwester, liebe Braut ; England ; 32. Thomas Tallis - If ye love me ; 33. William Byrd - Ave verum corpus ; 34. Thomas Morley - My bonny lass she smileth ; 35. John Dowland - Now, O now, I needs must part ; 36. Thomas Tomkins - O pray for the peace of Jerusalem ; 37. John Wilbye - Flora gave me fairest flowers ; 38. Thomas Weelkes - When David heard that Absalom was slain ; 39. Orlando Gibbons - Almighty and everlasting God ; The Baroque Era ; Italy ; 40. Claudio Monteverdi - Confitebor secondo ; 41. Claudio Monteverdi - Sfogava con le stelle ; 42. Giacomo Carissimi - Jonas (Peccavimus Domine) ; 43. Alessandro Scarlatti - Messa di S Cecilia (Sanctus) ; 44. Antonio Lotti - Crucifixus ; 45. Antonio Vivaldi - Gloria RV589 (Et in terra pax) ; France ; 46. Marc-Antoine Charpentier - In nativitatem Domini canticum H314 ; 47. Michel-Richard de Lalande - Super flumina Babylonis ; (Hymnum cantate nobis) ; Germany ; 48. Heinrich Schutz - Musikalische Exequien ; (Herr, wenn ich nur dich habe) ; 49. Samuel Scheidt - Angelus ad pastores ait SSWV13 ; 50. Dietrich Buxtehude - Das neugebor'ne Kindelein BuxWV13 ; 51. Johann Ludwig Bach - Das ist meine Freude ; 52. Georg Philipp Telemann - Uns ist ein Kind geboren TVWV1:1451 (Movement 1) ; 53a. Johann Sebastian Bach - B Minor Mass (Et incarnatus est) ; 53b. Johann Sebastian Bach - B Minor Mass (Crucifixus) ; 53c. Johann Sebastian Bach - B Minor Mass (Et resurrexit) ; 54a. Johann Sebastian Bach - Passio secundum Johannen (Ruht wohl) ; 54b. Johann Sebastian Bach - Passio secundum Johannen ; (Ach Herr, lass dein lieb Engelein) ; England ; 55. John Blow - Salvator mundi ; 56. Henry Purcell - Remember not, Lord, our offences ; 57. George Frideric Handel - Saul (How excellent thy name, O Lord) ; 58. Maurice Greene - Lord, let me know mine end ; Spain and the New World ; 59. Juan Gutierrez de Padilla - Versa est in luctum ; 60. Ignacio Jerusalem - Responsorio sequndo de SS Jose ; The Classical Era ; Austria and Germany ; 61. Joseph Haydn - The Creation (Achieved is the glorious work) ; 62. Michael Haydn - Salve regina MH634 ; 63. Wolfgang Amadeus Mozart - Requiem (Lacrimosa) ; 64. Franz Schubert - Die Nacht ; Italy ; 65. Luigi Cherubini - Requiem in C Minor (Graduale) ; 66. Gioachino Rossini - Stabat mater (Introduzione) ; The United States ; 67. William Billings - Chester ; The Romantic Era ; France ; 68. Hector Berlioz - La damnation de Faust (Apotheose de Marguerite) ; 69. Camille Saint-Saens - Calme des nuits ; 70. Gabriel Faure - Requiem (Agnus Dei) ; Italy ; 71. Giuseppe Verdi - Messa da Requiem (Sanctus) ; Austria and Germany ; 72. Ludwig van Beethoven - Mass in C Major op.86 (Kyrie) ; 73. Felix Mendelssohn - Elias (Siehe, der Huter Israels) ; Elijah (He, watching over Israel) ; 74. Robert Schumann - Minnespiel op.101 (So wahr die Sonne scheinet) ; 75. Franz Liszt - Ave verum ; 76. Anton Bruckner - Os justi ; 77. Johannes Brahms - Ein deutsches Requiem (Selig sind, die da Leid tragen) ; 78. Johannes Brahms - Waldesnacht, du wunderkuhle ; 79. Joseph Rheinberger - Abendlied op.69 no.3 ; 80. Antonin Dvo?ak -V p?irod? (Napadly pisn? v dusi mou) ; Russia ; 81. Anton Arensky - Otche nash ; 82. Aleksandr Grechaninov - Svete tihiy ; 83. Pavel Chesnokov - Duh tvoy blagiy ; 84. Serge Rachmaninoff - Vsenoshchnoye bdeniye (Bogoroditse devo) ; England ; 85. Hubert Parry - Songs of Farewell (My soul, there is a country) ; 86. Charles Villiers Stanford - Beati quorum via ; 87. Edward Elgar - As torrents in summer ; The United States ; 88. Lowell Mason - Nearer, my God, to thee ; 89. Edward MacDowell - The brook ; 90. Amy Beach - Three Shakespeare Choruses ; (Through the house give glimmering light) ; The Modern Era ; France and Switzerland ; 91. Claude Debussy - Trois Chansons de Charles d'Orleans ; (Dieu! qu'il la fait bon regarder) ; 92. Maurice Ravel - Trois Chansons (Nicolette) ; 93. Frank Martin - Mass (Agnus Dei) ; 94. Arthur Honegger - Le roi David (La mort de David) ; 95. Lili Boulanger - Vieille Priere bouddhique ; 96. Francis Poulenc - Quatre motets pour le temps de Noel ; (Hodie Christus natus est) ; 97. Maurice Durufle - Requiem (In paradisum) ; Austria and Germany ; 98. Arnold Schoenberg - Vier Stucke op.27 (Unentrinnbar) ; 99. Anton Webern - Entflieht auf leichten Kahnen ; 100. Paul Hindemith - Six Chansons (La biche) ; 101. Hugo Distler - Lobe den Herren op.6, I, no.2 ; Italy and Spain ; 102. Pablo Casals - O vos omnes ; 103. Luigi Dallapiccola - Sei cori di Michelangelo Buonarroti il giovane ; (Il coro delle malmaritate) ; Hungary, Poland, and the Czech Republic ; 104. Bela Bartok - Styri slovenske piesne (Na holi) ; 105. Zoltan Kodaly - Missa brevis (Kyrie) ; 106. Krzysztof Penderecki - Passio et mors domini nostri Jesu Christi secundum Lucam (Final scene) ; Russia and Estonia ; 107. Igor Stravinsky - Mass (Gloria) ; 108. Sergey Prokofiev - Aleksandr Nevsky (Aleksandr's Entry in Pskov) ; 109. Veljo Tormis - Laulusild ; 110. Arvo Part - Berliner Messe (Kyrie) ; Sweden, Norway, Denmark, and Finland ; 111. Jean Sibelius - Finlandia ; 112. Einojuhani Rautavaara - Suite de Lorca (Cancion de jinete) ; 113. Per Norgard - I hear the rain ; England ; 114. Ralph Vaughan Williams - Five English Folk Songs (The dark-eyed sailor) ; 115. Gustav Holst - Lullay my liking ; 116. Herbert Howells - Like as the hart desireth the waterbrooks ; 117. William Walton - Set me as a seal upon thine heart ; 118. Michael Tippett - A Child of Our Time (Deep River) ; 119. Benjamin Britten - A Ceremony of Carols (Wolcum Yole) ; 120. Thea Musgrave - On the Underground Set 1 (Benediction) ; 121. John Tavener - Hymn to the Mother of God ; The United States ; 122. Charles Ives - Three Harvest Home Chorales (Harvest Home #1) ; 123. Randall Thompson - The Peaceable Kingdom ; (The paper reeds by the brooks) ; 124. Vincent Persichetti - Flower Songs (Spouting Violets) ; 125. Daniel Pinkham - Four Elegies (At the round earths imagin'd corners) ; 126. Ned Rorem - Four Madrigals (Love) ; 127. Dominick Argento - Peter Quince at the Clavier (Movement IV) ; 128. Morten Lauridsen - Madrigali (Amor, io sento l'alma) ; 129. Eric Whitacre - Water Night ; Notes and Translations ; Genres ; Sources and Permissions ; Composer Index
£66.30
The University of Chicago Press O Sing Unto the Lord A History of English Church Music
£31.00
