Four Romantic Madrigals is a new edition of selected madrigals (for unaccompanied SATB choir) composed by John Stainer (1840 1901). Jeremy Dibble of Durham University brings Stainer’s expressive and enticing part-songs to a wider audience by presenting them in modern notation. This edition coincides with the release of the CD English Romantic Madrigals (Hyperion CDA68140) an exciting new recording of works by Stainer Sir Hubert Parry Elgar and other composers of nineteenth-century English part-songs performed by Rupert Gough and the Royal Holloway Choir.

John Stainer's I Saw The Lord is a beautiful Anthem for Double SATB Choir and organ.This edition features fresh engravings with the Organ part printed on three staves. It also includes a paragraph explaining the historical background and context of the work.

The Gloria in Excelsis was written by Sir Charles Villiers Stanford for the coronation of HM King George V on 22 June 1911. It was an occasion of some note in the annals of British music for Elgar?s Coronation March and Parry?s grand festival Te Deum were also heard for the first time that day. In addition there was music by Thomas Tallis Orlando Gibbons and Sir John Stainer as well as by the Master of the King?s Music and organist of St George?s Chapel Windsor Sir Walter Parratt. It was published the following year as part of Stanford?s Opus 128 the Festal Communion Service for voices and orchestra which was also made available withthe accompaniment arranged by the composer for organ. However such was the popularity of the Gloria a magnificent and wholly representative example of Stanford?s genius for church music that it soon became popular as a separate piece either with organ or orchestral accompaniment and it was included in the orders of service for the coronations of HM King George VI on 12 May 1937 and HM Queen Elizabeth II on 2 June 1953.

Stainer's classic anthem has been given special treatment in this masterful setting by Benjamin Harlan. This anthem should be in every choral library. Available separately: SATB SAB/2-Part any combination ChoirTrax CD. Score andparts (fl ob hn vn 1-2 va vc db) available as a Printed Edition and as a digital download. Duration: ca. 3:50.

The Festival Anthem I saw the Lord (2012) is a setting of words from Isaiah Ch 6 some of which are perhaps better known in the context of the great Victorian anthem by John Stainer. This Trinitarian/Dedication text (starting with the words ?in the year that King Uzziah died?) is both powerful and full of dramatic imagery - flying seraphim live coals cries of the Tersanctus - as well as containing darker and more reflective passages.

with God So Loved the World and The Love of God-Uses: Communion General Lent Scripture: John 3:16 - Romans 8:3 This anthem joins two beloved traditional pieces into a pleasant amalgamation of hopeful praise. Perhaps the most recognized new testament scripture forms the opening gesture which is discreetly joined by the soaring sweetness of the hymn. A reserved piano accompaniment showcases the voices creating a reverent homage to two treasured sacred masterpieces. Exceptional!

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

Part of the longer hymn 'Pange lingua' by Venantius Fortunatus (c.540-c.600) the Crux Fidelis features in the Adoration of the Cross during the solemn liturgical actions of Good Friday and at Lauds during Passiontide. The reverence and awe of the words resonate in the poised strophes and silences of Ronald Corp's new setting for SATB a memorable addition to the repertoire of music for times of penitence and to the surprisingly small corpus of interpretations including those by Lennox Berkeley Adrian Willaert John Dunstable and King John IV of Portugal (attributed) of this text in particular.

Madrigals for SSATB and SSATBaB Edited by E H Fellowes. Revised by Thurston Dart CONTENTS ANONYMOUS How can the tree but waste (SSATB) BYRD, William Though Amaryllis dance in green (SSATB) EAST, Michael Your shining eyes (SSATBaB) FARMER, John Fair nymphs (SSATBaB) MARENZIO, Luca I must depart (Io partiro) (SSATB) MORLEY, Thomas My bonny lass (Questa dolce sirena) (SSATB) O grief e'en on the bud (SSATB) VAUTOR, Thomas Sweet Suffolk owl (SSATB) WEELKES, Thomas In pride of May (SSATB) WILBYE, John Lady your words do spite me (SSATB)

Edited by Thurston Dart and Nigel Fortune13 of the finest settings taken from John Dowland: Ayres for Four Voices originally transcribed as Volume 6 of Musica Britannica by Edmund Fellowes. The Elizabethan and Jacobean lutesongs were often written with alternative versions for voices and lute. This volume is an introductory selection of these ‘airs’ with accompaniment which may be played on guitar or keyboard as well as lute. SATB CONTENTS Burst forth my tears By a fountain where I lay Can she excuse my wrongs Come again sweet love doth now invite Come away come sweet love Come heavy sleep Fine knacks for ladies Go crystal tears If my complaints Now o now I needs must part Sleep wayward thoughts Sweet stay awhile Weep you no more sad fountains

Compiled and edited by Lionel Dakers & John Scott SATB accompanied & unaccompanied-This wonderful collection aims to provide a comprehensive resource-book covering a highly significant part of the Church's year. Its contents span all periods of what is a marvellously rich and uniquely prolific area of church music and it contains much that is not widely available elsewhere under one cover.A major policy in compiling the contents has been to ensure that they are relevant to a broad range of musical traditions with pieces of varying degrees of difficulty to suit the needs and abilities of all choirs. The requirements of the increasing number of small choral groups as distinct from church and cathederal choirs have similarly been catered for inthe choice of material. Presents pieces in order according to the Church's calendar from Ash Wednesday and Lent to Easter with a generous number of pieces for each season or day Includes the best of the standard repertoire for example Byrd's Civitas Sancti Tui and Stainer's God So Loved The World Contains fine less familiar works and new or recent arrangements of well-known tunes such as This Joyful Eastertide Now The Green Blade Riseth and Were You There Contains a number of newly comissioned anthems from well-known church composers Includes important liturgical settings for example two versions of the Litany (BCP and ASB) Vidi Aquam and Easter Alleluias Ranges widely from the sixteenth century to the present day and across all the major traditions