ACDA Centerpieces Session Booklet FINAL

March 2025
Centerpieces:
Programming Concerts around
Multi-Movement Works from OUP
Conductor: Bob Chilcott
Collaborative Pianist: Kevin Caparotta
Jeremy Edelstein, business development manager
jeremy.edelstein@oup.com

Centerpieces:
Programming Concerts around Multi-Movement Works from
OUP
Conductor: Bob Chilcott
Collaborative Pianist: Kevin Caparotta
Title
ACDA Workshop Contents
Composer
Page
1. A Child in Galilee from Mary, Mother
2. The Ice is Listening, from The Ice is Listening
3. Stealing Fire, from She Sang the Stars
4. Rise up, my fair one, and come away, from One Touch of Nature
5. Khattar Pattar, from Sunao
6. Requiem aeternam II, from Requiem
7. Not a Handsome Family/Silent Night, from A Christmas Carol
8. Magnificat, from Saint Thomas Service
9. Sigh No More Ladies, from Three Shakespeare Songs
Bob Chilcott
Cecilia McDowall
Sarah Quartel
Anne Dudley
Reena Esmail
Gabriel Jackson
Benedict Sheehan
Trevor Weston
John Rutter
1
10
22
37
47
59
64
73
85
An index of extended works published by OUP as of March 2025 is included on p. 95 of this packet.

1
Contents
1. A Child in Galilee 5
2. Carpentry Carol 13
3. After the angel 21
4. Walking Carol 26
5. Dear heart 30
6. Hymn 36
Authors’ note
Mary, Mother is a sequence of six carols that articulates the role of Mary in the Christmas story, very much
from the human perspective. The author, Georgia Way, has written new, warm, and thoughtful texts that she
introduces here:
These six carol texts came into being on the premise that Mary might be one of the best-known figures in the Christian
world, but she might also be one of the least understood. Could the serene image of the Mother of God have become
distant to us through her familiarity?
The challenge, then, was to find a way to make Mary’s experiences, as a human woman, emotionally relevant to
audiences today. This is perhaps why the sycamore tree became a central image. In the Bible, Ficus sycomorus is a way
to see further, a way to see Jesus as he approaches. For me, this reflects one of the roles that music plays in our lives:
a way to see further into emotional and spiritual truth.
If the sycamore casts a note of doubt, of instability, into Mary’s emerging adulthood in the first of these six carols, then
the remaining five work to resolve that instability. It is fitting to me that the sycamore should return in the final carol,
a hymn to the regenerative power of the human spirit.
The carols that make up Mary, Mother can be performed individually or as a set. The accompaniment
in this vocal score is designed to be played on the piano. The work was conceived with organ and harp
accompaniment, and a full score and parts for this version are available for digital download.
Mary, Mother was written for St Martin’s Voices and their Director, Andrew Earis, who gave the first
performance at St Martin-in-the-Fields, London, on 18 December 2022.
Bob Chilcott and Georgia Way, June 2023
Duration: c.17 mins

2
For Andrew Earis and St Martin’s Voices, St Martin-in-the Fields, London;
commissioned with the generous support of an anonymous donor
Mary, Mother
1. A Child in Galilee
Georgia Way (b. 1992)
BOB CHILCOTT
Music © Oxford University Press 2023. Text © Georgia Way. Reproduced by kind permission.
Printed in Great Britain
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP
The Moral Rights of the Composer have been asserted. Photocopying this copyright material is ILLEGAL.

3
6

4
7

5
8

6
9

7
10

8
11

9
12

10
Cecilia McDowall
The Ice is Listening

11
Composer’s note
Finding that good starting point for any commission is an exciting process and Henley Choral Society’s
suggestion of creating a cantata about the River Thames provided a wonderful way in to a rich reservoir of
ideas. My thoughts turned to ice. We live in times when ice is increasingly under threat, causing sea levels to
rise and rivers to surge. I thought of times past, when frost fairs were not uncommon, occurring intermittently
up to 1814. And then my thoughts turned to the future, and how scarce it seems ice might become.
Kate Wakeling has created a rich text for this work. Her poetry conveys the colour and vibrancy of the frost
fairs on the Thames alongside a deep insight into how the ice is shifting and diminishing; her text shows us
how things once were, how they are now, and how they might be. This is not a cantata about ‘winter’; rather,
it is a cantata for all time, a reminder that ice is a precious resource, something to treasure.
Of the first movement, ‘Solid Waters’, Kate writes:
The text is drawn from a wonderful seventeenth-century manuscript that I found in the Old Library of
Magdalen College, Oxford. Written by an anonymous source, An Historical Account of the Late Great
Frost (1684) describes in marvellous detail the Frost Fair of 1683–4, when the Thames froze solid and
all manner of ‘Roasting, Boyling, Eating, Drinking [and] Rejoycing’ took place on its surface.
The movement opens with great activity as ‘people began to walk upon the ice’ and repeated patterns on
‘weather’ represent chattering teeth. This spirited, vivacious mood is countered by more thoughtful moments;
away from the clamour and bustle on the ice there is another world—one of quietness, cold, and hunger.
I feel the second movement will bring an air of regret and loss; it is a lament for the ice we have now but, one
day, we may have no more. Kate writes:
The text for this movement, ‘The ice is listening’, takes as its starting point a quote from the climate
scientist Josh Willis—‘When the ocean speaks, the Greenland Ice Sheet listens’—and explores the
impending loss of this ice sheet, paying close attention to the extraordinary amount of ‘history’ locked
in the deepest ice here that will so swiftly vanish into air.
The choir is joined by a soprano soloist singing of the ice which ‘has borne time without complaint’. But now
water challenges the integrity of ice which ‘is pressed at last to speak’. The chorus supports the soloist, perhaps
in the fashion of a Greek chorus commenting on the unfolding of a tragedy.
Of the text in the third movement, Kate writes:
‘Moulin’ expresses something of the dynamism of these strange, magnificent waterfalls within the ice,
and seeks to conjure up both their beauty and the threat they pose.
This movement presses on relentlessly, rather in the manner of a perpetuum mobile. Kate’s poetry brings
colour to this icy propulsion and I have made play with the words ‘dizzy’ and ‘dazzle’ as if they fall downwards
into a watery chasm or ‘moulin’ below. Often there is an expectation that a work of this kind might bring
a note of optimism in its final moments but I feel we face such an uncertain future that it seems more in
keeping to offer something quieter, more contemplative, perhaps even a little unsettling.
This note may be reproduced as required for programme notes.
iv

12

13

14

15

16

17

18

19

20

21

22
Contents
Sarah Quartel
She Sang the Stars
1. Start off Singing 5
2. Water-Mother 9
3. She Ran 22
4. Stealing Fire 27
5. Song of the Stars 40
Composer’s note
She Sang the Stars tells stories inspired by three women characters from the Finnish epic poem the Kalevala.
In movement 1, ‘Start off Singing’, a storyteller sets the stage and prepares to share a tale that has long been
hidden in the cold. Movement 2 tells the story of young Ilmatar, ‘Water-Mother’, who steps down from
the sky to the sea and is impregnated by a tempest. She carries her child for centuries before giving birth.
‘She Ran’, movement 3, follows Lempi as she relentlessly searches for her lost son. She tracks him as a wolf,
swims through rivers as an otter, and even asks the trees if they have seen her ‘staff of silver’, her precious
child. In movement 4, ‘Stealing Fire’, wise and powerful witch Louhi demonstrates her command of the
elements and uses all magic available to her to seek justice against those who have wronged her. Often seen as
the main villain of the Kalevala, here she is revered as a strong and powerful matriarch. The final movement,
‘Song of the Stars’, is without text and honours the presence of the stars, particularly Ursa Major (Great Bear),
referenced throughout the Kalevala. All-knowing and all-seeing, the stars shone well before these tales were
told and will remain long after the story is done.
While the seeds inspiring other works in my catalogue may be traced to a poem, event, or landscape, the
heart of this work grew from the collaborative relationship developed with the commissioning ensemble.
I dedicate this work, with warmest thanks, to Kerra Simmons, Artistic Director, and all the choristers in
Singing Girls of Texas, 2022–2024.
Let them sing.
Duration: 14 mins

23
Commissioned by Singing Girls of Texas, Kerra Simmons, Artistic Director,
to celebrate and empower all singers
She Sang the Stars
Echoes of Women from the Kalevala
SARAH QUARTEL
Extracts from the Kalevala
* Close immediately to the ng at the end of each iteration of the word ‘singing’.
† Grace notes without lines through should be sung on the beat; those with lines should be sung before the beat.
This work © Oxford University Press 2024. Extracts from the Kalevala by Elias Lönnrot, translated by Keith Bosley, © 1989 Oxford University Press. Reproduced by permission.
OXFORD UNIVERSITY PRESS, MUSIC DEPARTMENT, GREAT CLARENDON STREET, OXFORD OX2 6DP
The Moral Rights of the Composer have been asserted. Photocopying this copyright material is ILLEGAL.

24
4. Stealing Fire
(Louhi—Wise Woman)
27
Words by Sarah Quartel, inspired by the Kalevala
© Oxford University Press 2024. Photocopying this copyright material is ILLEGAL.

25
28

26
29

27
30

28
31
* Pronounce as the word ‘nun’, with an open vowel, but closing immediately to the final n.

29
32

30
33

31
34
* Pronounce as the word ‘nun’, with an open vowel, but closing immediately to the final n.

32
35

33
36

34
37

35
38

36
39

37
Anne Dudley
one touch of nature
s. and a. solos, ssatb | piano or strings
Contents
Composer’s note
Texts
iv
v
1. No birds sing
1
2. No light is in heaven
12
3. Is the time not come yet?
19
4. Rise up, my fair one, and come away
29
5. My senses put in order
37
6. How far are we from home? 46
Instrumentation
Strings
Full scores and instrumental parts are available on hire/rental.
If required, the work may also be accompanied by piano, playing from the vocal score.
This work is also available in a version for S. and A. solos, SSAA, and piano or strings
(ISBN 978–0–19–357070–2). The string accompaniment is compatible with both versions.
The version for SSAA choir was commissioned for the 30th anniversary of Nidarosdomens jentekor
(Nidaros Cathedral Girls’ Choir) and the appointment of their conductor, Anita Brevik.
Duration: c.25 minutes

38
Composer’s note
The work’s title comes from Shakespeare’s Troilus and Cressida—‘One touch of nature makes the
whole world kin.’ There are two main themes in this piece: our fractured relationship with the
natural world and nature’s powerful ability to renew itself.
Nature, given the chance, can effect remarkable transformation of a degraded landscape and restore
ecological balance. We have seen examples of this in the many ‘re-wilding’ projects that have
occurred in recent years and, indeed, in the coming of spring which, each year, transforms a bleak
world into one teeming with life. This natural renewal has inspired poets for centuries.
The work’s opening lines—‘The sedge is withered from the lake, And no birds sing’—is from
John Keats’ famous poem La Belle Dame sans Merci. An empty, apparently dead landscape is evoked.
This theme is continued in A. C. Swinburne’s By the North Sea where, with remarkable foresight,
the poet rails against the ‘dumb waste world’. This dark feeling continues in movement two,
‘No light is in heaven’, depicting a world where a brief period of daylight is swiftly overcome by
night. A familiar feeling to those of us who experience winter in Northern climes.
In researching texts for this piece I came across the work of John Burroughs (1837–1921),
a pioneering US naturalist and essay writer. He recognised the importance of man’s connection
with nature and felt that, in our mainly urban society, we had lost touch with the wildness of the
natural world, and in so doing had lost an important part of our souls. His dying words were
‘How far are we from home?’—a poignant enough question in many circumstances. This forms the
basis of the text for the next section of the piece. The questions continue in the poem Sail Away
by Rabindranath Tagore, which asks ‘Is the time not come yet? Are there works still to do?’.
The coming of spring is celebrated in the fourth movement with the joyful words ‘rise up, my fair
one, and come away, for the winter is past and the rains are over’, from the Song of Solomon. I then
return to the words of John Burroughs: ‘I go to nature to have my senses put in order’.
Lord Byron’s famous poem Childe Harold’s Pilgrimage perfectly captures the exhilaration of
connecting with a wild landscape: ‘There is pleasure in the pathless woods, There is rapture on
the lonely shore.’ A sense of oneness with nature carries through to the work’s final section. Tagore
describes taking a boat on a voyage with no particular purpose, simply to be at one with the sea
‘in that shoreless ocean.’
The piece ends with a reprise of the questions, finally asking again ‘How far are we from home?’.
This note may be reproduced as required for programme notes.
iv

39

40

41

42

43

44

45

46

47
REENA ESMAIL
Sŭnāō
Three songs on the power of listening and connection
with original Hindi texts by Reena Bhansali
for SATB and piano
vocal score
CONTENTS
1. Āō (आओ) 5
2. Khaṭṭar paṭṭar (खर पर) 12
3. Behtā jā (बहता जा) 22
Esmail_Sunao_SATB_TP.indd 1 23/01/2025 13:18

48
Composer’s note
Sŭnāō is a set of three pieces designed to introduce young choirs to the Hindi/Urdu language. The word
‘sŭnāō’ translates as ‘have me listen’, but is closer in meaning to ‘tell me’ or ‘sing for me’. The first song, ‘Āō’,
invites us to share our musical traditions with one another, exploring changing open vowels and featuring a
two-part canon in its central section. ‘Khaar paar’ uses a distinctive style of onomatopoeia to describe how
we sometimes let our thoughts run out of control. Opening with a whispered section, it has a high rhythmic
energy and continual sense of drive. By contrast, the gently flowing ‘Behtā jā’ encourages us not to be too
hard on ourselves, contrasting dark and light within a soft dynamic palette. Each piece is designed to teach
linguistic concepts of Hindi and musical concepts of Hindustani music, while reminding us to approach new
ideas from a place of curiosity rather than of judgement.
This note may be reproduced as required for programme notes.
Duration: c.11 minutes
Sŭnāō is also available in versions for SAB and piano (ISBN 978–0–19–357695–7) and SSAA and piano
(ISBN 978–0–19–357698–8).
Pronunciation Guide
A video pronunciation guide is available on a companion website: www.oup.com/sunaao
Vowels
ā as in car i as in sit ŭ as in good
a as in about ī as in tree u as in thumb
e as in fed ĩ as in tree, with nasalization ū as in food
ẽ as in fed, with nasalization ō as in note
Consonants (when different from English pronunciation)
t as in the (dental)
d as in the Spanish word dos or dónde (dental)
r as in the Spanish word rojo or rosa (flipped)
Sounds with no equivalents in Romance languages
Aspirated
To make the sounds “bh”, “chh”, “dh”, “kh”, and “th”:
• begin to say the sound before the final h, so “b”, “ch”, “d” (dental as “dos”), “k”, and “t” (dental as “the”)
• as you make the sound, push extra air through it (if you hold your palm a few inches in front of your mouth,
you should be able to feel a puff of air)
Retroflex
To make the sounds “” and “”:
• curl your tongue back, so the underside of the tip is touching the top of your mouth (retroflex consonant)
• then bring it forward to pronounce the “” and “”
To make the sound “”:
• curl your tongue back as above
• then flip your tongue forward as if saying both “r” and “d”

49
12
()
.. ..
* This movement should feel like it is just coming apart at the seams. The speed at which this will be felt will vary between choirs and performances,
so conductors should pick a tempo accordingly.
† close to m immediately

50
13
* close to m immediately

51
14

52
15

53
16
* close to m immediately

54
17

55
18

56
19

57
20

58
21

59
Gabriel Jackson
REQUIEM
COMPOSER’S NOTE
The original inspiration for my Requiem was to combine the hieratic, grave objectivity of
the great Iberian Requiems with something more personal, intimate even, so as to reflect
the individual as well as the universal experience of loss. To this end I have replaced alternate
movements of the Latin Mass for the Dead with funereal poems from other cultures
and spiritual traditions. The interesting thing about these very different meditations on
the meaning of human mortality—by the Buddhist Rabindranath Tagore, the Quaker
Walt Whitman, Hôjô Ujimasa the Samurai, the Australian Aboriginal poet Kevin
Gilbert, and the eighteenth-century Mohican Chief Aupumut—is that ultimately they all
express a similar view of death to the European Christian one: that it is not the end, but
the gateway to another life. The resulting sequence, full of images of light and the promise
of eternal life, is radiantly optimistic; this seems only right to me, as the purpose of
any Requiem setting is surely to heal, and to console the living.
Duration: 29 minutes
CONTENTS
Requiem aeternam I 6
Epitaph 17
Requiem aeternam II 26
Autumn wind of eve 29
Sanctus & Benedictus 33
Peace, my heart 57
Lux aeterna 61
Great Clarendon Street, Oxford OX2 6DP
198 Madison Avenue, New York, NY 10016, USA
© Oxford University Press 2009
Database right Oxford University Press (maker)
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without
the prior permission in writing of Oxford University Press, or as expressly permitted by law. Enquiries concerning reproduction outside the scope of
the above should be sent to the Music Copyright Department, Oxford University Press, at the address above
Permission to perform this work in public (except in the course of divine worship) should normally be obtained from the Performing Right Society Ltd.
(PRS), 29/33 Berners Street, London W1T 3AB, or its affiliated Societies in each country throughout the world, unless the owner or the occupier of the
premises being used holds a licence from the Society
Permission to make a recording must be obtained in advance from the Mechanical-Copyright Protection Society Ltd. (MCPS), Elgar House, 41
Streatham High Road, London SW16 1ER, or its affiliated Societies in each country throughout the world

26
60
Missa pro defunctis
REQUIEM AETERNAM II
SOPRANO
ALTO
TENOR
BASS
Flowing q = c.72
p
Re
Re
- qui - em ae - ter - nam do - na
e
- is, Do
p
(stagger breathing)
p
Re
Re
mp
- mi - ne,
- - - - - - - - - - - -
mp
- qui - em ae - ter - nam do - na
e
- is, Do
p
(stagger breathing)
- mi - ne,
- - - - - - - - - - - -
S.
A.
T.
B.
5
re
- qui - em ae
p
- - - - - - qui - em
re
p
- qui - em ae
- - - - - - qui - em
-
-
ter
ter
- nam do - na
- nam do - na
e
e
- is,
ae -
- is,
S.
9
mp
Do
p
- mi - ne,
mp
et
lux
per - pe
mf
- - - -
A.
mp
mf
-
ter
- nam, et
lux
per
- -
pe
-
T.
mp
Do
p
- mi - ne,
mp
et
lux
per -pe
- tu
mf
- -
B.
ae
mp
- - - - - - - - -
mf

61
27
S.
A.
13
- tu
-
a
lu
-
-
ce
mp
- - at e
mp
-
is,
p
lux
p
per
-
T.
B.
- tu - a lu ce
- - at e
mp
- - - - - - - -
mp
- - - - - -
- ter
-
is,
a,
- nam do
lux
p
lux
per
per
- - - -
-
-
S.
17
pe
- - tu - a
lu
mp
- ce - at e
p
- -
is.
A.
T.
B.
- - pe - tu - a
-pe
- tu - a
- na
lu
mp
- ce - at
e
lu
mp
- ce - at e
mp
e
- -
-
- -
is.
p
is.
p
p
is.
mp
In
me
-
S.
A.
T.
B.
21
In
mp
In
mp
mp
In
- mo
me - mo - ri - a
me-mo
me
ae
-
f
ter
f
- - ri - a ae
- mo-ri
- a ae
f
- -
- ter - na e
f
- ri - a
ae
-
-
ter
na
ter
e
-
rit
- na e
- rit iu
- na e
- rit iu
-
iu
-
-
rit
stus:
-
stus:

28
62
S.
26
rall.
mp
a tempo
p impassive
ab
au
- di - ti - o - ne ma-
la
non
ti
-
A.
mf
5
p
iu
- stus: ab
au
- - di - ti
- - o - ne
T.
mp
p
ab
au
- - di - ti
- - o - ne
B.
- stus:
mp
p
ab
au
- - di - ti
- - o - ne
S.
30
- me-bit,
pp
ab
au
- di - ti - o - ne ma
p
- la non
A.
ma - la
pp
non
ti
- - me-bit,
ma - la
p
non
T.
pp
p
ma - la
non
ti
- - me-bit,
ma - la
non
B.
ma - la
pp
non
ti
- - me-bit,
ma - la
p
non
S.
34
pp
A.
T.
ti
-
ti - me
me
-
-
pp
bit.
pp
bit.
p
mp
pp
B.
ti - me-
ti - me
-
ma
pp
bit.
- la non
ti
- me - bit.

63
29
Hôjô Ujimasa (1538–90)
trans. Arthur Lindsay Sadler (1882–1970)
AUTUMN WIND OF EVE
SOPRANO
Measured e = c.104
p
Au-tumnwind
of
mf
eve,
p
ALTO
p
Au-tumnwind
of
mf
eve,
p
Ad lib., independent of the conductor and each other
pp wispy
au
mp
- tumn wind,
S.
4
p
au
-
tumn
wind
of eve,
mp
blow a-waythe
A.
T.
Repeat ad lib., independently of the conductor and each other
mp pp
pp
au - tumn wind,
Au
p
-
tumn
wind
of eve,
mp
blow
a-waythe
S.
A.
T.
8
clouds
that
The conductor should give the altos a signal that their current repetition should be the last
p
mass
At the conductor's signal, finish the bar you are
singing and proceed immediately to the next phrase
pp p pp
p
clouds
that
p
mass
au - tumn wind,
Hold the F# until the
last alto reaches theirs
o
p
o
- ver the
- ver the
moon's
moon's
pure
pure
mf
light
mf
light
B.
p
o - ver the moon's pure
Text: Autumn wind of eve by Hôjô Ujimasa, translated by A. L. Sadler. Reproduced by kind permission of Harper Collins Ltd.
mf
light

64
BENEDICT SHEEHAN
A Christmas Carol
Contents
for narrator, SATB soloists, and
SATB choir unaccompanied,
with optional bones
Scoring
Note on Performance
Composer’s Introduction
vi
vi
vii
A Christmas Carol
STAVE 1
1. The truth from above 1
2. Scene 1: In the Counting-House 5
3. Scene 2: Surplus Population 8
4. God rest you merry, gentlemen 12
5. Scene 3: Marley’s Ghost 17
6. Scene 4: Mankind was my Business 22
7. Remember 24
STAVE 2
8. Scene 1: The Ghost of Christmas Past 29
9. Scene 2: Little Fan 32
10. Sussex Carol 34
11. Scene 3: Fezziwig’s Ball 37
12. Scene 4: Gain is Loss 49
STAVE 3
13. Scene 1: The Ghost of Christmas Present 50
14. Scene 2: Not a Handsome Family 54
15. Silent night 57
16. Scene 3: A Child Himself 61
17. Deck the halls 62
18. Scene 4: The Bell Struck Twelve 69
STAVE 4
19. Scene 1: Ghost of the Future 70
20. Scene 2: The Body of a Man 72
21. Scene 3: My Little Child 73
22. Coventry Carol 74
23. Scene 4: The Spirits of all Three 81
24. Poverty 84
STAVE 5
25. Scene 1: Christmas Day 86
26. Scene 2: Back Payments 88
27. Scene 3: God Bless Us, Every One 91
28. It came upon the midnight clear 94

65
Composer’s Introduction
It has always seemed a shame to me that A Christmas Carol didn’t have any Christmas carols in it. What
a profoundly moving story, with music in its title—but no actual music! So, when Matthew Guard first
approached me about collaborating on this project, I could hardly contain my enthusiasm. The time to correct
this particularly glaring oversight had come at last!
The carols in this piece come mostly from the English tradition. In ordering them as they appear here, and
placing them into Dickens’s oft-heard tale, I have endeavoured to imbue both the carols and the story with
a new sense of meaning. Thus, the tune of the enchantingly simple Welsh carol Poverty becomes a leitmotif
for Scrooge and his transformation: distant and distorted when it first appears in the counting-house;
fragmented, squeezed, and transformed over the course of the ghosts’ ministrations; and radiantly remade as
Scrooge joyfully reawakens to find himself alive—truly alive— on Christmas Day.
Other tunes appear and reappear, representing different characters: In dulci jubilo for the childlike yet ancient
Ghost of Christmas Past; The Boar’s Head Carol for the rich, gigantic, jovial Ghost of Christmas Present; and
the Gregorian chant Dies irae for the fearful spectre of the Future. Other pieces depict particular concepts:
It came upon the midnight clear, for example, stands as both a call to care for our fellow human beings
and a rebuke to those who habitually ignore this call. Finally, in the dramatic climax of the whole story,
The Spirits of all Three, where Scrooge is forced to confront his own miserable end, all these tunes merge one
upon the other to illustrate the transformative power of experience and the unpredictable journey towards
developing a truly merciful, mature, and loving heart.
While Scrooge’s story is central to A Christmas Carol, it would be remiss not to mention Tiny Tim.
Dickens reportedly saw him as the main character in his tale, with the plight of London’s 19th-century
poor the underlying theme of the story. I therefore paid special attention to Scrooge’s vision of the bereaved
Cratchit family. The music here is the haunting Coventry Carol, the text of which refers to the Slaughter of
the Innocents recounted in the Gospel of Matthew. In this arrangement, I bring together the 16th-century
English melody with a stark, spare, high, and dissonant texture woven throughout with a keening melody
for mezzo-soprano soloist. My goal was to summon the unthinkable—the experience of a parent losing a
child—and this piece proved to be one of the most emotionally difficult works I have composed.
Christmas means many things for many people. Some of these associations are profoundly joyful; some of
them are deeply painful; and some are a mixture of too many things to recount. However, one thing that is
certain about Christmas is that it will come around again each year, like a refrain, and we will each be given
the opportunity to create new associations. I offer my hope that my re-imagining of this strange ghost story
of sorrow, redemption, and joy forms a positive new association and, moreover, that it helps each of us to
become a little more alive—truly alive—to the world and to each other.
Benedict Sheehan
June 2022
This note may be reproduced as required for programme notes.
Duration: c.69 minutes
vii

66
54
14. Not a Handsome Family
STAVE 3, Scene 2
Silent night
adap. and arr. BENEDICT SHEEHAN
As The Ghost rose, the room vanished instantly and they stood in the city streets on Christmas morning. There was an air of cheerfulness; the people
were jovial and full of glee.
[CHOIR BEGINS] The good Spirit led straight to Scrooge’s clerk’s; on the threshold of the door the Spirit smiled, and stopped to
bless Bob Cratchit’s dwelling with the sprinkling of his torch. Mrs Cratchit made the gravy hissing hot; Master Peter mashed the
potatoes with incredible vigour;
SOPRANO
#
& #
Gently q = 100
∑
Ó .
Œ Œ
p
œ
mm
˙
œ ˙
œ
œ .
n J œ œ ˙.
w.
w.
ALTO
#
& #
p
˙ . ˙.
˙ .
˙.
w.
w.
w.
˙.
œ aœ
œ
mm
ah
TENOR
#
V #
∑
∑
∑
∑
p
˙ œ ˙ nœ
œ .
nœ
J
œ ˙.
mm
BASS
? # #
∑
∑
∑
∑
p
˙ œ ˙ œ
œ .
œ
J
œ ˙.
mm
#
& #
?
# #
4 6 4 6 4 6 4 6 4 6 4 6
Gently q = 100
˙ . ˙.
p
∑
. ˙ ˙ œ
∑
˙
œ
˙
∑
œ
œ .
w.
j
nœ
œ ˙.
∑
w.
˙ œ ˙ n œ
w ˙. . œ aœ
œ .
nœ
J
œ ˙.
œ

67
7
#
& #
Miss Belinda sweetened up the apple-sauce; Martha dusted the hot plates; Bob took Tiny Tim beside him in a tiny corner at the table; Grace was
said. Bob said he didn’t believe there ever was such a goose.
rit.
w.
w.
w.
∑
∑
55
#
& #
œ .
j
œ œ œ œ œ
. ˙ œ œ œ
˙ œ œ œ œ
œ .
j
œ œ . ˙
˙.
Ó .
#
V #
w.
œ .
œ œ
J ˙.
œ .
j
œ œ ˙.
˙ . ˙.
ah
˙.
Ó .
? # #
˙ . ˙.
˙ . ˙.
w.
∑
∑
oh
mm
#
& #
? # #
˙ œ . œ œ
J
œ˙.
œ œ
w ˙ . ˙.
w ˙ .
. œ œ œ
œ˙.
.
j
œ œ ˙.
.
rit.
ẇ.
œ . w.
œ œ œ œ
j
œ œ ˙.
œ .
j
œ œ . ˙
˙ . ˙.
˙.
˙.
Ó .
Ó .
#
& #
12
A
They were not a handsome family; they were not well dressed; their shoes were far from being waterproof; their clothes were scanty. But, they
were happy, grateful, pleased with one another, and contented with the time.
Slowly and expressively q = 70
p
œ .
j
œ œ ˙.
œ .
j
œ œ ˙.
˙ œ ˙.
˙ œ ˙.
#
& #
Si
- lent night,
ho - ly night,
p
œ œ œ œ œ œ
œ œ œ œ œ œ
All is calm,
œ œ œ œ œ œ
all is bright;
œ œ œ œ œ œ
#
V #
ah
p
œ .
j
œ œ ˙.
œ .
j
œ œ ˙.
˙
œ
˙.
˙ œ ˙.
Si
- lent night,
ho - ly night,
All is calm,
all is bright;
? # #
∑
∑
∑
∑
#
& #
? # #
Slowly and expressively q = 70
œ . œ
j
œ œ ˙œ . œ œ
p
œ . œ
J
œ ˙.
j
. œ œ œ œ ˙.
œ œ œ
œ . œ œ ˙.
J
˙ œ . ˙. ˙
œ œ ˙ œ œ œ œ
˙ ˙
œ œ œ œ . œ œ
˙ œ ˙.

68
56
16
#
& #
When the dinner was all done, Mrs Cratchit entered—smiling proudly—with the pudding, like a speckled cannon-ball, blazing of ignited brandy,
and bedight with Christmas holly. Bob proposed: “A Merry Christmas to us all, my dears. God bless us!”
˙ œ œ .
J œ œ
œ .
j
œ œ ˙.
˙ œ œ .
œ
J
œ
œ .
j
œ œ ˙.
Round yon vir - gin
moth
- er and child.
Ho - ly in - fant so ten -
der and mild,
#
& #
œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ
#
V #
˙ œ œ œ œ
œ .
J œ œ ˙.
œ œ œ œ .
œ
J
œ
œ .
œ œ
J ˙.
Round yon vir - gin moth - er and child.
Ho - ly in - fant so ten -
der and mild,
? # #
∑
∑
∑
∑
#
& #
? # #
˙ . j
œ œ œ œ œ œ œ
˙ œ œ œ () œ
j
œœ . œ œ œ œ˙
. œ œ
œ .
œ
J
œ ˙.
˙
œ œ œ œ œ .
œ œ œ œ .
j
œ
J œ ‰
œ
J
œ
œ
j
œ . œ œ œ ˙œ . œ œ
œ .
œ
J
œ ˙.
&
#
& #
20
“God bless us every one!” said Tiny Tim. Tiny Tim sat very close to his father’s side. Bob held his withered little hand in his, as if he wished to
keep him by his side, and dreaded that he might be taken from him.
˙ œ œ .
J œ œ
Sleep in hea - ven-ly
˙ . ˙.
peace,
œ œ œ œ .
j
œ œ
Sleep in hea - ven-ly
U
w.
peace.
#
& #
œ œ œ œ œ œ
œ œ œ ˙.
œ œ œ œ œ œ
U
w.
#
V #
Sleep in hea - ven - ly
˙ œ œ œ œ
peace,
˙.
œ œ œ
Sleep in hea - ven - ly
œ .
œ œ
J œ œ œ
peace.
U
œ œ œ ˙.
Sleep in hea - ven - ly
? # # ∑
peace,
∑
Sleep in hea - ven - ly
∑
peace.
π
Ó . œ U
œ œ
Peace.
#
& #
#
& #
˙ . j œ
() œ œ œ œ œ œ
˙ œ œ œ œ
. ˙ . ˙
œ˙ œ
. œ ˙œ . œ œ
?
j
œ œ œ
.
œ
œ
œ œ
œ .
œ () œ
J œ œ œ
U
w.
π
U
œ œ œ œ˙.
œ œ
Ó .
u
attacca

69
Joseph Mohr (1792–1848)
trans. Jane M. Campbell (1817–78)
SOPRANO SOLO
SOPRANO
ALTO
TENOR
BASS
#
& #
#
& #
#
& #
#
V #
? # #
Gently q = 100
p
œ .
Si
j
œ œ ˙.
- lent night,
ho - ly night, Shep - herds quake
π
w.
mm
π
œ œ œ œ
œ
mm
π
œ œ œ ˙.
mm
π
˙ œ ˙.
œ
15. Silent night
œ .
j
œ œ ˙.
œ œ œ œ œ œ
œ œ œ ˙.
œ .
j
œ œ œ œ œ
˙ œ ˙.
˙ œ ˙.
˙.
œ œ œ
œ œ œ œ œ œ
˙
œ
˙.
Shep - herds quake
˙ œ ˙.
˙ œ ˙.
at
the sight:
œ œ œ œ œ œ
œ œ œ . ˙
œ œ œ ˙
at
the sight:
˙ œ ˙.
57
FRANZ GRUBER (1787–1863)
arr. BENEDICT SHEEHAN
#
& #
?
# #
4 6 4 6 4 6 4 6 4 6 4 6 4 6
Si - lent night,
ho - ly night, Shep - herds quake
j
œ œ
˙
œ
. ˙œ . œ œ
π
œ œ ˙ œ ˙.
Gently q = 100
j
. œ œ ˙
œ œ œ ˙.
œ œ ˙.
œ .
œ œ
Œ
j
œ . œ œ œ œ œ œ ˙ Œ
˙ œ ˙.
˙ œ ˙.
at
the sight:
˙ œ œ ˙
œ œ œ œ œ œ
œ˙
œ .
˙ œ ˙
.
#
& #
5
˙ œ œ .
œ
J
œ
œ .
j
œ œ ˙.
˙ œ œ .
œ
J
œ
œ .
j
œ œ ˙.
#
& #
Glo - ries stream from
œ œ œ œ œ œ
Glo - ries stream from
hea - ven a - far,
œ œ œ ˙.
hea - ven a - far,
Heav’n - ly hosts sing
Œ
p
œ œ œ œ œ
Al - le - lu - ia,
Al - le -lu - ia:
œ œ œ œ ˙
Al - le - lu - ia:
#
& #
#
V #
? # #
#
& #
? # #
˙ œ œ œ œ
Glo - ries stream from
˙
ah
œ
œ œ œ ˙ œ
Glo - ries stream from
˙
˙
œ .
œ œ œ
˙ () œ
˙
œ œ œ
˙
œ
j
œ œ œ
œ
œ .
j
œ œ ˙.
hea - ven a - far,
. ˙ œ œ œ
œ .
J œ œ ˙.
hea - ven a - far,
j
œ . œ œ
œ œ˙
. œ œ
œ .
œ
J
œ
˙.
˙ œ œ .
j
œ œ
Heav’n - ly hosts sing
œ œ œ œ œ œ
Hea -ven - ly hosts sing
œ
œ
œ
œ œ œ
Hea -ven - ly hosts sing
˙
. j
œ œ˙
œ œ œ œ œ
œ
œ
œ
œ
œ
œ œ œ
œ .
j
œ œ ˙ œ
Al - le -lu - ia:
F
œ œ œ ˙.
Al - le - lu - ia:
F
œ œ œ ˙.
Al - le - lu - ia:
j
. œ œ œ œ œœ˙
. œ œœ
F
œ œ œ œ .
˙

70
58
9
#
& #
#
& #
#
& #
#
V #
? # #
#
& #
? # #
F
˙ œ œ .
J œ œ
Christ the Sav - iour is born,
Christ the Sa - viour is
˙ . ˙.
ah
œ œ œ œ œ œ
ah
F
œ œ œ œ œ œ
ah
˙.
œ ˙
ah
˙ œ . j œ œ œ œ Œ œ œ
F
œ œ œ ˙. œ
˙ œ ˙
j
œ .
F
F
F
˙ . ˙.
œ
p π
˙ ˙.
Christ
p
œ œ œ œ œ œ
p
œ œ œ œ œ œ
p
œ Œ Œ Ó.
˙ .
œ ˙ ˙.
p π
œ
œ & œ œ œ œ œ
?
p
œ œ œ œ .
˙
Œ
Œ
Œ
π
œ œ .
j
œ
j
œ
œ
œ
the Sa - viour is
œ œ œ .
j
œ
Christ the Sa - viour is
π
œ
œ
œ .
j
œ
Christ the Sa - viour is
π
œ œ œ .
j
œ
Christ the Sa - viour is
œ œ œ œ
. œ . œ
Œ œ œ . œ
j
œ
œ
J
œ
œ
œ
œ
œ
˙.
born!
Ó .
˙ . ˙.
born!
œ œ œ œ œ œ
born!
w.
born!
˙ .
˙
. born!
˙œ . œ œ œœ ˙œ œ
w .
˙ . ˙
. #
& #
13
A
P
#
& # œ .
#
& #
P
#
V #
˙ œ ˙.
P
? # # ˙ œ ˙.
#
& # œ .
Œ
P
? # # ˙
molto legato p
Ó . Œ œ œ
Si
Œ
Si
Si
-
j
œ œ ˙.
lent night,
ah
P
œ œ ˙ œ
Si - lent night,
-
lent night,
- lent night,
ho - ly night,
j Œ
œ œ œ
œ œ ˙˙
œ
œ
. ˙. ˙
œ œ œ ˙.
œ .
j
œ œ ˙.
ho - ly night,
œ œ œ ˙.
ho - ly night,
œ .
j
œ œ ˙ œ
ho - ly night,
˙ œ ˙.
œ
œ
˙.
. œ œ J
œ ˙.
j
œ . œ œ
˙ œ ˙.
Œ
œ œ ˙.
ah
˙ œ ˙.
Son of God,
˙ œ ˙ œ
Son of God,
˙ œ . ˙
Son of God,
˙ œ ˙.
Son of God,
Œ
œ ˙ œ ˙.
Œ
˙
˙
œ ˙
. Œ
œ
Œ
p
œ œ œ ˙.
p
˙ œ ˙.
love’s
pure light;
p
˙ œ ˙.
love’s
˙
love’s
pure light;
œ
p
˙.
pure light;
p
˙ œ ˙.
love’s
pure light;
œ œ ˙.
˙ œ
˙.
p
j
˙
˙ œ œ ˙.

71
17
#
& #
Œ
p
œ œ œ ˙
œ œ œ œ ˙
Œ œ œ œ œ œ
F
˙.
Œ
#˙
59
#
& #
ah
p
˙ œ œ .
œ
J
œ
œ .
j
œ œ ˙.
ah
˙ œ œ .
J œ œ
œ .
J œ F
œ ˙.
ah
#
& #
#
V #
? # #
#
& #
? # #
Ra - diant beams from
p
˙ œ œ .
j
œ œ
Ra - diant beams from
p
œ œ œ ˙ œ
Ra - diant beams from
p
˙ œ ˙ œ
Ra - diant beams from
Œ œ ˙
˙ œ œ . œ J œ
œ œ œ
j
˙ œ œ ˙ œ
thy ho-ly face,
œ œ œ ˙.
thy ho - ly face,
œ œ œ ˙.
thy ho - ly face,
œ œ œ ˙.
thy ho - ly face,
œ .
œ
j
œ œ œ œ ˙
˙.
œ
œ
. ˙. ˙
With the dawn of re
œ œ œ œ .
j
œ œ
With the dawn of re
œ œ œ
œ .
J œ œ
With the dawn of re
˙
œ
œ
œ .
œ .
œ
œ
J
œ
œ
With the dawn of re
œ
œœ
œ
œ
œ œ œ
˙
j
œ
œ œ œ
œ . œœ
œ
J
œ .
œ .
J œ œ
- deem -
œ .
- deem -
ing grace,
F
j
œ œ ˙.
ing grace,
F
˙ œ ˙.
- deem -
˙
˙
ing grace,
F
œ #
œ œ ˙
- deem - ing grace,
j
œ
˙ Œ # ˙
œœ
. J œ œ œ ˙˙
˙
..
F
˙ œ #
˙ œ œ ˙
&
#
& #
21 .
f P
˙ œ nœ
œ
π
œ œ œ . ˙
rit.
˙.
Ó .
U
∑
#
& #
#
& #
#
V #
p f
˙ œ œ .
œ
J œ
Je - sus, Lord, at thy
p f
œ œ œ Nœ
œ œ
Je - sus, Lord, at thy
p f
Œ œ œ œ .
œ œ
J
π
˙ . ˙.
birth,
π
˙ œ ˙.
birth,
. ˙ Ó .
œ œ œ œ .
j
œ œ
Je - sus, Lord, at thy
˙ œ œ œ œ
Je - sus, Lord, at thy
π
˙ œ œ œ œ
π
U
w.
birth.
π
U
w.
birth.
π
U
w.
? # #
#
& #
#
& #
Je - sus, Lord, at thy
p f
Œ œ œ ˙
Je - sus, Lord,
f
˙
.
œ œ . nœ
œ
œ
œ
f
J œ
Œ
œ
N˙ œ œ œ œ
?
birth,
P π
˙.
œ œ œ
ah
œ œ
˙
œ ˙.
π
˙.
œ œ œ
Je - sus, Lord, at thy
π
œ
J ‰ œ
rit.
œ
œ .
j
œ œ
Je - sus, Lord, at thy
œ˙.
œ œ
j
œ
. œ
œ œ œ
˙œ Œ
J ‰
œ œ
œ .
œ
œ
J
œ
birth.
π
U
w w.
.
birth.
U
w .
π
w
.
u

72
S.
A.
T.
60
25
#
& #
#
& #
#
V #
“Spirit,” said Scrooge, with an interest he had never felt before, “tell me if Tiny Tim will live.” “I see a vacant seat,” replied the Ghost. “No, no,
kind Spirit! say he will be spared.” “What then? If he be like to die, he had better do it, and decrease the surplus population.”
B Poco più mosso q = 84
π
w.
∑
∑
w.
∑
∑
w.
∑
∑
w.
∑
∑
Ó .
Ó .
U
Œ
U
Œ
U
œ œ # œ ˙.
π
œ
ah
π
œ
ah
œ
œ
B.
? # #
mm
π
Ó . Œ œ œ
˙ . ˙.
˙ .
˙.
˙ . ˙.
U
˙ . ˙.
mm
ah
#
& #
? # #
Poco più mosso q = 84
w.
π
Ó . Œ
œ œ
w.
˙ . ˙.
w.
˙ . ˙.
w.
˙ . ˙.
U
Ó . Œ
U
œ œ # œ ˙.
˙ . ˙.
u
œ
œ
#
& #
30
C
Senza misura q = c.138
w.
ah
w .
w.
U
˙.
Ó .
U
#
& #
w.
ah
w .
w.
U
˙.
Ó .
#
P
5 3
V # #w. œ œ œ œ œ œ œ œ œ
? # #
#
& #
?
If he be like to die, he had
SOLO
ah
w.
w.
ah
Senza misura q = c.138
5 3
# œ œ w.
œ œ œ œ œ œ œ
P
.
w.
4 6 4 6 4 6 4 6 4 6
# # w
w
w
4 6
Scrooge cast his eyes upon the ground.
bet - ter do it, and de-crease the sur - plus po -pu - la - tion.
3 3 6
œ œ n˙
w . œ œ œ œ wœ . œ œ œ œ œ œ œ
w.
w.
w.
w.
3 3 6
œ œ n˙
w œ œ œ œ œ œ œ œ œ œ œ œ
.
w.
.
w.
.
w.
U
˙.
. Ó .
U
˙.
˙.
Ó .
U
˙ . ˙.
Ó .
˙.
u˙
.
Ó .
U

73

74

75

76

77

78

79

80

81

82

83

84

85
JOHN RUTTER
THREE
SHAKESPEARE
SONGS
FOR MIXED VOICES UNACCOMPANIED
1. O mistress mine 3
2. Be not afeard 9
3. Sigh no more, ladies 15

86
Much Ado about Nothing, Act II scene 3
SOPRANO
ALTO
TENOR
BARITONE
BASS
for
rehearsal
only
Tempo di valse
h. = 60
mp
Oh,
Oh,
Oh,
Tempo di valse h. = 60
3. Sigh no more, ladies
cresc.
mf
oh,
oh,
mp
mp
Dm
mp
dm
oh,
cresc.
dm
oh,
oh,
cresc.
oh,
dm
oh,
oh,
oh,
sigh
mf
dm
cresc.
mf
oh,
mf
oh,
no
more,
mp
cresc.
mf
15
sigh no
sigh
dm

87
16
7
mf
1. Sigh no more, la - dies, sigh no more, Men were de -
mf
sigh no more, Sigh no more, la dies,
dim.
mp
- sigh no more, Men were de -
more,
oh,
oh,
oh,
dim.
mp
dim.
dm
dim.
no
more,
mp
dm dm dm
mp
mf
oh,
oh, oh, oh, oh,
dm dm dm dm
14
-ceiv
- ers ev - er;
One foot in sea, and one on shore, To
-ceiv
- ers ev - er;
One foot in sea, and one on shore, To
oh, oh, oh,
oh, oh, ev - er,
oh, oh, oh,
dm dm dm dm dm dm dm dm

88
21
mp
one thing con - stant nev - er.
Then
one thing con - stant nev er.
- Oh,
one thing con - stant nev - er.
Oh,
sigh not so, But let them
p
p
p
oh,
oh,
oh,
oh,
17
one thing con - stant,
no nev - er. Oh,
p
dm dm dm
mp
oh,
oh,
oh,
oh,
28
cresc. poco a poco
go, And be you blithe and bon - ny,
Con - vert ing
be you blithe and bon ny,
- all your
cresc. poco a poco
- Con - vert - ing all your
cresc. poco a poco
oh, oh, oh, oh, Con - vert - ing all your
cresc. poco a poco
oh, oh, oh, oh, Con - vert - ing all your
cresc. poco a poco
oh, oh, oh, Con - vert - ing all your
cresc. poco a poco

89
18
35
f ma leggiero
sounds of woe In - to Hey non ny,
- non - ny, hey non - ny, non - ny, hey non - ny,
mf leggiero
sounds of woe In - to Hey
non - ny, hey non - ny, hey
mf leggiero
sounds of woe, Hey
mf leggiero
sounds of woe, Hey
mf leggiero
sounds of woe, Hey
f ma leggiero
non
non
non
- ny, hey non - ny, hey
- ny, hey non - ny, hey
- ny, hey non - ny, hey
42
non - ny,
mf
non
-
ny,
non - ny no, Hey
non - ny, non - ny, hey non - ny, non - ny,
non - ny, non - ny, non - ny, Hey non - ny, non - ny, hey non - ny non - ny,
non - ny, non - ny, non - ny, Hey non - ny, non - ny, hey non - ny non - ny,
non - ny, non - ny, non - ny, Hey non - ny, non - ny, hey non - ny non - ny,
non - ny, non - ny, non - ny, hey non - ny, hey non - ny,
mf

90
19
49
mp
mf
mp
hey
non - ny, non - ny, non - ny,
mp
non - ny no.
mf mp
hey non - ny, non - ny, non - ny,
non - ny, non - ny, non - ny no.
mp
cresc.
mf cantabile
cresc.
hey non - ny, non - ny, non - ny,
non - ny, non - ny.
mp
cresc.
hey, non - ny, non - ny, non - ny,
non - ny, non - ny no,
mp
hey
mp
p cresc.
non - ny, non - ny, non - ny, non - ny, non - ny, non
cresc.
mf
mf
mf
2. Sing
mp
- ny no,
*
mp
no
mp
Hey
more
56
dit
p
Hey
p
Hey
non
non
- ny, non - ny, Dumps so dull and hea - vy, hea - vy,
- ny, non - ny, Dumps so dull and hea - vy, hea - vy,
- ties, sing no more Of dumps so dull and hea - vy;
The
no,
non - ny, non - ny,
Dumps so dull and hea
no, no, Of dumps so dull and hea
-
vy,
-
vy,
*The melody line, in the tenor part, is omitted from here until bar 70 in the interests of playability.

91
20
63
oh,
oh,
mp
oh,
mp
oh,
oh, oh oh.
oh, oh, oh, oh, oh,
fraud of men was ev - er so, Since sum - mer first was leav - y,
non
Oh, oh, oh, oh, hey non - ny non - ny,
- ny,
non - ny,
hey non - ny no.
70
mp
poco cresc.
Then sigh not so, But let them go, And be you blithe and
p
poco cresc.
mp
oh,
p
oh,
p
oh,
poco cresc.
mf
And be you blithe and
mp
oh,
be
you
poco cresc.
mp
non
- ny, oh,
p
Oh,
oh,
poco cresc.
oh,
mp poco cresc. mf
be
mp
be
you
you

92
21
77
p cresc.
bon - ny,
oh,
bon
bon
p cresc.
oh,
- ny, oh, oh,
oh,
oh,
Hey,
p cresc.
mf
f
oh,
mf
mf
( mf )
- ny, Con - vert - ing all your sounds of woe In - to Hey non - ny,
p cresc.
mf
bon - ny, oh, Con - vert - ing all your sounds of woe In - to
p cresc.
bon
- ny, Con - vert - ing all your sounds of woe In - to
p cresc.
mf
f
Hey
mf
Hey
84
hey, hey non - ny, non - ny,
non - ny, hey non - ny, non - ny, hey non - ny, non - ny, non - ny,
non
non
- ny, hey non - ny, hey non - ny, non - ny, non - ny,
- ny, hey non - ny, hey non - ny, non - ny,

93
22
91
mf
cresc.
f
Hey
non
- ny, non - ny, hey
cresc.
Hey non - ny, non - ny, hey
mf
Hey
non
cresc.
- ny, non - ny, hey
cresc.
Hey non - ny, non - ny, hey
Hey non - ny, non - ny, hey
non
non
non
non
cresc.
non
- ny, non - ny, hey
- ny, non - ny, hey
f
- ny non - ny, hey
f
- ny non ny,
- hey
f
- ny, non - ny, hey
f
non
non
non
non
non
- ny, non - ny,
- ny, non - ny,
- ny, non - ny,
- ny, non - ny,
- ny, non - ny,
mf cresc. f
97
senza rit.
ff
non - ny, non - ny, non ny,
- non
ff
- ny, non
- ny no.
non - ny, non - ny, non - ny, non - ny, non - ny no.
ff
non
- ny, non - ny, non ny,
- non
ff
- ny, non
- ny no.
hey
non
- ny non - ny, non ny,
non
- non
ff
- ny, non
- ny, non - ny, non - ny, non
senza rit.
- ny no.
- ny no.
ff
23 April 2021
Shakespeare’s birthday

94
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95
List of Extended Works Published by OUP
Title
Composer
1 Carol Symphony Bassi, James
2 Make We Merry Bednall, David
3 Some corner of a foreign field Bednall, David
4 A Light in the Stable Bullard, Alan
5 O Come, Emmanual Bullard, Alan
6 Wondrous Cross Bullard, Alan
7 Psalmi Penitentiales Bullard, Alan
8 Images of Peace Bullard, Alan
9 Benedicite Carter, Andrew
10 Laudate Dominum Carter, Andrew
11 Missa Brevis Carter, Andrew
12 The Angry Planet Chilcott, Bob
13 Christmas Oratorio Chilcott, Bob
14 Sing in a Season Chilcott, Bob
15 Salisbury Vespers Chilcott, Bob
16 Circlesong Chilcott, Bob
17 St. John Passion Chilcott, Bob
18 The Voyage Chilcott, Bob
19 The Rainbow (forthcoming) Chilcott, Bob
20 Songs for Seven Storeys Chilcott, Bob
21 Requiem Chilcott, Bob
22 Move him into the sun Chilcott, Bob
23 Wenceslas Chilcott, Bob
24 Songs and Cries of London Town Chilcott, Bob
25 Canticles of Light Chilcott, Bob
26 The Twelve Days of Christmas Chilcott, Bob
27 Five Days that Changed the World Chilcott, Bob
28 The Song of Harvest Chilcott, Bob
29 Advent Antiphons Chilcott, Bob
30 Samba Mass Chilcott, Bob
31 Lightwaves Chilcott, Bob
32 On Christmas Night Chilcott, Bob
33 Aesop's Fables Chilcott, Bob
34 Mary, Mother Chilcott, Bob
35 The Elements Chilcott, Bob
36 And Peace on Earth Chilcott, Bob
37 The Making of the Drum Chilcott, Bob
38 A Little Jazz Mass Chilcott, Bob
39 The Midnight of Your Birth Chilcott, Bob
40 The Bread of Life Chilcott, Bob
41 My Perfect Stranger Chilcott, Bob
42 Jazz Songs of Innocence Chilcott, Bob
43 Furusato Chilcott, Bob
44 Songs My Heart has Taught Me Chilcott, Bob
45 Dances of Time Chilcott, Bob
46 Peace Mass Chilcott, Bob
47 Jubilate Chilcott, Bob

96
List of Extended Works Published by OUP
Forces Duration Comments
1 mezzo solo, SATB & ch. Orch. 13 min. Christmas
2 SATB (or SSAA) & organ (opt. brass) 25 min. Christmas
3 SATB a cappella 8.5 min. Secular
4 SATB (opt. soli) & ch. ens. (or keyboard) 35 min. Christmas
5 SATB (opt. soli) & ch. orch. (or keyboard) 35 min. Advent/Christmas
6 SATB (opt. soli) & keyboard (or strings) 28 min. Lenten/Easter
7 SATB & piano/organ 18 min. Sacred
8 SATB a cappella 14 min. Sacred
9 children's choir, SATB & orch. 35 min. Sacred
10 sop./mezzo solo, SATB & orch. 20 min. Sacred
11 SSA & organ 14 min. Sacred
12 children's choir, SATB small group, and SATB dbl. choir 45 min. Secular (climate-inspired)
13 soloists, SATB & ch. ens. 50 min. Org/flute vers. available
14 SATB & ch. ens. 15 min. Pno vers. available
15 large chorus (divisi) & orch. 50 min. Org/brass vers. available
16 upper voices, SATB, 2 pianos & percussion (4 players) 40 min. Pno vers. available
17 soloists, SATB & ch. ens. 60 min. Org vers. available
18 SATB dbl choir & ch. ens. 40 min. Pno vers. available
19 upper voices, SATB & ch. ens. 27 min. Pno vers. available
20 children's choir, SATB & ens. 25 min. Secular
21 ST soloists, SATB & orch. 35 min. Chamber vers. available
22 upper voices, SATB & ch. orch. 25 min. Pno/Chamber vers. available
23 AB soloists, SATB & orch. 24 min. Pno/Chamber vers. available
24 upper voices, SATB, & piano duet (opt. percussion) 16 min. Secular
25 children's choir, SATB & orch. 15 min. Org/bells vers. available
26 SATB & orch. 10 min. Piano vers. available
27 upper voices, SATB & piano (opt. timpani) 15 min. Secular
28 SATB & organ 25 min. Sacred/Secular
29 SATB (divisi) a cappella 10 min. Advent/Christmas
30 SATB & piano (opt. guitar, bass, & drum kit) 13 min. Sacred/Secular
31 SATB (divisi) & piano 15 min. Secular
32 upper voices, SATB & ch. ens. (or organ) 23 min. Christmas
33 SATB & piano 16 min. Secular
34 SATB, organ & opt. harp (or piano) 17 min. Christmas
35 SS & piano 18 min. Secular
36 treble vocalist, children's choir, SATB & ch. ens. 17 min. Christmas
37 SATB & percussion (1 or 4 players) 12 min. Secular
38 SATB (or SSAA/SAB), & piano (opt. bass & drum kit) 12 min. Sacred
39 SSA & piano 17 min. Christmas
40 SATB dbl choir (opt. Tibetan singing bowls) 20 min. Sacred
41 upper voices, SATB & harp 10 min. Christmas
42 SSA & piano (opt. bass and drum kit) 16 min. Secular
43 SATB (or SSAA) & piano 14 min. Secular
44 SATB (or SSA) & piano 11 min. Secular
45 SATB & orch. 15 min. Pno vers. available
46 SA & organ 12 min. Sacred
47 soloist, SATB, piano & brass 16 min. Sacred

48 Missa 'Cantate' Chilcott, Bob
49 A Sporting Chance Chilcott, Bob
50 Nidaros Jazz Mass Chilcott, Bob
51 Yesterday, Today, and Tomorrow Chilcott, Bob
52 Ophelia, Calaban, and Miranda Chilcott, Bob
53 The Miracle of Spring Chilcott, Bob
54 Gloria Chilcott, Bob
55 Little Jazz Madrigals Chilcott, Bob
56 Spells Chilcott, Bob
57 Four Passion Meditations Chilcott, Bob
58 Ankunft (Arrival) Chilcott, Bob
59 Salisbury Motets Chilcott, Bob
60 Singing by Numbers Chilcott, Bob
61 I share creation Chilcott, Bob
62 Creation Song Chilcott, Bob
63 The Marriage of True Minds Chilcott, Bob
64 Five Passion Hymns Chilcott, Bob
65 Mo Li Hua (Jasmine) Chilcott, Bob
66 Three Choirs Service (Magnificat and Nunc Dimittis) Chilcott, Bob
67 Forever Child Corp, Ronald
68 Communion Service in F Darke, Harold
69 Communion Service in E (Collegium Regale) Darke, Harold
70 Communion Service in A minor Darke, Harold
71 One Touch of Nature Dudley, Anne
72 Sunaao Esmail, Reena
73 She Will Transform You Esmail, Reena
74 She Will Transform You Esmail, Reena
75 A Winter Breviary Esmail, Reena
76 A Shakespeare Sequence Gardner, John
77 Five Philanders Gardner, John
78 Missa Brevis Gough, Rupert
79 Christmas Fantasy Higgins, Michael
80 Three American Songs Higgins, Michael
81 West Riding Festival Te Deum Howells, Herbert
82 Mass in the Dorian Mode Howells, Herbert
83 Missa brevis Ives, Grayston
84 Evening Service in G Jackson, Francis
85 The Passion of our Lord Jesus Christ Jackson, Gabriel
86 The World Imagined Jackson, Gabriel
87 To the Field of Stars Jackson, Gabriel
88 Spring Rounds Jackson, Gabriel
89 Requiem Jackson, Gabriel
90 Stabat mater Jackson, Gabriel
91 The Spacious Firmament Jackson, Gabriel
92 Salve Regina 2 Jackson, Gabriel
93 Mass for All Saints Jackson, Gabriel
94 Cantus Maris Baltici Jackson, Gabriel
95 Three Prayers, with a Vision of Light Jackson, Gabriel
96 Exile Meditations Jackson, Gabriel
97

48 SATB & opt. piano 10 min. Sacred
49 unison voices (opt. divisi) & brass quintet (opt. perc) 15 min. Secular
50 SATB (or SSAA) & piano (opt. bass & drum kit) 15 min. Sacred
51 SSA & piano 10 min. Secular
52 SATB & piano (opt. saxophone, bass, & drum kit) 11 min. Secular
53 SATB & percussion (2 players) 12 min. Secular
54 SATB, brass, timpani & organ 12 min. Pno vers. available
55 SATB & piano (opt. bass & drum kit) 10 min. Secular
56 SSA & orch. 8 min. Pno vers. available
57 sop. solo, SATB & organ 15 min. from St. John Passion
58 SATB & ch. orch. 9 min. Pno vers. available
59 SATB & organ 16 min. Sacred
60 SATB & ch. orch. 10 min. Pno vers. available
61 SATB & opt. percussion 8 min. Secular
62 upper voices, SATB & organ 12 min. Sacred
63 SATB & strings 10 min. Pno vers. available
64 SATB & organ 10 min. from St. John Passion
65 SATB & piano 12 min. Secular
66 SATB & organ 8 min. Sacred
67 SATB a cappella 11 min. Secular
68 SATB & organ 10 min. Sacred
69 SATB & organ 8 min. Sacred
70 SATB & organ 8 min. Sacred
71 SA soloists, SSATB (or SSAA) & strings (or piano) 25 min. Secular
72 SATB (or SSAA/SAB) & piano 11 min. Secular
73 SSATB & flute 9 min. Secular
74 SSATB & orch. 16 min. Secular
75 SATB a cappella 8.5 min. Sacred/Secular
76 SSAA, piano duet & percussion 15 min. Secular
77 SATB a cappella 12 min. Secular
78 SATB & organ (opt. brass) 12 min. Sacred
79 SATB, brass, percussion & organ 10 min. Pno vers. available
80 SATB & piano 8 min. Sacred/Secular
81 SATB & organ 12 min. Sacred
82 SATB & organ 20 min. Sacred
83 SATB & organ 10 min. Sacred
84 SATB & organ 10 min. Sacred
85 ST soloists, SATB & 10 players 60 min. Lenten/Easter
86 tenor solo, SATB (divisi) & orch. 43 min. Sacred/Secular
87 SATB, percussion, and cello 60 min. Sacred/Secular
88 soprano solo, SATB, and orch. 30 min. Secular
89 SATB (divisi) a cappella 30 min. Texts in Latin and English
90 SATB (divisi) a cappella 18 min. Sacred
91 SATB, brass quintet and organ 10 min. Sacred
92 SATB (divisi) a cappella 13 min. Sacred
93 SATB & organ 17 min. Sacred
94 SATB (divisi) a cappella 10 min. Secular
95 SATB (divisi) a cappella 16 min. Sacred
96 SATB a cappella (or soloists) 29 min. Secular
98

97 Rigwreck Jackson, Gabriel
98 In the beginning was the Word Jackson, Gabriel
99 Missa Sanctae Margaretae Jackson, Gabriel
100 Not no faceless Angel Jackson, Gabriel
101 Seven Advent Antiphons Jackson, Gabriel
102 La musique Jackson, Gabriel
103 Ave, Regina caelorum Jackson, Gabriel
104 Edinburgh Mass Jackson, Gabriel
105 Missa Triueriensis Jackson, Gabriel
106 Lamentations of Jeremiah Jackson, Gabriel
107 Magnificat and Nunc Dimittis (Tewkesbury Service) Jackson, Gabriel
108 Nightingale Fragments Jackson, Gabriel
109 Ruchill Linn Jackson, Gabriel
110 Luce coruscas (herself a rose) Jackson, Gabriel
111 Three Shakespeare Songs Jackson, Gabriel
112 Gloria Johnson, Simon
113 Mass, Op. 130 Jongen, Joseph
114 Behold New Joy: Ancients Carols of Xmas Kirchner, Shawn
115 The Rio Grande Lambert, Constant
116 Canticle of Mary Larsen, Libby
117 Seven Ghosts Larsen, Libby
118 Magnificat and Nunc Dimittis, (Second Service) Leighton, Kenneth
119 Lear Songs Mathias, William
120 Shakespeare Songs Mathias, William
121 Ave Rex Mathias, William
122 Cantate Domino Mathias, William
123 Missa brevis Mathias, William
124 Veni sancte spiritus Mathias, William
125 Magnificat and Nunc Dimittis (Op. 53) Mathias, William
126 Da Vinci Requiem McDowall, Cecilia
127 Everyday Wonders: The Girl from Aleppo McDowall, Cecilia
128 Stabat mater McDowall, Cecilia
129 Magnificat McDowall, Cecilia
130 The Ice is Listening McDowall, Cecilia
131 Good News from New England McDowall, Cecilia
132 A Winter's Night McDowall, Cecilia
133 Music of the Stars McDowall, Cecilia
134 Angel of the Battlefield McDowall, Cecilia
135 A Time for All Seasons McDowall, Cecilia
136 When time is broke McDowall, Cecilia
137 Shipping Forecast McDowall, Cecilia
138 A Fancy of Folksongs McDowall, Cecilia
139 Night Flight McDowall, Cecilia
140 Ave maris stella McDowall, Cecilia
141 Missa Mariae McDowall, Cecilia
142 Jesu, the very thought of thee McDowall, Cecilia
143 Some corner of a foreign field McDowall, Cecilia
144 Christus Natus Est McDowall, Cecilia
145 Psalm 65 McDowall, Cecilia
99

97 SATB (divisi) a cappella 15 min. Secular
98 SATB (divisi) & organ 11 min. Sacred
99 SATB & organ 12 min. Sacred
100 SATB (divisi), cello & offstage flute/oboe 9 min. Secular
101 SATB (divisi) a cappella 16 min. Advent/Christmas
102 soprano solo & SATB a cappella 10 min. Secular
103 SATB & electric guitar 11 min. Sacred
104 SATB (divisi) a cappella 13 min. Sacred
105 SATB (divisi) a cappella 12 min. Sacred
106 SATB (divisi) a cappella 8 min. Sacred
107 SATB & organ 11 min. Sacred
108 SATB (divisi) a cappella 10 min. Secular
109 SATB (divisi) a cappella 9 min. Secular
110 SATB (divisi) a cappella 9 min. Sacred
111 SATB (divisi) a cappella 8 min. Sacred
112 SATB, brass, timpani & organ 9 min. Organ vers. available
113 SATB, organ & opt. brass 40 min. Sacred
114 SATB & orch. 13 min. Christmas
115 SATB, solo piano & orch. 15 min. Chamber vers. available
116 SSA & orch. 9 min. 4-hand pno vers. available
117 soprano solo, SATB, brass, percussion & piano 30 min. Secular
118 SATB & organ 9 min. Sacred
119 SA & ens. (or two pianos) 15 min. Secular
120 SATB & piano 16 min. Secular
121 SATB & orch. 14 min. Organ vers. available
122 SATB & organ 12 min. Sacred
123 SATB & organ 19 min. Sacred
124 SATB, brass, percussion & organ 9 min. Sacred
125 SATB & organ 8 min. Sacred
126 SB soloists, SATB & orch. 35 min. Chamber vers. available
127 upper voices, SATB, solo violin & piano 18 min. Secular
128 baritone solo, upper voices, SATB & small orch. 30 min. Keyboard vers. available
129 SA soloists, SATB & ch. orch. 28 min. Pno vers. available
130 soprano solo, SATB & ch. orch. (or piano) 16 min. Secular
131 SSATB and solo violin 15 min. Secular
132 SATB & ch. orch. 15 min. Chamber vers. available
133 SATB, strings & percussion 17 min. Pno vers. available
134 SSATB a cappella 12 min. Secular
135 soprano solo, upper voices, SSATB & piano (opt. perc) 18 min. Sacred
136 SSATB (divisi) a cappella 11 min. Secular
137 SSATB & strings (or piano) 15 min. Secular
138 SATB & harp or piano 11 min. Secular
139 SATB & cello 13 min. Secular
140 soprano solo, SATB & strings 12 min. Keybd vers. available
141 SSA & organ 11 min. Sacred
142 SATB (divisi) & organ 8.5 min. Sacred
143 tenor solo, SATB (divisi), strings & harp 18 min. Pno vers. available
144 SATB, solo piano & orch. 15 min. Christmas
145 soprano solo, SATB, & keyboard (opt. trumpet) 12 min. Sacred
100

101
146 Communion Service: "The Mass of the Quiet Hour" Oldroyd, George
147 Magnificat Olsen, Tawnie
148 She Sang the Stars Quartel, Sarah
149 Snow Angel Quartel, Sarah
150 A Winter Day Quartel, Sarah
151 Songs of Spring Quartel, Sarah
152 Sanctum Quartel, Sarah
153 Kubla Khan Rawsthorne, Alan
154 Magnificat and Nunc Dimittis Robles, Zanaida Stewart
155 Magnificat Rutter, John
156 Requiem Rutter, John
157 Gloria Rutter, John
158 Psalmfest Rutter, John
159 The Gift of Life Rutter, John
160 Mass of the Children Rutter, John
161 The Reluctant Dragon Rutter, John
162 Feel the Spirit Rutter, John
163 London Town Rutter, John
164 The Sprig of Thyme Rutter, John
165 Birthday Madrigals Rutter, John
166 When Icicles Hang Rutter, John
167 Dancing Day Rutter, John
168 Te Deum Rutter, John
169 Fancies Rutter, John
170 Missa brevis Rutter, John
171 Visions Rutter, John
172 Five Traditional Songs Rutter, John
173 Winchester Te Deum Rutter, John
174 Lord, thou hast been our refuge Rutter, John
175 The Wind in the Willows Rutter, John
176 Three Shakespeare Songs Rutter, John
177 Vespers Sheehan, Benedict
178 A Christmas Carol Sheehan, Benedict
179 Three Carol Arrangements Sidwell, Martindale
180 The Bridge of Fire Skempton, Howard
181 The Voice of Spirits Skempton, Howard
182 The Flight of Song Skempton, Howard
183 Rise up, my love Skempton, Howard
184 Roundels of the Year Skempton, Howard
185 Five Poems of Mary Webb Skempton, Howard
186 Poems of Love and War Skempton, Howard
187 Missa Sanctae Annae and Hoc Corpus Skempton, Howard
188 Psalm 136 (Luminaria magna) Tann, Hilary
189 Missa media nocte Tarney, Oliver
190 Passion Music Todd, Will
191 Mass in Blue Todd, Will
192 Folk Songs of the Four Seasons Vaughan Williams, Ralph
193 Dona nobis pacem Vaughan Williams, Ralph
194 Hodie (This Day) Vaughan Williams, Ralph

102
146 SATB & organ 10 min. Sacred
147 upper voices & SATB (divisi) a cappella 8.5 min. Sacred
148 SSAA & piano 14 min. Secular
149 SATB (or SSA) solo cello, djembe & piano 20 min. Secular (Winter)
150 SATB (divisi), cello & piano 17 min. Secular (Winter)
151 SSSAAA a cappella 10 min. Secular (Spring)
152 SSSAAA a cappella 10 min. Sacred
153 AT soloists, SATB & orch. (or piano) 16 min. Secular
154 SATB & organ (opt. piano) 10 min. Sacred
155 sop./mezzo solo, SATB & orch. 40 min. Chamber vers. available
156 soprano solo, SATB & ch.tra 40 min. Sacred
157 SATB, brass & organ 18 min. orch. vers. available
158 ST soloists, SATB choir & orch. 45 min. Pno/Chamber vers. available
159 SATB (divisi) & orch. 42 min. Chamber vers. available
160 SB soloists, children's choir, SATB & orch. 37 min. Chamber vers. available
161 narrator, soloists, SATB & instrumental ens. 23 min. Pno vers. available
162 mezzo solo, SATB & orch. 30 min. Chamber/Org vers. available
163 children's choir, SATB & piano 20 min. Secular
164 SATB (unison & low voices) & orch. 35 min. Pno/Chamber vers. available
165 SATB, with opt. double bass and piano 16 min. Secular
166 tenor solo, SATB & small orch. 19 min. Secular (Winter)
167 SSA & harp (or piano) 25 min. Christmas
168 SATB, brass, percussion & organ 7 min. Sacred
169 SATB & ch. orch. (or piano) 16 min. Secular
170 SATB & organ 20 min. Sacred
171 solo violin, upper voices, harp & strings 20 min. Org vers. available
172 SATB (divisi) a cappella 10 min. Secular
173 SATB & orch. 10 min. Org (and brass) vers. available
174 SATB, solo trumpet & organ 11 min. Sacred
175 narrator, soloists, SATB & ch. orch. 32 min. Secular
176 SATB (divisi) a cappella 6 min. Secular
177 soloists & SATB (divisi) chorus a cappella 54 min. inspired by Rachmaninov
178 narrator, soloists and SATB (divisi) a cappella 69 min. Dickens story re-telling
179 SATB & organ 9 min. Advent/Christmas
180 SATB (divisi) a cappella 10 min. Sacred/Secular
181 SATB a cappella 10 min. Secular
182 SATB a cappella 10 min. Secular
183 SATB a cappella 10 min. Sacred
184 SATB a cappella 9 min. Secular
185 SSA a cappella 9 min. Secular
186 SATB a cappella 8 min. Secular
187 SATB & organ 7 min. Sacred
188 SATB & organ 8 min. Sacred
189 SATB & ch. ens. (or organ) 10 min. Sacred
190 female gospel soloist, SATB & jazz ens. 40 min. Lenten/Easter
191 sop. solo, SATB, piano, bass, drums & opt. alto saxophone 40 min. Sacred
192 treble voices & orch. 45 min. Strings/piano vers. available
193 SB soloists, SATB & orch. 40 min. Texts in Latin and English
194 soloists, SATB & orch. 50 min. Advent/Christmas

103
195 Flos campi Vaughan Williams, Ralph
196 The Sons of Light Vaughan Williams, Ralph
197 In Windsor Forest Vaughan Williams, Ralph
198 Benedicite Vaughan Williams, Ralph
199 An Oxford Elegy Vaughan Williams, Ralph
200 A Song of Thanksgiving Vaughan Williams, Ralph
201 A Vision of Aeroplanes Vaughan Williams, Ralph
202 The Lark Ascending (arr. Paul Drayton) Vaughan Williams, Ralph
203 Four Last Songs (arr. Jonathan Wikeley) Vaughan Williams, Ralph
204 Serenade to Music Vaughan Williams, Ralph
205 Magnificat Vaughan Williams, Ralph
206 Three Shakespeare Songs Vaughan Williams, Ralph
207 Sinfonia Antarctica (Symphony No. 7) Vaughan Williams, Ralph
208 Belshazzar's Feast Walton, William
209 Henry V - A Shakespeare Scenario Walton, William
210 Gloria Walton, William
211 Coronation Te Deum Walton, William
212 The Twelve Walton, William
213 Saint Thomas Service Weston, Trevor
214 A Cloud of Witnesses Wilberg, Mack
215 Requiem Wilberg, Mack
216 The Prodigal Wilberg, Mack
217 A Ceremony of Psalms Willcocks, David
218 Five Shakespeare Songs Willcocks, David
219 Lux perpetua Willcocks, Jonathan
220 Three Sea Shanties Willcocks, Jonathan

104
195 viola solo, wordless SATB choir & orch. 20 min. Tone poem
196 SATB & orch. 25 min. Secular
197 SATB & orch. 20 min. Strings/piano vers. available
198 soprano solo, SATB & large orch. 15 min. Keybd/Chamber vers. available
199 narrator, SATB & ch. orch. 25 min. String vers. available
200 soprano solo, speaker, SATB & orch. 15 min. Chamber vers. available
201 SATB & organ 10 min. Sacred
202 solo violin & SATB (divisi) a cappella 15 min. Secular
203 SATB & piano 10 min. Secular
204 soloists or SATB & orch. 13 min. Chamber vers. available
205 contralto solo, SSA & orch. 12 min. Flute & piano vers. available
206 SATB (divisi) a cappella 7 min. Secular
207 soprano solo, SSA & orch. 42 min. Secular
208 baritone solo, semi-chorus, SATB & orch. 35 min. Org/brass vers. available
209 speaker, SATB choir, boys' choir & orch. 50 min. Film score
210 ATB soloists, SATB & orch. 19 min. Sacred
211 SATB & orch. 10 min. Organ vers. available
212 SATB & orch. 11 min. Organ vers. available
213 SATB & organ 10 min. Sacred
214 SATB & orch. (or four-hand piano) 25 min. Lenten/Easter
215 AB soloists, SATB & orch. 40 min. Texts in Latin and English
216 SATB & orch. 20 min. Chamber/Org vers. available
217 baritone solo, SATB & small orch. 25 min. Advent/Christmas
218 upper voices, strings & piano (opt. narrator) 20 min. Pno vers. available
219 SATB & orch. 30 min. Sacred
220 SATB (divisi) a cappella 11 min. Secular

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