Edited by Thurston Dart 23 madrigals for SSA by Bateson, Byrd, East, Hilton, Holborne, Johnson, Jones, Morley, Porter, Tomkins, Ward, Weelkes, Wilbye and Youll. CONTENTS BATESON, Thomas Nightingale BYRD, William Benedictus EAST, Michael See Amaryllis shamed How merrily we live HILTON, John If it be love HOLBORNE, William Gush forth, my tears Since Bonny-boots was dead JOHNSON, Robert Full fathom five Where the bee sucks JONES, Robert Sweet Kate MORLEY, Thomas It was a lover and his lass Lady, those eyes See mine own sweet jewel This love is but a wanton fit Though Philomela lost her love PORTER,Walter When first I saw thee TOMKINS, Thomas Sure there is no god of love WARD, John Fly not so fast Go wailing accents WEELKES, Thomas Those sweet delightful lilies Though my carriage be but careless WILBYE, John Away, thou shalt not love me YOULL, Henry While joyful springtime lasteth

Par GRONOSTAY UWE. Psalmen, deutsch - Verwendung / Anlässe: Morgen, Mittag, Abend - Langue : Allemand / Psaumes / Répertoire / Choeur SSATB

A wedding anthem for mixed voices SSATB setting the text of Richardâ??s brother Thomas.

Music runs through the story of Arion which begins with a singing competition in Sicily. Arion wins the prize and this puts his life in danger: his newfound wealth excites the greed of the sailors who are supposed to be bringing him back to Corinth and they threaten to kill him. They allow Arion to sing one last song and the power of his singing attracts dolphins to the ship.  At the end of his song he jumps overboard and one of the dolphins carries him to safety.  So Arion’s musical gift gets him into trouble but it is also his salvation.   The idea of being rescued by a music-loving dolphin is very appealing. In Robert Graves’account of the myth the dolphin could not bear to be parted from Arion and accompanied him back to court where “it soon succumbed to a life of luxury.”  However Herodotus says that after his rescue and return to Corinth Arion failed to return the dolphin to the sea and it died there.  Apollo placed the dolphin among the stars and next to it Arion’s lyre in recognition of his musical skill.  This is one of the mythical explanations of the origins of the constellations Delphinus and Lyra. It seems natural to sing a story that has singing at its heart. When I was asked by the Nicholas Berwin Charitable Trust to write a choral work for Making Music something that would be within reach of many choirs and involve children this story struck me as ideal: the men of the chorus could be the bloodthirsty sailors and the women could create an atmosphere of mystery for the arrival of the dolphins represented by children’s voices. There would be one solo voice: Arion the marvellous singer. Andrew Fardell the conductor who was advisor to this commission had suggested that I might use the same instrumentation as a popular arrangement of Orff’s Carmina Burana a work that as well as using children’s chorus features a solo countertenor. I thought the magical otherworldly quality of this

Cecilia McDowall's Night Flight for SSATB and Cello.Night Flight was written to mark the centenary of Harriet Quimby's pioneering flight across the English channel. Setting texts by Sheila Bryer on the mysterious powers of the sea earth and air McDowall uses vocal clusters and haunting solo Cello lines to highlight the sense of fear awe and majesty experienced by an individual pitted against the elements. Cecilia McDowall was awarded the 2014 British Composer Award in the Choral category for Night Flight.The solo Cello part is available for sale separately.

This expressive Wedding anthem sets an extract from William Blake's Auguries of Innocence. With chromatic inflections and gently arching vocal lines the music perfectly reflects the text's emphasis on the relationship between pleasure and sorrow. Joy and Woe are woven fine will make a striking addition to the repertory of more experienced choirs looking to try something new.For SSATB unaccompanied.

This work for soprano solo and SATB chorus was commissioned by the Norwich Festival of Contemporary Church Music.Tavener:'In the Orthodox Church the Lament of the Mother of God is normally sung on Holy and Great Friday. Inits full length it lasts about half and hour and it is intoned by the Priest or Bishop while the people venerate the Epitaphios (or Shroud of the Dead Christ) which is in the centre of the church and decorated withflowers.The Lament must be sung with an ikon-like stillness and great purity. It grows in intensity as it climbs in tessitura but without anything sudden or remotely melodramatic.For the Orthodox Church there is never thesense of absolute desolation felt by the Western Church on Good Friday. Hence the cry of the Mother of God 'Dost thou change my grief to gladness by thy Resurrection?' followed by the full forces: 'Rise O God and judge theearth.'Mother of God also features in the film Philomena starring Judi Dench and Steve Coogan and directed by Stephen Frears.

From Geistliche Chor-Music-Published in 1648 Heinrich Schütz’s “Geistliche Chor-Music” is still regarded as one of his seminal works. A two-volume performance edition based on Werner Breig’s revised new text is available (BA 5901/BA 5902).Now selected motets are being issued in separate volumes. They offer a modern notation and layout retain the original keys and include an integrated figured bass realisation.In keeping with contemporary performance practice the ‘choral’ parts can be performed by instruments as well as voices. Instrumental parts with underlaid words may be purchased separately for performances with instruments (seeperformance material for BA 5901 and BA 5902).- Verleih uns Frieden genädiglich No.4 SWV 372 from 'Geistliche Chor-Music'- Cantus Quintus Countertenor Tenor Bassus Basso continuo ad lib.

Aus: Israelsbrünnlein. Par SCHEIN JOHANN HERMANN. Johann Hermann Schein’s Israelsbrünnlein, published in Leipzig in 1623, is a supreme achievement not only among the works of this composer, who had been Thomaskantor in Leipzig since 1616, but also for the entire body of German music written during the first half of the 17th century. Among the 26 motets written “in the Italian madrigal manner” 23 are settings of Old Testament texts, a fact to which the collection owes its title. The source for the text of this collection is the “inexhaustible fountain” of the Psalms, the books of Moses, the Prophets, the Songs of Solomon, and other books of the Old Testament. / Mottet / Répertoire / Choeur SSATB

Aus: Israelsbrünnlein. Geistliche Madrigale. Par SCHEIN JOHANN HERMANN. Johann Hermann Schein’s Israelsbrünnlein, published in Leipzig in 1623, is a supreme achievement not only among the works of this composer, who had been Thomaskantor in Leipzig since 1616, but also for the entire body of German music written during the first half of the 17th century. Among the 26 motets written “in the Italian madrigal manner” 23 are settings of Old Testament texts, a fact to which the collection owes its title. The source for the text of this collection is the “inexhaustible fountain” of the Psalms, the books of Moses, the Prophets, the Songs of Solomon, and other books of the Old Testament./ Répertoire / Choeur SSATB

Published in 1978, the Swedish pop group ABBA released as a B-side, Thank You For The Music, originally created as part of the mini-musical 'The Girl With The Golden Hair' and was initially only played live. This unaccompanied SSATB arrangement by Carsten Gerlitz features 10 vocal scores of this evergreen hit. / Choeur Mixte (SSATB)

Composer's notes:The Fool is a time-honoured Orthodox religious figure: a Saint the highest of all who discards everything for Christ's sake. He discards all convention all decency all wealth actual and spiritual and turns himself into a figure of fun - defying all acceptable behaviour - and all religious decency. He stands in the square and lets down his trousers - he stuffs himself with food on Good Friday - he gets drunk - he 'appears'to fornicate wildly. There is a faint possibility (in not the highest of 'Fools') of gaining worldly popularity by such flagrant denial of all moral behaviour. Can such behaviour be too interesting? The true fool however embraces all of this and also (unseen) shrinks before the face of his God. By his behaviour he plucks out all hypocrisy false piety and corruption. He is a figure much needed in our times!!! The way I have tried to tacklethis extraordinary subject is to show him in seven stages from an obscene huge fat traditional clown who is drunk fornicating etc. through a stumbling frail agonized figure to a sallow-faced gaunt business man in a formalsuit staring at an empty glass. Having first revered him then mocked him the 'people' while they get drunk and jabber away at 'Christmas' and at the Feast of Feasts 'Easter' are no longer aware of him. But the audience seeshim - a tiny ragged scrap of mortality lying in a corner and faintly so faintly the voice of the Fool the true Fool for Christ's sake sings above the ribald crowd. 'He has given His life'. The Gogmagogs are the 'people' 'priests' 'singers' etc. and one male singer who can 'create' or 'uncreate' this vast role (singing and acting miming etc.) John Tavener Arranged for SSATBB chorus. Date of composition 2000. Chorus part only.

Chandons Te Deum HWV 281. Par HAENDEL GEORG FRIEDRICH. Handel composed the 'Te Deum? in B-flat major HWV 281 in 1718 for the future Duke of Chandos, hence its nickname 'Chandos Te Deum?. Here it is called 'Te Deum for Cannons? after the Duke's stately home named Cannons where the first performance took place. The unusual scoring for flute, oboe, bassoon, trumpet, two violins and basso continuo plus a choir (one soprano, three tenors and a bass) probably reflects the musicians which were available at Cannons, bearing in mind that three tenors were used also in 'Acis and Galatea?, the masque which was composed at almost the same time. Though in many respects this 'Te Deum? is reminiscent of the 'Utrecht Te Deum?, its smaller forces tend to give it more the character of chamber music. This edition is based on the Urtext from the 'Halle Handel Edition? (BA 10708), which offers the first complete scholarly text of the music for the 'Te Deum?./ Répertoire / SSATB et Orchestre

This atmospheric anthem by Cecilia McDowall commemorates the First World War. It sets a stark English text by Dr Joseph Spence alongside Latin text from Psalm 130 with the words 'In memoriam' added. The lower parts sing Spence's English text conveying the relentless hardship of life in the trenches with declamatory and constantly developing vocal lines. The sopranos meanwhile repeat the Latin words from Psalm 130 providing a striking contrast in their constancy and otherworldliness.

Par GOTTSCHOVIUS NIKOLAUS / HERMAN NIKOLAUS. Motetten - Verwendung / Kirchenjahr: Wei cor achten - Langue : Allemand / Mottet / Répertoire / Choeur SSATB