The volumes of this expanding series are devoted to a wide range of sacred renaissance motets with Latin texts, and contain a mixture of well known and unfamiliar pieces, some of which are published for the first time. All appear in editions by Anthony G. Petti. Contents: Alma Redemptoris (Da Palestrina) - Christus Factus Est (Anerio) - Ego Sum Panis Vivus (Da Palestrina) - Ego Sum Panis Vivus (Da Palestrina) - In Monte Oliveti (Ingegneri) - O Rex Gloriae (Marenzio) - O Sacrum Convivium (Croce) - Regina Caeli (Soriano) - Requiem Aeternam (Anerio) - Sisut Cervus (Da Palestrina) - Super Flumina (Da Palestrina) - Tribus Miraculis (Marenzio).

The volumes of this expanding series are devoted to a wide range of sacred renaissance motets with Latin texts, and contain a mixture of well known and unfamiliar pieces, some of which are published for the first time. All appear in editions by Anthony G. Petti. Includes: Agnus Dei (Thomas Morley) - Alleluia (John Tavener) - Audivi (John Tavener) - Ave Verum Corpus (William Byrd) - Cibavit Eos (William Byrd) - Dum Transisset (Robert Johnson) - Euge Caeli (Thomas Tallis) - Gloria Laus (Christopher Tye) - In Manus Tuas (John Shepherd) - Sancte Deus (Thomas Tallis) - Senex Puerum (Byrd, William) - Venite Comedite (William Byrd).

Songlist: SENEX, AGNUS DEI MORLEY, THOMAS, ALLELUIA TAVERNER, JOHN, AUDIVI TAVERNER, JOHN, AVE VERUM CORPUS BYRD, WILLIAM, CIBAVIT EOS BYRD, WILLIAM, DUM TRANSISSET JOHNSON, ROBERT, EUGE CAELI TALLIS, THOMAS, GLORIA LAUS TYE, CHRISTOPHER, IN MANUS TUAS SHEPHERD, JOHN, SANCTE DEUS TALLIS, THOMAS, VENITE COMEDITE BYRD, WILLIAM

The volumes of this expanding series are devoted to a wide range of sacred renaissance motets with Latin texts, and contain a mixture of well known and unfamiliar pieces, some of which are published for the first time. All appear in editions by Anthony G. Petti. Contents: Anima Mea (Rivaflecha) - Ave Maria (Victoria) - Canite Tuba (Guerrero) - Ego Sum Panis Vivus (Esquivel) - Gloriose Confessor (Guerrero) - Janitor Caeli (Ortiz) - O Magnum Mysterium (Victoria, Tomas Luis De) - Peccantem Me Quotidie (Morales) - Pueri Hebraeorum (Victoria) - Regina Caeli (Morales) - Simile Est Regnum (Morales).

The volumes of this expanding series are devoted to a wide range of sacred renaissance motets with Latin texts, and contain a mixture of well known and unfamiliar pieces, some of which are published for the first time. All appear in editions by Anthony G. Petti. Contents: Cantate Domino (Hassler) - Deus In Adjutorium (Senfl) - Ecce Concipies (Handl) - Ecce Quomodo (Handl) - Factus Est Repente (Aichinger) - Laetentur Caeli (Hassler) - Puer Natus (Praetorius) - Regina Caeli (Aichinger) - Resonet In Laudibus (Handl) - Salve Rex Noster (Praetorius) - Tu Es Petrus (Hassler) - Verbum Caro (Walter).

Songlist: CANTATE DOMINO HASSLER, DEUS IN ADJUTORIUM SENFL, ECCE CONCIPIES HANDL, ECCE QUOMODO HANDL, FACTUS EST REPENTE AICHINGER, LAETENTUR CAELI HASSLER, PUER NATUS PRAETORIUS, REGINA CAELI AICHINGER, RESONET IN LAUDIBUS HANDL, SALVE REX NOSTER PRAETORIUS, TU ES PETRUS HASSLER, VERBUM CARO WALTER

The volumes of this expanding series are devoted to a wide range of sacred renaissance motets with Latin texts, and contain a mixture of well known and unfamiliar pieces, some of which are published for the first time. All appear in editions by Anthony G. Petti. Contents: Ave Maria Gratia Plena (Desprez, Josquin) - Crux Fidelis (Papa) - Gustate Et Videte (Isaac) - Haec Dies (Arcadelt) - Improperium (Lassus) - Jerusalem Surge (Isaac) - Jubilate Deo (Lassus, Orlandus) - O Magnum Mysterium (Willaert) - O Quam Gloriosum (Vaet) - Scio Enim (Lassus) - Tu Solus (Des Prez).

The volumes of this expanding series are devoted to a wide range of sacred renaissance motets with Latin texts, and contain a mixture of well known and unfamiliar pieces, some of which are published for the first time. All appear in editions by Anthony G. Petti. Contents: Adoramus Te Christe (Lassu) - Ave Maria (Monteverdi) - Confitemini Domino (Costantini) - Deus Canticum Novum (Asola) - Domine Deus (Morales) - Ego Flos Campi (Papa) - In Die Tribulationis (Morales) - In Pace (Lassus) - Jesu Rex Admirabilis (Palestrina) - Lauda Sion (Monteverdi) - Memento Salus Auctor (Byrd) - O Vos Omnes (Asola) - Recordare Domine (Genet) - Sederunt In Terra (Genet) - Tua Jesu Dilectio (Palestrina).

The volumes of this expanding series are devoted to a wide range of sacred renaissance motets with Latin texts, and contain a mixture of well known and unfamiliar pieces, some of which are published for the first time. All appear in completely new editions by Anthony G. Petti. Contents: Ave Virgo Gloriosa (Dering) - Confirma Hoc Deus (Byrd) - Justorum Animae (Byrd) - O Nata Lux De Lumine (Tallis, Thomas) - O Sacrum Convivium (Tallis) - Omnes Gentes Plaudite (Tye) - Precamur Sancte Domine (White) - Terra Tremuit (Byrd) - Tibi Laus (Philips).

The volumes of this expanding series are devoted to a wide range of sacred renaissance motets with Latin texts, and contain a mixture of well known and unfamiliar pieces, some of which are published for the first time. All appear in editions by Anthony G. Petti. Contents: Adoramus Te Christe (Nanino) - Dominator Coelorum (Festa) - Gaude Virgo Maria (De Victoria) - Gloria Laus (Perez) - Manus Tuae Domine (Morales) - Mirabile Mysterium (Vinci) - O Beata Trinitas (Da Palestrina) - Repleti Sunt Omnes (Esquivel) - Voce Mea (Porta).

The volumes of this expanding series are devoted to a wide range of sacred renaissance motets with Latin texts, and contain a mixture of well known and unfamiliar pieces, some of which are published for the first time. All appear in editions by Anthony G. Petti. Contents: Ave Maria (Papa) - Cantate Domino (Hassler) - Eripe Me De - Inimicis (Raselius) - In Nomine Jesu (Handl) - Jubilate Deo (De Rore) - Justorum Animae (Lassus) - Magi Videntes Stellam (Amon) - Peccantem Me Quotidie (De Monte) - Stetit Jesus (Regnart).

Songlist: Jubilate Deo, Ave Maria, Cantate Domino, Justorum Animae, Eripe Me De Inimicis, In Nomine Jesu, Magi Videntes Stellam, Peccantem Me Quotidie, Stetit Jesus

A comprehensive series of Latin motets from the Renaissance period, combining old favorites with lesser-known works. This volume include works by Robert Ramsey, Byrd, Palestring and Peter Philips, including: Alma Redemptoris (Orlandus Lassus) - Beata Viscera (William Byrd) - Canite Tuba (Palestrina) - Hodie Christus Natus Est (Jan Sweelinck) - O Beatum Et Sacrosanctum Diem (Peter Phillips) - O Sapienta (Robert Ramsey) - Orietur Stella Jacob (Handel) - Surge Illuminare Jerusalem (Francesco Corteccia) - Tria Sunt Munera (Juan Esquivel).

Songlist: ALMA REDEMPTORIS ORLANDUS LASSUS, BEATA VISCERA WILLIAM BYRD, CANITE TUBA PALESTRINA, HODIE CHRISTUS NATUS EST SWEELINCK, JAN, O BEATUM ET SACROSANCTUM DIEM PHILIPS, PETER, O SAPIENTA ROBERT RAMSEY, ORIETUR STELLA JACOB HANDL, SURGE ILLUMINARE JERUSALEM FRANCESCO CORTECCIA, TRIA SUNT MUNERA JUAN ESQUIVEL

The volumes of this expanding series are devoted to a wide range of sacred renaissance motets with Latin texts, and contain a mixture of well known and unfamiliar pieces, some of which are published for the first time. All appear in editions by Anthony G. Petti. Contents: Ad Te Levavi (White) -Adolescentulus Sum Ego (Mundy) - Aspice Domine (Byrd, William) - Four Rounds From Pammellia (Ravenscroft) - Jubilate Deo (Dering) - Laboravi In Gemitu (Morley) - O Lux Beata Trinitas (Byrd).

The volumes of this expanding series are devoted to a wide range of sacred renaissance motets with Latin texts, and contain a mixture of well known and unfamiliar pieces, some of which are published for the first time. All appear in editions by Anthony G. Petti. Contents: Ad Te Domine Levavi (Hakenberger) - Domine Dominus Noster (Lassus) - Gloria In Excelsis (Nanino) - O Magnum Mysterium (Da Palestrina) - Pastores Loquebantur (Guerrero) - Rorate Caeli (Handl) - Veni Domine (De Morales) - Verbum Caro Factum Est (Hassler).

The volumes of this expanding series are devoted to a wide range of sacred renaissance motets with Latin texts, and contain a mixture of well known and unfamiliar pieces, some of which are published for the first time.

Songlist: O Magnum Mysterium, Magi Veniut Ab Oriente, Verbum Caro Factum Est, Rorate Caelli, Dixit Maria, Ecce Virgo Concipies, Hodie Christus Natus Est, Dies Sanctificatus, Omnis Mundus Jocundetur, Prope Est Dominus, Ave Gratia Plena, Ne Timeas Maria

A collection of anthems for unaccompanied SATB chorus.

Songlist: Lift up your heads, O ye gates, O Lord, the maker of all things, Rejoice in the Lord alway, This is the day, Deliver us, O Lord our God, Let my complaint come before thee, Lord, we beseech thee, O sing joyfully, When the Lord turned again, Sacerdotes Domini, Nolo mortem peccatoris, Benedictus qui venit, Holy, Holy, Holy, Audivi vocem de coelo, O Lord, give thy Holy Spirit, O pray for the peace of Jerusalem, O God be merciful, Sing unto the Lord, Exsultate justi, Of the glorious Body telling

Seven Elizabethan poems set for unaccompanied SATB chorus.

Songlist: Love Is A Sickness, Spring, Goof Wine, Sigh No More, Ladies, The River God's Song, The Sweet Spring, To Daffodils Farrar, Ernest, Under The Greenwood Tree

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.

Giovanni Pierluigi da Palestrina : Missa Papae Marcelli   

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

Giovanni Pierluigi da Palestrina : Canticum Canticorum - 29 Motets for 5-part mixed choir   

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

All the motets in this volume are quite early works, taken from the collection 'Sacrae Cantiones Quinque Vocum', published in 1562 at Nuremburg. The typical features of these works are their virtuoso character and exuberance. These are achieved through the use of predominantly bright tonalities, frequent variation of textures and dramatic harmonic and melodic touches. 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. Contains keyboard part for rehearsal purposes.

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)

Here is a fantastic resource for introducing the music of the Renaissance to developing ensembles or groups with limited male singers. Purchase the Performance Kit and receive a code to access audio tracks online through My Library. The six works by Thomas Weelkes, featuring optional percussion.

Songlist: Since Robin Hood, The Nightingale, Strike It Up, Tabor, Come, Let's Begin, Four Arms, Two Necks, One Wreathing, Late In My Rash Accounting

John Leavitt has established a reputation for carefully selecting important and historic repertoire, editing it in ways to make singers successful, all while staying true to the stylistic period. This new collection includes Fair Phyllis I Saw (John Farmer), Weep, O Mine Eyes (John Bennet), All Lust und Freud, Tanzen und Springen (Hans Leo Hassler), Il est bel et bon (Pierre Passereau), Tant que vivray (Claudin de Sermisy), Fa una canzona (Orazio Vecchi) and Bonzorno madonna (Antonio Scandello). A value-priced collection of important and standard works. Purchase the Performance Kit and get access to audio tracks online through My Library.

Songlist: Weep, O Mine Eyes, Bonzorno Madonna (Good Day Dear), Il Est Bel Et Bon, All Lust Und Freud (All Desire And Joy), Tanzen Und Springen, Fair Phyllis, Fa Una Canzona, Tant Que Vivray

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

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

A definitive collection of 100 anthems from Tudor times to the present, this book includes favorites as well as lesser-known pieces. The anthems were selected for their practical usefulness for church choirs today, bearing in mind the needs of smaller choirs: the anthems are mostly for SATB with or without keyboard accompaniments.

Songlist: Ave verum Corpus, Haec dies, Justorum animae, Laetentur coeli, Miserere mei, O quam gloriosum, Sing joyfully, Teach me O Lord, This day Christ was born, Factum est silentium, Call to remembrance, Hide not thou thy face, Lord for they tender mercy's sake, Almighty and everlasting God, Hosanna to the Son of David, O clap your hands, O Lord in thy wrath, This is the record of John, Let thy merciful ears, O Lord the maker, Ave Maria, Ascendit Deus, If Ye Love Me, O nata lux, Salvator mundi, With all our hearts, I heard a voice, When David heard, Give almes of thy goods, Alleluia. I heard a voice, and more

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

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

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

Tudor and Stuart monarchs reigned during a period of political and ecclesiastical turmoil, out of which occurred profound developments in musical style. Tudor Anthems, (the term loosely applied to cover the years 1520 to 1640) anthologizes some of the finest English musical works of that era. It includes sacred works of various lengths and standards of difficulty for mixed voice choir, accompanied and unaccompanied, by an array of composers, including Byrd, Dering, Gibbons, Morley, Mundy, Parsons, Philips, Smith, Taverner and Tomkins. A comprehensive collection and indispensable resource for any choir's library, prepared in an easily understood performing edition by Lionel Pike.

Songlist: Adolescentulus Sum Ego, Agnus Dei, Almighty God Which Hast Me Brought, Almighty God, The Fountain Of All Wisdom, Almighty God, Who By The Leading Of A Star, An Heart That's Broken And Contrite, And The King Was Moved, Appropinquet Deprecacio Mea, Audivi Vocem De Coelo, Ave Maria, Credo Quod Redemptor Meus Vivit, Dum Transisset Sabbatum, Exaudiat Te Dominus, Gaudent In Coelis, God, Which As On This Day, Great King Of Gods, Hear My Prayer, O God, Hosanna To The Son Of David, How Are The Mighty Fallen, I Will Sing Unto The Lord, I Will Wash My Hands In Innocency, In Ieiunio Et Fletu, In Manus Tuas, Domine, In Pace, In Idipsum Dormiam, In The Departure Of The Lord, Laboravi In Gemitu Meo, Laudibus In Sanctis, Man Dream No More, Mater Christi Sanctissima, My Shepherd Is The Living Lord, and more

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)

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

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, and more

The choral music of Orlando Gibbons (1583-1625) is unusual among his Tudor contemporaries for being all in English (as far as we know), and is of the very highest quality. This collection provides an excellent value and includes five examples of the work of this rare genius: Almighty and everlasting God; Drop, drop slow tears; Hosanna to the Son of David; Lift up your heads; O Clap Your Hands.

Songlist: Lift Up Your Heads, Drop Drop Slow Tears, O Clap Your Hands, Almighty And Everlasting God, Hosanna To The Son Of David

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.

Includes: Memento mei, Domine and Crucem tuam adoramus, Domine.

Here are five representative works of Josquin des Prez, probably the most famous European composer of the high Renaissance style of polyphonic vocal music in a value priced collection for mixed choirs and madrigal groups.

Songlist: Allegez Moi, Mille Regretz, Nymphes Des Bois, Petite Camusette, Scaramella

Orlando di Lasso was a Franco-Flemish composer of the late Renaissance known for his mature polyphonic style. Equally adept in many languages and both sacred and secular forms, his compositions remain a staple of the modern choral repertoire. This collection of French chansons includes five representative works and is an excellent value!

Songlist: Bonjour Mon Coeur, Dessus Le Marche, Paisible Domaine, Toutes Le Nuits, Vignon, Vignette

Thomas Tallis (1505-1585) was equally at ease composing simple settings of English texts, and more florid Latin motets, as the examples in this collection show.

Songlist: If Ye Love Me, Hear The Voice And Prayer, O Lord, Give Thy Holy Spirit, Salvator Mundi, O Sacrum Convivium

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

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

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: Two Renaissance Chorals (Adoramus Te / Ave Maria), O Magnum Mysterium, Fa Una Canzona, Counterpoint of the Animals, Weep You No More, Sad Fountains, Adoramus Te

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

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

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

The Tallis Psalter comprises a collection of Tallis's nine tunes for Archbishop Parker's Psalter, preces and responses, the Magnificat and Nunc dimittis (Dorian Service) and a number of easily learnable anthems, all by Tallis. David Skinner is one of the leading scholars in editing music of this period, and this book will be attractive to choirs looking for easily performable and new versions of Tallis choral works.

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

This beautifully presented edition from Novello offers a full Mass setting alongside a Motet, both for SATB chorus, by Tomas Luis De Victoria. Regarded by many as one of the greatest composers of Spanish renaissance polyphony, this Mass setting is rich in his characteristic tonalities and the textures of the sacred choral tradition. Alongside this is the original Motet upon which the Mass setting is based. Both are transcribed and edited by Andrew Parker. The pairing of the two works offers an exciting and fascinating performance opportunity, with the devout grandeur of the Mass set against the modesty of the original Motet.

Songlist: MISSA O QUAM GLORIOSUM, MOTET O QUAM GLORIOSUM EST REGNUM

Tomás Luis de Victoria (1548-1611) was one of the last representatives of the 'prima prattica', the polyphonic style which was dominant in the period music history has labelled the 'renaissance'. Vol. 4 of these 52 motets for voice.

Tomás Luis de Victoria (1548-1611) was one of the last representatives of the 'prima prattica', the polyphonic style which was dominant in the period music history has labelled the 'renaissance'. Vol. 1 of these 52 motets for voice.

"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

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

William Byrd (c.1540-1623) is one of the giants of the English Renaissance, composing sacred polyphony for both Anglican and Catholic rites. This collection provides well-edited, clean editions at an excellent value, and includes: Exsurge, Domine; Haec Dies; Laudibus in sanctis; Praise Our Lord, All Ye Gentiles; Sing Joyfully.

Songlist: Sing Joyfully, Exsurge, Domine, Haec, Dies, Laudibus In Sanctis, Praise Our Lord, All Ye Gentiles

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

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

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

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.