Oxford University Press

Out of the depths is a reflective, homophonic, and beautifully written work. The choral parts are very accessible, yet the resulting sound is rather sophisticated and thoughtful. This setting of Psalm...

For SATB with optional solo, unaccompanied. This is a sonorous and dramatic arrangement. It opens with an optional solo that may be sung by the sopranos, and, towards the end, the rest of the choir si...

This is a moving arrangement of the familiar passage from the Book of John. Larsen takes an original melody and arranges beautiful harmonies underneath with delicate suspensions. This is a rewarding a...

For SSAATTBB unaccompanied

For SATB unaccompanied - This setting has a distinctly plainsong feeling. Its thematic material is freely drawn from Gregorian Mass IV.

For SSAATTBB unaccompanied - No. 1 of Three Advent Motets

For SSAATTBB unaccompanied - No. 2 of Three Advent Motets

For SSAATTBB unaccompanied - No. 3 of Three Advent Motets

For SATB unaccompanied

For SATB unaccompanied with baritone solo - A simple, tender setting of a beloved American folk carol.

For SAATB unaccompanied - A powerful introit or short anthem based on Revelations 3:20.

All are bound to get caught up in the energy and fervour of this new setting of the spiritual Ride On, King Jesus. Wertsch uses the full range of dynamics and so adds intensity and variety to the vers...

For SATB unaccompanied - From the composer of the highly acclaimed There is no rose, a set of responses that are already proving popular with church and cathedral choirs alike. They are very approacha...

SATTBB unaccompanied None of the sources of this piece has a text; however, the title clearly suggests a link with Psalm 42 - 'Like as the hart desireth the waterbrooks'. The editor, Tim Symons, has s...

SSAATTBB unaccompanied In 1854 Pearsall arranged his madrigal Lay a garland to the text Tu es Petrus. Richard Shephard has taken up this idea and skilfully adapted Pearsall's fine eight-part piece Gre...

For SSATB unaccompanied This piece (entitled Carmen Funebre) and Tu es sacerdos were cited as examples of good church music in S.S.Wesley's pamphlet about the state of church music in 1849. The text h...

Mark's Sirett's setting of these anonymous words has a magical quality that is most attractive to singers and listeners alike. The soprano(s) announce the main tune before it is taken up by the full c...

This setting of the Nunc Dimittis was written for Westminster Cathedral and first performed at Compline on Easter Day 1916. In concerts it could be contrasted with the Latin settings by Howells and Ho...

One of Tomkins's most striking works, this setting of an anonymous devotional text appears in print for the first time. The work is distinctly madrigalian, with several sudden shifts of tonality, chan...

Written in 1844 in thanksgiving for the preservation of the life of the Prussian King Friedrich Wilhelm after an unsuccessful assassination attempt, this is the original a cappella version of the well...

For SATB unaccompanied. This makes a very useful addition to the repertory for Ascension Day - either as an introit or as an anthem. The text is from the Collect for the Sunday after Ascension.

These fine Responses were written for Philip Berg and the Choir of The Queen's Chapel of the Savoy. The writing is distinctive, though not overly difficult, and includes a choral setting of the Lord's...

John Taverner's Respond 'Dum transisset Sabbatum' (I) is now established as one of the finest examples of English polyphony composed in the last days of the Sarum Rite. Scored for SATBarB, alternating...

This is the first published edition of an anthem by Henry Walford Davies that dates from the mid 1890s. Scored for lower voices, AATTBB, it is a setting of an anonymous text from 1836 that is suitable...

This is the first published edition of an anthem by Henry Walford Davies that he composed on the death of William Gladstone in 1898. With rich scoring for SSAATTBB and sumptuous harmonies, it can serv...