English Sacred Music. SATB Opt.Acc (Cps) (TALLIS THOMAS)

Benjamin Britten's Sacred and Profane consists of eight settings for unaccompanied mixed voices of lyrics from RT Davis’ collection of Medieval English lyrics composed early in 1975 for Peter Pears and the Wilbye Consort of Voices.

Górecki's Church Songs, based on melodies from Rev Jan Siedlecki's ?piewniki Ko?cielne ('church songbooks'), were composed in 1986. This edition is based on the PWM edition of 2013, which was produced with the assistance of Anna Górecka and Miko?aj Górecki. A special feature of the Boosey publications is the new, alternative Latin sung text by Edward Tambling, which will be attractive to the many choirs who do not wish to sing in Polish. The Latin text is carefully crafted to fit Górecki's score and is both poetic and sensitive to the devotional aspect of the songs. English translations from the Polish are also included, for reference only.The three publications present the songs for sacred use according to devotional subject-matter. In concert performances the songs, or a selection of them, may be performed in any order and combination. Vol 1 contains six songs in praise of the Blessed Virgin Mary. The seven songs in vol 2 take the themes of Good Friday, the Crucifixion, The Cross of Christ and the Resurrection. Vol 3 contains seven songs in praise of St Joseph, St Anne and St Nicholas, the Blessed Sacrament, the Trinity and the Black Madonna of Cz?stochowa. / Choeur Mixte (SATB) A Cappella

Invocation was written for the Choir of The Queen’s College Oxford and represents the culmination of the composer’s time as a research fellow at the college when he worked closely with the choir. Phillip had long been a devotee of Edward Thomas’s evocative poem Adlestrop with its dreamy pastoral feel invoking the very essence of a sultry English country afternoon. It seemed a natural choice to set not least because it mentions the two counties in which he has spent the last seven years Gloucestershire and Oxfordshire. Phillip wanted the workfurther to emphasise the link with everything we might class as a stereotypical English countryafternoon cricket on the green church bells birdsong and warm beer the mythical ‘middle-England’. His work in no way tries to depict this rather to distil the feeling it is a rhapsody on a theme of English country life that men went to war to preserve something very different from the more rugged landscape he grew up with in the Lake District. The work is called Invocation because it is precisely that a spell or charm something that bewitches the listener and that the composer hopes stays long in the mind rather like Adlestrop or indeed Adlestrop itself.The Novello New Choral Series is an inspiring selection of new works from a range of contemporary composers offering pieces for all types of choirs including sacred and secular works from simple four-part settings to more expansive yet accessible repertoire in an exciting variety of styles. This collection is perfect for choirs looking to broaden their repertoire and explore some of the best new music around.Phillip Cooke was born in Cumbria in 1980 spending his formative years there. He has had works played across the country by many of the country’s top choirs and ensembles. New works in 2011 were featured in the London Festival of Contemporary Church Music John Armitage Memorial Concert Series Choir

Oxford Choral Classics: English Church Music assembles in two volumes around 100 of the finest examples of English sacred choral music. The second volume presents a wealth of service material suitable for use throughout the year. The evening canticles are given due space with seventeen settings including those by Byrd Gibbons Purcell Walmisley Stanford Noble Howells Walton and Tippett. Also included are settings of the Te Deum and Jubilate Deo alongside seven settings of the Preces and Responses and two additional early Lord's Prayers. The selection is completed with three supplementary items: a set of previously unpublished Psalm chants byHowells John Sanders's Good Friday Reproaches and a written-out Order for Compline.Robert King has prepared completely new editions of all the pre-twentieth-century works going back to the earliest and most reliable manuscripts or printed sources. Playable keyboard reductions have been added for the majority of unaccompanied items.

Twelve classic English Renaissance sacred and secular masterpieces edited for performance by legendary British vocal ensemble The King's Singers. Includes works by Byrd Gibbons Tallis and Weelkes.

Kenneth Leighton?s sacred and liturgical music is widely known and performed regularly across the UK. The British composer did much to keep alive and transform the Victorian tradition of English choral music purge its piety and drag it into the (late) twentieth century.Missa Brevis which is Latin for 'short Mass' usually refers to a mass composition that is short because part of the text of the Mass ordinary that is usually set to music in a full mass is left out or because its execution time is relatively short. Along with Bernstein Britten and Kodály Leighton was one of the composers still writing in this genre in the 20thcentury.Missa Brevis was written for the choir of Liverpool Cathedral and was published in 1968. It has become one of the most popular choral settings of the communion service by a contemporary composer and is regularly heard at cathedrals and churches throughout Britain and America. In this Novello edition the short Mass is arranged for SATB Voices with Piano accompaniment which is for rehearsal purposes only.

(Novello New Choral Series)-There is no rose of such virtue is an anonymous mediaeval text already well known through beautiful settings by Britten (in his Ceremony of Carols) John Joubert and others. The poem is ‘macaronic’ (it presents a verse in English followed by a varying Latin refrain). This new version follows the illustrious examples above by remaining strophic and presenting broadly the same music in a succession of slightly different guises. The first verse is a straightforward four-part setting the second gives the melody to the tenors and surrounds them with hushed wordless writing for the other parts and the third explores a freely canonic relationshipbetween the tenor and soprano lines before carrying the previous verse-endings to a higher more exalted pitch and mood. The fourth verse then expands its texture in a free climactic passage evoking the songs of praise sung by the angels. This subsides towards the final verse where the texture of the music attenuates again to four parts and canonic writing (based on the first four notes of the original melody) permeates all of them. This slightly extended statement leads to a hushed final cadence.Francis Pott (b. 1957) began musical life as a chorister at New College Oxford. He held open music scholarships at Winchester College and at Magdalene College Cambridge where he studied composition with Robin Holloway and Hugh Wood while pursuing piano studies privately in London with the distinguished British artist Hamish Milne. Throughout the 1990s Francis was John Bennett Lecturer in Music at St Hilda’s College Oxford and a lay clerk in the Choir of Winchester Cathedral. In 2001 he became Head of London College of Music University of West London later leading research across the University’s Faculty of Arts and acceding in 2007 to its first Chair in Composition. Francis Pott has become recognised particularly for his sacred choral and organ music. This has been performed in concert and on radio in