This setting of the opening to Psalm 102 was composed in the early 1680s. Purcell who was in his early twenties had succeeded John Blow as organist of Westminster Abbey around the beginning of the decade and his star was in the ascendant as a court composer.In this piece he pulls off a remarkable compositional coup: a single gradual climax lasting over two minutes and culminating on the final repetition of the word 'come' is achieved through a sublime freely developing eight-part weave of the opening material. The harmonies that result from the chromatic inflections on the word 'crying' all serve the mounting tension in this extraordinary miniature.Studyof the autograph manuscript suggest that this anthem was intended to be the opening part of a larger work which was never completed.

Madrigal groups chamber and concert choirs will delight in this well-edited edition of the Henry Purcell madrigal marked by dancing contrapuntal sections and thrilling homophonic sections. Duration: ca. 1:35.

Following the publication of Francis Jackson's organ reduction of Finzi's Requiem da Camera in 2014, Robert Gower, chairman of the Finzi Trust, recitalist and organist of Nottingham Cathedral, has created reductions of the full orchestra accompaniments to two more of Finzi's choral works. These reductions broaden the reach of these works to choirs which do not wish to present the works with orchestra, as with other standards from the sacred repertoire such the Requiems of Fauré and Duruflé. The reductions sympathetically recreate the orchestra scoring for a three-manual organ. Ingeniously, the manual couplings (II to III, II and III to I) are unaltered throughout, with pedal coupled to manuals as appropriate. Detailed registrations are not indicated as these are best left to the performer, taking into account the unique circumstances of the particular instrument, size of choir and acoustic setting at each performance. The scores are user-friendly, in landscape format and with at least one principal vocal line cued throughout, and a cappella choral passages are reproduced in full. The reductions are fully compatible with the published piano vocal scores of the respective works which the singers will use. For St Cecilia, Ceremonial Ode for tenor solo, chorus and orchestra - words by Edmund Blunden. The original work was commissioned by the St Cecilia's Day Festival Committee for the 1947 celebration of music's patron saint. The ceremonial mood is established with fanfares, and the sonorous sweep of the choral writing reflects Finzi's admiration for Parry and Elgar. The 'catalogue' of saints, shared between the soloist and chorus, are deftly delineated: St Valentine, St George, St Dunstan, St Swithin and St Cecilia herself. In rapt stillness, the English composers of the past - Merbecke, Byrd, Dowland and Purcell - are summoned. To close, Finzi creates a festal summation with exultant counterpoint and the saint's name pealing around the chorus. / Choeur Mixte (SATB) Et Orchestre

The Novello Book of Classic Anthems brings together some of the finest sacred choruses ever written. The collection includes miniature gems including Edward Elgar’s Ave verum corpus Henry Purcell’s Thou knowest Lord the secrets of our hearts and Thomas Attwood’s Come Holy Ghost and established choral favourites such as Handel’s Hallelujah Chorus Henry Balfour Gardiner’s Evening Hymn and Samuel Sebastian Wesley’s Blessed be the God and Father. It also covers a number of dramatic extended anthems suitable for both church choirs and choral societies such as Edward Naylor’s Vox dicentis: clama John Stainer’s I saw the Lord and Wesley’s Ascribe unto the Lord and twentieth-century classics such as William Harris’s Bring us O Lord God Patrick Hadley’s My beloved spake and Edgar Bainton’s And I saw a new heaven. All the pieces have been re-engraved and some such as Haydn’s The heavens are telling and Brahms’s How lovely are thy dwellings have newly arranged accompaniments specifically designed for the Organ. This collection of nineteen anthems covers a wide range of moods and festivals and offers a delightful concert programme in itself as well as an essential addition to any choir’s library.

Music for Royal Occasions is an exciting volume of pieces written for coronations and other royal celebrations over the past five centuries. It includes long-standing favourites such as Handel's Zadok the priest and Parry's I was glad; and works from earlier years such an Henry Purcell's I was glad and the delightful Rejoice in the Lord alway.Many well-loved composers were commissioned to write motets for the coronation of Queen Elizabeth II and several are published here including George Dyson's stirring Confortare William Harris's Let my prayer and Herbert Howells's Behold O God ourdefender. In addition two pieces performed at the wedding oF the present Duke and Duchess of Cambridge are included: Paul Mealor's beautiful Ubi caritas and Hubert Parry's epic anthem Bless pair of sirens.Music for Royal Occasions provides a well-rounded concert programme in itself for choral societies or community choirs. The collection offers many useful and accessible pieces for church choirs suitable for a wide variety of occasions.'an inventive selection of festive music' - Jeremy Summerly Choir & Organ

Oxford Choral Classics: Opera Choruses is a collection of 35 of the best-known opera choruses brought together for the first time in a single volume. The book opens a whole new repertory for choirs and choral societies of all descriptions. This music has not been readily available until now a collection that covers a range of periods and styles which will prove to be a big hit with both singers and their audiences. The pieces included range from Purcell to Puccinni and Mozart to Mascagni.

Elgar is often considered the greatest English composer after Purcell Richard Strauss called Edward Elgar the first English progressive musician of the 19th century. Here are 5 choral works that are wonderful examples of Elgar's skill and creativity. This value priced collection make this a smart addition to your music library. Works include: Deep in My Soul Go Song of Mine Love My Love Dwelt O Happy Eyes. This value priced collection make this a smart addition to your music library.

Revised edition and Organ accompaniment.The fair copy was completed on 31 May 1933. The first edition included a piano part for rehearsal only. OUP sought an estimate for printing offprints of all theindividual movements in 1933 though only the theme and variations 3-5 were issued separately (see below). However in 1938 230 copies of variation 1 were produced especially for the Cambridge University Music Society. [OUP file251] The work was revised in October 1955 for the performance by the Purcell Singers; [see notes to original Decca recording and BB to OUP 16.07.1957 and date on 1958 edition] the optional organ part (edited by Ralph Downes) wasadded in 1957-58 and replaced the piano part in the score. [It was probably completed in late 1958: see IH to OUP: 13.02.1958 (OUP Archive)]

James Weeks' Inscription was published in 2017 and is arranged for SATB quartet and string quartet.  In memoriam Aldo Clementi Inscription was first performed by EXAUDI and Endymion at the Purcell Room London on 21 September 2011 conducted by the composer. The score was subsequently revised in 2012.  

James Weeks' Inscription was published in 2017 and is arranged for SATB quartet and String quartet. in memoriam Aldo Clementi  Inscription was first performed by EXAUDI and Endymion at the Purcell Room London on 21 September 2011 conducted by the composer. The score was subsequently revised in 2012.

Granville Bantock's By The Rivers Of Babylon arranged for SATB choir by Purcell J. Mansfield.