From Walter S. Collins' familiar choral masterworks 'Thomas Morley's bright sixteen-measure masterpiece is perhaps the most frequently sung piece from the entire English madrigal period though it is not itself a madrigal.' It is a light fun dance tune to brighten class concert alike.

Deck the halls and be jolly with this rollicking a cappella setting of the holiday favorite! Fun to perform it will be easily programmed at all types of concerts and community events. Available separately: SSATB a cappella SSAA a cappella. Duration: ca. 2:20

This classic English madrigal by Thomas Morley (1557-1603) has been wisely edited and arranged by famed teacher/composer Joyce Eilers. The uniqueness is the voicing: SSAB for choirs whose members number more women than men. Themusic is a joyful favorite now available to many more ensembles.

Madrigals by the Renaissance composer Monteverdi provided the inspiration for my own Madrigali. Symbolic images of flames burning and fire recur often in Italian love poems from this era and my cycle on texts employingthis fire motive blends stylistic musical features of the period (word painting modality bold harmonic shifts intricate counterpoint augenmusik etc.) within a contemporary compositional idiom. The music emanates from asingle primal sonority (the “Fire-Chord”) which opens the piece and is found extensively throughout all six movements in myriad forms and manipulations providing motivic unity to complement the poetic. This cycle ofmadrigals has been designated an American Choral Masterpiece by the National Endowment for the Arts.--Morten Lauridsen

Madrigals by the Renaissance composer Monteverdi provided the inspiration for my own Madrigali. Symbolic images of flames burning and fire recur often in Italian love poems from this era and my cycle on texts employingthis fire motive blends stylistic musical features of the period (word painting modality bold harmonic shifts intricate counterpoint augenmusik etc.) within a contemporary compositional idiom. The music emanates from asingle primal sonority (the “Fire-Chord”) which opens the piece and is found extensively throughout all six movements in myriad forms and manipulations providing motivic unity to complement the poetic. This cycle ofmadrigals has been designated an American Choral Masterpiece by the National Endowment for the Arts.--Morten Lauridsen

Reynaldo Hahn’s Songs And Madrigals for three- and four-part choir. The time machine has no secrets for Reynaldo Hahn (1874-1947). After plunging his contemporaries into the delights of Renaissance revelry with the ‘Bal De Béatrice D'Este’ the composer continued to explore the past with a tribute in 1907 to Rameau (in the final drumroll of the ‘Sonatine’ for Piano). He also published Songs And Madrigals composed on a selection of texts written by famous 15th and 16th century poets: Charles d’Orléans Jean-Antoine de Baïf and Agrippa d’Aubigné.Composed for three- and four-part choir (with optional Piano accompaniment duplicating the Vocals) these six Songs And Madrigals radiate a powerful charm that preserves them from affectation: Un Loyal Coeur envelops the listener in the polyphonic latticework of an enchanting melancholy while Vivons Mignarde borrows rhythmically from Lully to exalt the 'sweet life' that Coralie's lips promise to make even more voluptuous. With its seductive melody and expressive delays Pleurez Avec Moi! bestows heartrending accents upon the sighs of a desolate soul. En Vous Disant Adieu Comment Se Peut-il Faire Ainsi and Les Fourriers D'Eté round off this collection of deliberately archaic songs that exhale an irresistible freshness.

No. 2 from Three Madrigals After Dowland-No. 2 from Three Madrigals After Dowland. This middle movement form Three Madrigals After Dowland is rhythmic dissonant and angry expressing a release from the pain of death. When paired with the other two ?Weep You No More? and ?Come Heavy Sleep ? this wonderful piece of programmatic writing is a lesson in musical emotion.

No. 1 of Birthday Madrigals-For SATBarB unaccompanied. No. 1 of Rutter's Birthday Madrigals.

No. 3 from Three Madrigals After Dowland-No. 3 from Three Madrigals After Dowland. Written as a dear friend lay dying at a young age this movement along with the other two from the set (?Weep You No More? and ?Burst Forth My Tears?) call on the singers to represent their deepest feelings of grief anger love and finally rest. Using long sustained pallets of harmonic colour and the dynamics of a whisper this powerfully emotional piece will surely touch both singer and audience.

No.1 of Three Birthday Madrigals for upper voices-This is No. 1 of Three Birthday Madrigals for upper voices with music by John Rutter. It Was A Lover And His Lass has been written for SA (with Divisi) and Piano Accompaniment.

The world loves to sing. From barbershop groups to madrigal choirs to vocal rock bands there are tens of thousands of vocal groups in America. The success of mainstream television programs such as Glee and The Sing-Off not only demonstrates the rising popularity of vocal music; it reflects how current trends inspire others to join in. In addition through various online and on-the-ground vocal music societies the ???a cappella market??? is well defined and well connected. Like singing itself a cappella is a global phenomenon.At the heart of every vocal group is the music it performs. This often means writing its own arrangements of popular or traditional songs. This book is thelong-awaited definitive work on the subject wide ranging both in its scope and in its target audience - which spans beginners music students and community groups to professional and semi-professional performers vocal/instrumental songwriters composers and producers - providing genre-specific insight on a cappella writing.The tone of the book is instructive and informative yet conversational: it is intended to stand alongside any academic publication while remaining interesting and fun. A Cappella Arranging is a good textbook - and a ???good read??? - for every vocal arranger whether amateur or professional; every vocal music classroom and any professional recording studio.

The second of four madrigals on rose texts 'Now Sleeps the Crimson Petal' for SATB (with divisi). Commissioned by John Armitage Memorial and first performed by the joint choirs of the University of St Andrews Chapel Choir University of Aberdeen Chamber Choir and the Edinburgh University Chamber Choir conducted by Michael Bawtree on October 28th 29th & 31st 2010.

The first of a set of four madrigals on rose texts also entitled 'Now Sleeps the Crimson Petal' for SATB (with divisi). Commissioned by John Armitage Memorial and first performed by the joint choirs of the University of St Andrews Chapel Choir University of Aberdeen Chamber Choir and the Edinburgh University Chamber Choir conducted by Michael Bawtree on October 28th 29th & 31st 2010.

The third of a set of four madrigals on rose texts 'Now Sleeps the Crimson Petal' for SATB (with divisi). Commissioned by John Armitage Memorial and first performed by the joint choirs of the University of St Andrews Chapel Choir University of Aberdeen Chamber Choir and the Edinburgh University Chamber Choir conducted by Michael Bawtree on October 28th 29th & 31st 2010.

The third of a set of four madrigals on rose texts, 'Now Sleeps the Crimson Petal', for SATB (with divisi). Commissioned by John Armitage Memorial and first performed by the joint choirs of the University of St Andrews Chapel Choir, University of Aberdeen Chamber Choir and the Edinburgh University Chamber Choir, conducted by Michael Bawtree on October 28th, 29th and amp - 31st 2010. / SATB