Oxford University Press

This simple, charming two-part motet features long melismatic phrases that reflect the text (1 Corinthians 2: 9), such as the rising melodic line over three bars on the word 'ascended' (ascendit).

Originally conceived as a funeral piece, this moving motet is full of elegant, unhurried lines, and pays final respect to the deceased. Originally published in AStanford Anthology.

McGlade's tender piece is full or arching phrases that swell and fade with the emotion of Rosetti's text. The carefully crafted cello part interacts with and responds to the choir without ever losing...

This tender arrangement of the well-loved Irish folk melody Londonderry Air sets an uplifting poem by Howard Walter. I would be true has been recorded by the Cambridge Singers on the CD This is the Da...

For SATB unaccompanied with short passages for soprano solo or semi-chorus.

From the collection Mack Wilberg Anthems, 'Beautiful Saviour' is Wilberg's arrangement of a 12th century melody to create this reverent hymn. Scored for SATB unaccompanied, this gentle, worshipful pie...

This uplifting anthem sets the Invocation text from Carmina Gadelica. McDowall's beautiful melodies flow and intertwine, decorated by scotch snaps that reflect the text's origin. Suitable for services...

This setting can be found both in Five Traditional Songs and Folk Songs for Choirs 1. The text is simple, while the arrangement is varied and charming.

A simple setting of this popular medieval Advent carol which has great originality and impact. The style is controlled, almost austere, and the effect is hypnotic. This is an unsettling but poignant p...

In this innovative arrangement Stanley M. Hoffman takes Henry Purcell's most popular solo aria, the 'Lament' from his opera Dido and Aeneas, and reimagines it as a work for unaccompanied soprano solo...

Tarney's setting of this traditional Scottish text offers catchy melodies and folk-inspired harmonies, driven by a rhythmic piano accompaniment. The ballad is framed by a repeating, haunting, and ethe...

Thou, my love, art fair sets the William Baldwin poem Christ to his spouse. This delightful song makes full and effective use of the voice parts and features charming harmonies and interweaving melism...

McGlade'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, a...

This is a beautiful setting of words from Act 3 Scene 2 of The Tempest. The opening soprano and tenor melody is based on a dreamlike, oscillating two-note cell which threads throughout the piece, broa...

This lively and joyous arrangement of the folksong 'Montagnarde' from the Haute-Auvergne region of France makes playful use of the call of the cuckoo in a catchy refrain. 'Montagnarde' is featured on...

For SSAATB unaccompanied.

An expressive Lenten motet reflecting the agony of the Mount of Olives; the tenor sings the words of Christ.

Die Songs of Farewell haben einen festen Platz im Repertoire von Kammerchören und kirchlichen Chorverbänden gefunden. Diese eigenständige Hymne, ein Sonderdruck aus Robert Quinneys kritischer Ausgabe...

A practical edition of the extremely famous work by Allegri.

This is a lilting take on the Elizabethan lute-song full of smooth Stanford-like nineteenth-century harmonies, exquisitely tempered with modal effects.

Written in an a cappella style with scat accompaniment, A Tree is a Song is a joyful celebration of the affinity between trees and how wisdom can be passed on 'as a melody from tree to tree'. McDowall...

Originally published in the New Horizons collection Cantica Nova, this expansive Advent motet creates a unique sound world through unusual harmonic inflections, striking spatial effects, unmeasured no...

Inspired by Rachmaninoff's All-Night Vigil, Vespers is a 12-movement English-language work in the Eastern Orthodox tradition. Suited to concert and liturgical settings, it draws from several Orthodox...

The shades of Finzi and Vaughan Williams are strongly present in these three delightful unaccompanied choral settings, and yet the style and execution are wholly Rutter's own.