A lively setting in the gallery-carol tradition of words from an anonymous Dorset carol. For SATB with Piano or Organ accompaniment.

A lively carol setting the anonymous 16th-century text ‘All this time this song is best: Verbum caro factum est [The word was made flesh]” originally composed for the choirs of Harrow School England. The main SATB chorus is supported by a semi-chorus of tenors and basses which may be positioned a distance away and the clever interplay between the two groups coupled with the syncopated rhythm and close yet approachable harmony make for an exciting carol both to sing and to hear.

The poem I Sing Of A Maiden is one of the best known of the anonymous medieval hymns deceptive in its simplicity and full of grace and faith. The setting by Lennox Berkeley also has a deceptivesimplicity but reveals on repeated listenings or performances a harmonic integrity and subtlely that has made it a work that will continue to be performed and enjoyed for a long time to come. Lennox Berkeley wascomposing and having his works performed before he finished school then upon meeting Ravel was introduced to legendary teacher Nadia Boulanger in Paris with whom he studied. He mixed with the great artistic and musicalnames of prewar Paris before returning to Britain where he later met and lived with Benjamin Britten before the arrival of Peter Pears in Britten’s life. Berkeley was professor of composition at the Royal Academy of Musicand himself composed more than two hundred works of music many of them of enduring value.

Ave Maris Stella composed by Owain Park for unaccompanied SATB divisi. The approximately 3 and a half minute piece is an original setting of an anonymous plainsong and is dedicated to the Richard III Society George Haynes and the St. Peter's Singers. As well as being an award-winning composer  Park also conducts sings and plays the Organ currently holding the post of Organ Scholar at Trinity College Cambridge. Hear the work performed by the inimitable Trinity College Cambridge Choir conducted by Stephen Layton in the YouTube videobelow:

The Five Lesser Joys of Mary begins with a conventional Nativity scene - the ox and the ass for warmth the star the Wise Men - to verses attributed by Warlock to one Daniel Lawrence Kelleher editor of Christmas Carols (No. 18 in the second series of Augustan Books of English Poetry) where the anonymous verses were published. The fourth stanza recounts Jesus 'Confounding the doctors the poor little Child ' while the fifth carries us to Calvary and a singularly lame conclusion as Mary 'Saw Jesus droop over and lie very still She thought of the good times they had long ago When He'd droop in her arms and she'd singhusheenlo.'Strophically composed with small variations Warlock's tenderness seems generic. eltine.

An anonymous English text is the basis for this buoyant concert or Christmas work. Featuring mixed meters and contemporary harmonies this work provides both challenges and rewards to the singers. Performance Time: Approx. 3:10.

A God And Yet A Man was written for the Chester Music Carol Book in 1984. It is a setting of a 15th century poem by an anonymous author scored for SSAATTBB split voice choir. It includes a Pianoreduction for rehearsal purposes.Geoffrey Burgon (1941-2010) was a British composer best known for his film and television scores such as Tinker Tailor Soldier Spy Brideshead Revisited and MontyPython’s Life of Brian. He studied Trumpet and Composition at the Guildhall and spent the early part of his career as a successful Jazz musician.

Anonymous-One of the early 20th century's most popular gospel hymns Graham Farrell has arranged the work here for mixed chorus organ and trumpet. Try this contemporary setting in church or festival gatherings.

Three Stages - Quodlibet for 12 Voices was composed by Pelle Gudmundsen-Holmgreen in 2003.Commissioned by and written for Ars Nova Copenhagen. Text by William Shakespeare Thomas Nashe anonymous (English) Clèment Janequin Steen Steensen Blicher street cries. Additional cries from 'Danish Street Cries' (1860-1985) edited and collected by Vagn Holmboe.

Vocal Score Large Print-The story of the composition of Mozart's Requiem has a strange fabulous quality that is entirely typical of the events of his life. Whether we are considering his amazing exploits and achievements as a youthful virtuoso and maestro or the depth of his financial misfortunes in Vienna in the late 1780s there is little that is mundane about the main biographical facts.It comes as no surprise then to find that these facts have often been coloured and embroidered to enhance their emotional effect and to create a legend about this most remarkable musician. The simple story of the genesis of the Requiem is in itself striking - that in the last weeks of his lifeMozart was working on a Mass for the Dead that this work was the result of an anonymous commission and that the commissioner's envoy in order to avoid giving an address paid Mozart several unannounced visits like a messenger from another world - this story can easily be filled out with portents and hints of the supernatural.Even the account by Franz Niemetscheki (first published in 1798 based on information given by Mozart's widow Constanze and later receiving 'official' approval by being incorporated into the Mozart biography by Constanze's second husband Georg von Nissen) writes of the commissioner's agent appearing 'like a ghost' and Friedrich Rochlitz's account goes much further in suggesting that the composer was possessed by a demoniac and feverish desire to complete the Requiem and conscious of approaching doom

It is better to try and fail than never to have tried at all. That is the message of this anonymous text powerfully set by Brad Printz. “The Ship That Sails” is about strife and striving taking risks honor andcourage. A powerful message for concerts graduation or even memorial services where inspiration is needed. Melody and accompaniment start quietly and build as the passion of the text builds to reflect the rolling billowingmovement of the sea.

This piece combines an anonymous (possibly Elizabethan) text with Romans 6:8-11. While suitable for any Sunday the passage from Romans makes it especially useful in liturgical churches for the later Sundays in Eastertide.