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The suggested programming for this anthem is ceremonies celebrating Jesus such as Ascension, Feast of Christ the King, and the Fourth Sunday in Advent. Some small changes were made to the dispensation...

This sensitive arrangement of a well-known Yiddish folksong introduces singers to the harmonic characteristics of Yiddish music. Clapping and body percussion is employed to great effect, and a pronunc...

Salisbury Vespers combines settings of the traditional Vespers psalms and anonymous early texts. Marian motets punctuate the psalm settings, and the work is concluded with a substantial setting of the...

An easy and original setting with an extremely memorable tune of the well-known Rossetti text. Also available in versions for solo high voice, upper voices, and mixed voices.

In this passionate four-movement work, composer Bob Chilcott and lyricist Delphine Chalmers explore themes of inclusivity, identity, and unity. Songs my Heart has Taught Me brings singers and audience...

Comprising four separate 'Lamentations', this work takes its text from John Donne's The Lamentations of Jeremy, and is set in Howard Skempton's characteristic pared-down style.

It is believed this cantata was written for Senesino when he arrived in England in 1720, however this volume was not complete until 1722.

The autograph would seem to identify this work as having an English provenance; corroborated by the lack of key signature in the recitative and highly embellished melodic style..

The style of this cantata points to an Italian provenance, due to the survival of a copy in an Italian manuscript.

Handel must have particularly enjoyed the light and airy first aria, as versions of it can be found in a number of his works, including Rodrigo, Io languisco, and Il pastor fido.

This aria has been dated to 1722, and, also like Deh! Lasciate, it may have been written for the castrato Senesino.

A highly ornamanted cantata, possibly written for a single singer, and, based on style comparisons, this may have been castrato Valentini.

This cantata is unusual in that its text is addressed to a man, with the persistent use of the masculine form 'caro' rather than 'cara'.

This cantata was originally composed for the marquis Ruspoli in the soprano range.

Qualor crudele survives in twelve sources, all of which are of English origin. Aspects of the text suggest a Neapolitan provenance.

The original autograph for soprano can be associated with Handel's brief journey to Naples in spring and early summer of 1708.

The dating of the autograph suggests that the cantata was written for the castrato Valentini.

Because of the extensive bass figures in the autographs, this has been associated with the group of so-called pedagogical cantatas.

The earliest surviving source for Stanco di più soffrire may be the copy in the Santini collection prepared by Angelini, which is a third higher.