John Leavitt : Renaissance Women

Review: This collection is a fantastic resource for introducing the music of the Renaissance to your women's choir.

Songlist: How Merrily We Live , Sonatemi un balleto , Je le vous dirai! , Mein Feinslieb, Tanzen und Springen

Review: Though one rarely hears an entire chanted liturgy today, any prayer the priest sings seem somehow richer, more heartfelt and efficacious. Unfortunately many of those in training for the ministry do not receive the training needed to properly sing the parts of the mass. This book can be used with advantage by individuals or in seminaries as the basis for a course in ministerial singing. Pastors who are already ministering will find the book useful if they are concerned about their role as singing ministers.

Songlist: Covering the Basics, Retrieving Our Voices, Treble Clefs, Bar Lines and Notes, Embracing Our Voices, Gregory's Modes, Framing The Masterpiece, Magnetic Personalities, Applying For A Tone, Mea Formula, The Heart of the Sacramentary, Putting It Together, Cadential Thoughts

Review: Now available for the first time in a single publication, these are the popular editions of three Renaissance works Noah Greenberg prepared for New York Pro Musica. Perform them as a set or individually.

Songlist: E la don don, Vegas Maria, Dadme albricias, hijos d'Eva, Riu Riu Chiu

Review: A fascinating collection exploring the musical riches from a most colorful period, the Middle Ages. Reflecting the atmosphere of a time where disease and sudden death were counterbalanced by faith and 'joie de vivre', this volume contrasts sacred settings such as the ever-popular Gaudete Christus Est Natus and previously unpublished Jesu Dulcis Memoria with such medieval secular classics as Sumer Is Icumen In, Agincourt Carol and the celebratory Passetime With Good Company.

Songlist: Gaudete Christus Est Natus , Jesu Dulcis Memoria , Sumer Is Icumen In, Agincourt Carol, Passetime With Good Company, Coventry Carol

Review: Jerry Weseley Harris has more than 500 published choral compositions, arrangements and editions, sold throughout the world. Here is a great collection of arrangements from some of the masters of the Renaissance period that are accessible and fun to sing.

Songlist: Love Learns By Laughing, Aye Me, Hey Ho, Though Philomela Lost Her Love, My Bonnie Lass, Oh Follow, Follow On!, Fire, Fire, My Heart, Amyntas With Phylis Faire, Farewell, Dear Love, Since I First Saw Your Face

Review: This collection is a fantastic resource for introducing the music of the Renaissance to the male ensemble. These five compositions are well-known and excellent representative works.

Songlist: Adoramus Te, Ave Maria, Cantate Domino, Lo, How A Rose E'er Blooming, O Vos Omnes

Review: This colleciton of pieces represent the high art and refinement of the choral song from several countries during the age of the Renaissance. The vocal chamber music in this collection was designed for entertainment in a palace chamber or the home. All of the represented forms in this collection used both the familiar style of the homophony as well as polyphony. the pieces can be performed with multiple voices to each part or s little as one voice for each part. For the German and French songs, the original text is provided as well as an English paraphrase.

Songlist: What if I Never Speed, April Is in My Mistress' Face, Musica, die ganz lieblich Kunst (Music, Most Wondrous Lovely Art), Innsbruck, ich muss dich lassen (Innsbruck, I Now Must Leave You), Je le vous dirai! (Do not dare I say it!),, Bonjour, mon coeur (Good Day, Sweetheart)

Review: This practical performing edition is based on the single extant manuscript preserved at the Bodleian Library. The beautiful and well-written Missa Cantate (Gloria, Credo, Sanctus, and Agnus Dei) follows the well-established technique of drawing some material, usually the cantus firmus, from a pre-existing work.

Songlist: Missa Cantate, Gloria, Credo, Sanctus, Agnus Dei

Review: Missa de Beata Virgine is a musical setting of the Ordinary of the Mass, by Renaissance composer Josquin des Prez. A late work, probably composed or assembled around 1510, it was the most popular of his masses in the 16th century. The Missa de Beata Virgine is unusual among Josquin's masses in that the first two movements are for four voices, and the last three for five, with the fifth voice derived canonically. Like most musical settings of the mass Ordinary, it is in five sections, or movements. It uses different plainsong chants for each movement, and is a paraphrase mass, one in which the original chants are elaborated, broken up, passed between voices, or sung in different voices simultaneously. The movements differ in their treatment of the source plainchant. The Kyrie has the chant in all voices, imitatively and paraphrased; the Gloria treats the chant as a cantus firmus, migrating it from voice to voice. Tonally, both movements end on G, and most of their cadences are on G or D. The Credo, the first movement for five voices, ends with a surprising Phrygian cadence on E, and uses canonic techniques more prominently than in the preceding movements.

Songlist: Missa De beata, Kyrie 1, Christe, Kyrie 2, Et in terra, Qui tollis, Cum Sancto, Credo sections, Sanctus, Pleni sunt caeli, Hosanna, Benedictus, Agnus Dei 1, Agnus Dei 2, Agnus Dei 3

Review: A variety of music from the great flowering of the English choral art in the king'singers' own editions. Includes a general introduction to the era and background on each work. A must for every high school and college choral library! Includes pieces by: William Byrd (Sing Joyfully, Haec Dies), Orlando Gibbons (Drop Drop Slow Tears, The Silver Swan), John Bennett (All Creatures Now, Weep O Mine Eyes), Thomas Weelkes (As Vesta Was), Thomas Morley (Fire Fire), Edward Pierce (Hunting the Hare), Thomas Ravenscroft (A Round of Three Country Dances, The Three Ravens), Thomas Tallis (If Ye Love Me).

Songlist: All Creatures Now, As Vest Was from Latmos Hill Descending, Drop Drop Slow Tears, Fire Fire, Haec Dies, Hunting the Hare, If Ye Love Me, Round of Three Country Dances in One, The Silver Swan, Sing Joyfully, The Three Ravens, Weep, O Mine Eyes

Review: Here are 12 of the King's Singers favorite works of the European Renaissance in their own performing editions. Includes performance notes and translations for each work. Spanish: Otro tal misacantano (Anonymous), Dindirin, dindirin (Anonymous); French: Triste depart (Nicolas Gombert), La, la, la, je ne l'ose dire (Pierre Certon), Au joli jeu du pousse avant (Clement Janequin); German: Tanzen und Springen (Hans Leo Hassler), Innsbruck, ich muss dich lassen (Heinrich Isaac); Italian: Parmi di star (Severin Cornet), Il bianco e dolce cigno (Jacques Arcadelt), Chi chilichi (Orlande de Lassus); English: Hark All Ye Lovely Saints (Thomas Weelkes), I Love, Alas, I Love Thee (Thomas Morley).

Songlist: Au Joli Jeu du pousse avant, Chi Chilichi, Dindirin, Dindirin, Hark All Ye Lovely Saints, I Love Alas I Love Thee, Il Bianco E Dolce Cigno, Innsbruck, I Now Must Leave Thee, La, la, la, Je Le Vous Dirai, Otro Tal Misacantano, Parmi Di Star, Tanzen Und Springen, Triste Depart

Review: Traditional carols arranged by the highly-regarded Kirby Shaw as for a Renaissance choral performance. Fun and assessable for all choirs.

Songlist: Here We Come a-Caroling, Good Christian Men Rejoice, Ding Dong, Merrily On High, What Child Is This, God Rest Ye Gentlemen, Deck The Hall, We Wish You A Merry Christmas, Bring a Torch, Rejoice

Review: Here are twelve outstanding works from some of the best composers of the era. All are suitable for use in concert performance as well as being organized to provide anthems for most of the major occasions of the Church year.

Songlist: Laudate Dominum (O praise the Lord our God), Hodie nobis caelorum Rex (On this day the King of heaven), O vos omnes (O ye people), Crux fidelis (Faithful cross), Surrexit Dominus (The Lord is risen), Regina caeli (O Queen of heaven), Confirma hoc, Deus (Confirm in us, O God), Te Deum Patrem (Thee, God the Father), O sacrum convivium (O sacred and holy feast), Justorum animae (The souls of reighteous men), Beati eritis (Yea, blessed shall ye be), Cantate Domino (O sing unto the Lord)

Review: This treasury of 47 vocal works - edited by Noah Greenberg, founder and former director of the New York Pro Music Antiqua - will delight all lovers of medieval and Renaissance music. Containing a wealth of both religious and secular music from the 12th to the 17th centures, the collection covers a broad range of moods, from the hearty 'Blow thy Horne thou Jolly Hunter' by William Cornysh to the reflective and elegiac 'Cease Mine Eyes' by Thomas Morley.

Songlist: Crist and Saint Marie, Man Mei Longe, Worlds Blis Ne Last, Jesu Cristes Milde Moder, Edi Beo Thu Hevene Quene, Sumer is Icumen In, Alleluya Psallat, Angelus Ad Virginum, Beata Progenies, Alas Departynge is Ground of Woo, Sancta Maria, Sanctus, Deo Gracias Anglia (The Agincourt Carol), Nova, nova, Nowel Syng We Bothe Al and Som, Quid Petis O Fili, With Owt Dyscorde, O My Hart, A Robyn Gentil Robyn, Blow Thy Horne Hunter, Gloria, Agnus Dei, Salvator Mundi, Susanna Fayre Sometime Assaulted Was, Emendemus in Melius, When First by Force of Fatall Destenie, About the May Pole, Leave Alas This Tormenting, Cease Mine Eyes, I Goe Before My Darling, Tosse Not My Soule, What if I Never Speede, Thus Saith My Cloris Bright, Alas What Hope of Speeding, Tan Ta Ra Ran Tan Tant, Death Hath Deprived Mee, What Shall I Part Thus, Weepe Forth Your Teares, Lord, Increase My Faith, Oken leaves, New Oysters, O Lord Turne Not Away Thy Face, Blow Thy Horne Thou Jolly Hunter, Wee Be Three Poore Mariners, He That Will An Ale-House Keep, Remember O Thou Man, Nunc Dimittis

Review: The setting was originally published in the year of Lassus' death (1594) and comes from his mature voice. Although it is economical in expression, it is rich and sonorous in sound and brought alive by the six-part counterpoint. It truly brings the text 'Music is a gift from God' to life.

Songlist: Musica, Dei donum optimi

Review: Palestrina first published his 29 five-part motets, to words from King Soloman's Song of Songs, in 1583-1584 in Rome. These are most rewarding and challenging pieces for ensembles looking to add to their repertoire.

Songlist: Osculetur me, Trahe me, Nigra sum, sed formosa, Vineam meam non custodivi, Si ignoras te, Pulchrae sunt genae tuae, Fasciculus myrrhae, Ecce tu pulcer es, Tota pulchra es, Vulnerasti cor meum, Sicut lilium inter spinas, Introduxit me rex, Laeva eius, Vox dilecti mei, Surge, propera amica mea, Surge, amica mea, Dilectus meus mihi, et ego illi, Surgam et circuibo civitatem, Adiuro vos, Capet eius, Dilectus meus descendit, Puchra es, amica mea, Qua est ista, Descendi in hortum nucum, Quam pulchri sunt, Duo ubera tua, Quam pulchra es, Guttur tuum, Veni, veni dilecte mi

Review: Missa Papae Marcelli, or Pope Marcellus Mass, is Palestrina's most well-known and most often-performed mass, and is frequently taught in university courses on music. The mass is freely composed, not based upon a cantus firmus or parody. It is a six-voice mass, though the use of the full forces is reserved for specific climactic portions in the text, and voice combinations are varied throughout the piece. It is set primarily in a homorhythmic, declamatory style, with little overlapping of text and a general preference for block chords such that the text, unlike many polyphonic masses of the 16th century, can clearly be heard in performance.

Songlist: Kyrie, Gloria, Gloria: Qui tollis, Credo, Credo: Crucifixus, Credo: Et in spiritum sanctum, Sanctus, Sanctus: Hosanna in excelsis, Sanctus: Benedictus, Agnus Dei I & II

Review: Phillipe de Monte wrote Super flumina Babylonis (By the streams of Babylon, there we sat and wept) and sent it to William Byrd who responded by setting the subsequent verses of the psalm text Quomodo Cantabimus (How shall we sing the Lord's song in a foreign land). This edition allows these wonderful pieces to be sung as a unit or separately.

Songlist: Super flumina Babylonis, Quomodo Cantabimus

Review: Some choral classics from the Renaissance period. First published in 1603, the quintessential John Dowland madrigal 'Weep You No More Sad Fountains' has been newly edited by Russell Robinson. SATB and 3-part mixed choirs will enjoy the lush texture and rich harmonic structure, which exemplifies music of the Renaissance era, and appreciate the high quality of Dr. Robinson's tidy edition. Solid choral repertoire. Long a standard in the choral repertoire, Palestrina's 'Adoramus Te' continues to be a favorite for contest or festival. Range is excellent for the SATB junior high choir. Sixteenth century Italian composer Adriano Banchieri must have had quite the sense of humor. The classic light-hearted concert work 'Counterpoint Of The Animals' has been a staple in choral repertoire for decades. Now Russell Robinson brings us a new setting that will add a touch of classy fun to any serious concert. Glorious polyphony soars in this edition of Victoria's 'O Magnum Mysterium'. Long melismas and fugal entrances are part of the beauty of this great Renaissance work. For contest, festival or concert use.

Songlist: Ave Maria, O Magnum Mysterium, Fa Una Canzona, Counterpoint Of The Animals, Weep You No More Sad Fountains, Adoramus Te

Review: This collection of rounds and part songs, drawn from the collections of Thomas Ravenscroft, provides a look into the popular music-making of the 16th and early 17th centuries. Overflowing with helpful editorial suggestions and historical context, this is a wonderful resource for both performance and education!

Songlist: Editorial Notes, Performing the Rounds, Pedagogical Suggestions, Rounds In Alphabetical Order, Selected Rounds In Score Format, Indexes , Musical Features, Solmisation Charts, Sources Of The Rounds In Alphabetical Order

Review: Tallis flourished as a church musician in 16th century England. He occupies a primary place in anthologies of English church music, and is considered among the best of its earliest composers. Tallis has been said to be one of the most important composers of his time and is honoured for his original voice in English musicianship. Here is a collection of his unaccompanied works arranged for SATB.

Songlist: Verily, verily, Purge me, O Lord, O sacrum convivium, O Lord, give thy Holy Spirit, In manus tuas, In Ieiunio Et Fletu , If ye love me

Review: This anthology comprises 17 of Tallis's shorter choral pieces, and is designed to provide choirs and students with a pratical and interesting cross-section of the composer's smaller-scale ourput. These are pratical perfoming editions, transposed where necessary, supplemented by a full critical apparatus for each peice and a general introduction to the anthology.

Songlist: Audivi vocem de caelo, Derelinquit impius, Hear the voice and prayer, If ye love me, In ieiunio et fletu, In manus tuas, Laudate Dominum, Mihi autem nimis, O Lord, give thy Holy Spirit, O Lord, in thee is all my trust, O nata lux, O Sacrum Convivium, O salutaris hostia, Purge me, O Lord, Salvator mundi, Te lucis ante terminum, Verily, verily, I say unto you

Review: The sixteenth century was a time of religious upheaval in England. From Henry VIII's protestant reformation through Queen Mary's staunch but short-lived Catholic revival to the return of Anglicanism in Elizabethan times, it would have required careful diplomacy for a Roman Catholic like Thomas Tallis simply to stay alive. In fact he became the most respected composer of his generation and is now recognised as one of the country's greatest composers. 2005 was the five hundredth anniversary of Thomas Tallis' birth and his genius is celebrated in this collection of English-texted sacred music, selected and edited by Jeremy Summerly to provide an invaluable source of introits and anthems for choirs

Songlist: If You Love Me, Hear the Voice and Prayer , A New Commandment, O Lord, Give They Holy Spirit, I Call and Cry to Thee, O Lord, With All Our Heart, Discomfit Them, O Lord, Why Fumeth in Sight

Review: A selection of nine works by Tomkins, including his seven Penitential Psalms, which comprise a fine and coherent set. Edited by Ivan Moody, this is part of a series of short volumes, each devoted to a single composer or appropriate group of composers, thoroughly exploring the unlimited resources of Renaissance sacred polyphony.

Songlist: O Lord, Rebuke Me Not, Blessed Is He, Put Me Not To Rebuke, Have Mercy Upon Me, O Lord, Hear My Prayer, O Lord, And Let My Crying Come, Out Of The Deep, Hear My Prayer, O Lord, And Consider My Desire, Arise, O Lord, And Have Mercy, O Lord, Open Thou Our Lips

Review: The New Oxford Book of Carols (1992) was born of the need for a practical collection presenting carols either in their original versions (where such a concept was relevant) or in versions that respected the essential character of the melodies and their texts. The original 700-page book, which contains alternative versions of many carols, also offers an extensive historical introduction and notes to individual carols, from which the information below is summarized. The word 'carol' has had a variety of meanings, starting as a dance-song in the Middle Ages. Carols are now almost exclusively associated with Christmas, and their subject-matter is either midwinter cheer, or the conception and birth of Christ. While modern secular practice is to sing them before Christmas, they formerly belonged to the period between Christmas eve and Epiphany. Our own criteria for selecting carols re that the content must be narrative, contemplative or celebratory, the spirit simple, the form normally strophic.

Songlist: Veni, Redemptor Gencium, Angelus Ad Virginem, Verbum Caro Factu Est: In Hoc Anni Circulo, Verbum Patris Umanatur, Qui Creavit Celum, Corde Natus Ex Parentis

Review: The carol text 'The Burning Babe' is by the same sixteenth-century poet--Robert Southwell--as the better-known 'This Little Babe.' Like its sister text, it explores an unusual metaphor for the infant Jesus--in this case, a refining fire which purifies the believer. The strophic setting, with soprano solo, is dissonant and chromatic, with edgy rhythms: a fine selection to balance against sweeter Christmas settings. This raucous arrangement of 'Wassailin'' with 'doo-wah' patterns goes 'all over the town' in its depiction of a rowdy Christmas feast. Try it as a change of pace at a madrigal dinner! Choral drones, small percussion, and canon are some of the simple but extremely effective devices in this arrangement of 'Puer Nobis Nascitur' in 6/8 time. This piece will make a fine processional for your Christmas concert. This gentle, homophonic setting of 'Dormi, Jesu!', with its low tessitura and repeated rhythmic pattern, would definitely comfort the baby. This piece is perfect for setting a quiet mood for a Christmas service or concert. 'O Regem Coeli ' - This loveliest of all Christmas motets for upper voices, long out of print in the U.S., is newly edited from the original print of 1572, with literal word-by-word and prose translations and keyboard reduction.

Songlist: Dormi, Jesu!, Wassailin', O Regem Coeli , The Burning Babe, Puer Nobis Nascitur

Review: 'O Magnum Mysterium' was written in the late Renaissance period by Tomas Luis de Victoria, this beautiful piece captures the wonder and mystique of Christ's birth. Russell Robinson has arranged O Magnum Mysterium, making it more accessible to both school and church choirs, by setting it in a slightly higher key than the original, and with notation that is more easily understood. The music of the Renaissance has a pure clarity of sound that every singer should experience. Ruth Elaine Schram's setting of 'Agnus Dei' is a lush setting with parts intertwining in the most unexpected ways, forming uniquely beautiful harmonies. The cyclical nature of the piece reiterates the meaning of the text, a fervent prayer, 'Lamb of God, grant us peace.' Festival or contest piece for schools, and a moving Lenten anthem for the sanctuary. A passionate Latin text, 'Adoramus Te' embodies all of the purity and pristine beauty of Renaissance music. Sung a capella, this reverent masterwork may be used in concert, contest, or festival settings by school or church groups. Appropriate for high school children. Robert Shaw commissioned Chester Alwes to make an edition of Tomas Luis de Victoria's motet, 'O Vos Omnes', which was to be sung as part of the Robert Shaw Summer Festival in France. Robert Shaw has added tempo indication and expressive and dynamic marks, which indicates his feelings about how the piece should be realized in contemporary performance giving modern conductors the guidance of one of America's foremost choral musicians. The a cappella madrigal from the high Renaissance 'Adieu, Sweet Amaryllis' is now available as a choral. It features opportunities for dynamic contrasts and development of musical line. John Leavitt has edited the piece with optional cue notes to make the tenor range more accessible to a larger group of singers. This madrigal is stunningly beautiful. This buoyant Spanish love song'Catinga' includes words by Gil Vincente and extols the beauty of one beyond compare, asking sailor, soldier, and shepherd if they have ever seen such loveliness. Cantiga is sung a cappella, with the voices simulating the strumming of a guitar and providing percussive accompaniment to the melody. Great fun!

Songlist: O Magnum Mysterium, Agnus Dei, Adoramus Te, O Vos Omnes, Cantate Domino, Adieu, Sweet Amaryllis, Catinga

Review: 'O Virgin Resplendent' - A late medieval canon, moving almost entirely in fluid eighth-note triplets, comes to rest at the end of each phrase. Edited by Mark Winges for the Piedmont Children's Choirs, this piece works beautifully as a processional. 'Marriage bed of Chastity' - This lively 13th-century conductus from the Las Huelgas manuscript, with added optional percussion parts, makes a very effective processional. Mary is the 'marriage bed of chastity' sought by God the Father for bearing the Son. 'O frondens virga' - This new edition of Hildegard's antiphon places it in its liturgical context, pairing it with a plainchant 'Magnificat' (included in this edition by William Flynn). The reprise of the antiphon has an optional added voice in organum, reflecting medieval performance practice. Latin, with full translation and historical and performance notes. 'Dancing' - 'I stumble and tumble,' begins this freely-rendered medieval text, set in 6/4 over a delightfully lurching scat ostinato in 12/8. Written for the women of the Cornell University Chorus, it works easily when conducted in a big 2. English. 'Circle' - In this medieval mystic text the circle is an image for meditation, first excluding, then embracing, the world. The musical setting reflects the image with contracting and expanding textures, and a soprano solo.

Songlist: O Virgo Splendens (O Virgin Resplendent), Castitatis thalamum (Marriage bed of chastity), O frondens virga (O branch, coming into leaf), Dancing, Circle

Review: Our fascination with the music of the medieval era continues to grow and grow. This collection with contemporary notation and helpful performance options offers the modern choir an opportunity to celebrate the music of the past. 'If Ye Love Me' is one of the most recognized anthems from the English Renaissance, in a new adaptation specifically geared to the limits of younger voices and middle school choirs. Intimate and expressive, this would work well in both concert and worship settings, and provides a great way to introduce young singers to historical choral works. 'Domine Fili Unigenite' features canonic imitation, vocal ostinati, and delicately intertwining melodies, this a cappella setting is stunning. 'Gloria Patri' has powerful antiphonal effect provides a dramatic vehicle for the English or Latin text! An appealing Renaissance work for both your mixed and treble ensembles! 'Exultate Justi' is the famous Psalm 33 motet by Lodovico Grossi da Viadana adapted for younger ensembles. This composition is written in the typical Renaissance style of motets (a cappella sacred works) and madrigals (a cappella secular works). 'Celebrate This Day Together' - energetic and rhythmic 16th-century piece is an excellent introduction to the music of the Renaissance. Includes secular or Christmas lyrics and optional hand drum.

Songlist: Domine Fili Unigenite, Gloria Patri, Exultate Justi, Gaudete Christus est natus, Celebrate This Day Together, There is no rose, Alleluia

Review: Arcadelt is known for his homophonic, tuneful settings. Provided with a new English text by the editor, the late Renaissance work 'Come Join In Singing' is perfect for the emerging mixed ensemble. The boys' range is limited to five notes. Performed a cappella, with keyboard or with instruments, this work is ideal for concert, contest or festival. The easy-to-sing concert work 'Sing Gloria!' is built on Billing's Wake Ev'ry Breath canon. It's an ideal concert opener that will be a welcome addition to every choral library. 'Laudate Dominum' - Victoria, one of Spain's finest composers of the Renaissance, has been immortalized for his combination of melodic lines which weave beautiful tonal tapestries. This work, in our Easy Choral Masterworks series, is very short and accessible for young voices. Perfect for concert or contest. The most famous of all 15th Century Italian madrigals 'Fa Una Canzona' is brought to life in this new Russell Robinson edition from our Developing SATB Repertoire series. Both English and Italian texts are included.

Songlist: Come Join In Singing, Sing Gloria!, Laudate Dominum, Fa Una Canzona, Two Renaissance Chorals

Review: Sixteenth century composer Lodovico Viadana created the wonderful work 'Exultate Justi' that is now a choral performance classic, performed regularly by choirs throughout the world. Earlene presents this new setting that will give either your men a chance to shine. The well-known song 'Psallite' by Praetorius from the German Renaissance period has long been a part of our choral repertoire. Russell Robinson has created an easy-to-sing SATB setting as well as a three-part men's edition. A perfect way to present standard choral repertoire to your developing choirs.

Songlist: Adoramus Te, Exultate Justi, Psallite, Ave Maria

Review: 'Canzonette a Tre' - These four songs describe the pangs of thwarted romantic love: torment, desire, and longing. (The third may be the world's only love song declaring envy of a flea--including hopping rhythms.) These songs include a wide range of Renaissance musical devices, including imitation, cadential suspensions, metric changes, and dance-like rhythms. Since they are short and strophic, they give your singers multiple chances of mastering idioms of Renaissance polyphony on a small scale. 'Virgines Prudentes' - This very easy double chorus piece, with Chorus I-II echoes, is a wonderful introduction to the world of more than four parts. The text, based on the parable of the wise and foolish virgins, is suitable for Advent. 'Congratulamini Mihi Omnes' - 'Rejoice with me, all ye who love the Lord' is the beginning of the text, expressing Mary's joy in a first-person responsory text incorporating parts of the Magnificat. This sturdy polyphonic setting concludes with an exultant homophonic section in triple meter. 'Tragico Tecti Syrmate' - This angels' lament for the destruction of a city is the crown of Renaissance music for upper voices. While each of the largely syllabic parts is independent, together they interweave in a stately harmonic rhythm, conveying both the dignity of formal mourning, and the richness of the city and its people that are no more.

Songlist: Virgines Prudentes, Canzonette a Tre, Congratulamini Mihi Omnes, Tragico Tecti Syrmate, O Magnum Mysterium

Review: The greatest English composer of his generation, comparable in stature to his most distinguished continental contemporaries, William Byrd was a versatile composer. Byrd's compositions for the church may be separated into those for the Catholic liturgy and those designed for the officially recognised Church of England. The first category includes settings of the Mass for three, four and five voices, and a large quantity of other works for the various seasons of the church year. Well-known for his keyboard works here are a collection of his a cappella arrangements that have has been sung in English cathedrals uninterrupted for the past four centuries.

Songlist: Non Nobis Domine, Haec Dies, Justorum Animae, Laetentur Caeli

Review: The greatest English composer of his generation, comparable in stature to his most distinguished continental contemporaries, William Byrd was a versatile composer. Byrd's compositions for the church may be separated into those for the Catholic liturgy and those designed for the officially recognised Church of England. The first category includes settings of the Mass for three, four and five voices, and a large quantity of other works for the various seasons of the church year. Well-known for his keyboard works here are a collection of his a cappella arrangements that have has been sung in English cathedrals uninterrupted for the past four centuries. For SATB choir.

Songlist: O Magnum Mysterium, Prevent Us, O Lord, Rorate Caeli Desuper, Ave Verum Corpus, Exsurge Domine

Review: William Byrd's Mass Proper for the feast of All Saints is beautifully arranged for unaccompanied mixed voices by Sally Dunkly.

Songlist: Mass Of Propers For The Feast Of Old Saints, Introit, Gradual & Alleluia, Offertory, Communion

Review: This edition reconstructs two breathtaking motets by the English composer William Mundy. The text by St Francis of Assisi, incorporating the phrase 'we do not know the day or the hour when the Lord will come', is appropriate for the end of the Church Year and during the Season of Advent. These elegant, straightforward settings are within the abilities of most church choirs.

Songlist: Beatus et Sanctus, sive vigilem