Spartiti di Compositrici: Scoprite la ricchezza del talento femminile

Setting a well-loved medieval text, this effective piece paints the story of Jesus through lyrical melodies and beautiful harmonic surprises.

This gentle arrangement for a cappella choir of the well-known fifteenth-century carol conjures a restful but evocatively melancholy atmosphere. The texture is varied by the use of a soprano or barito...

This is the first published edition of an anthem by Henry Walford Davies that dates from the mid 1890s. Scored for lower voices, AATTBB, it is a setting of an anonymous text from 1836 that is suitable...

This slightly sombre setting of five poems is homophonic, giving the impression of a single vocal line. The very close harmony throughout conveys a sense of restraint and a longing to escape from the...

This piece originates from a cycle of songs for mixed voices entitled A Garland for the Queen; a collection of pieces by ten British composers to mark the occasion of the Coronation of H.M. Queen Eliz...

This still and reflective motet was written and first performed for the Coronation of Queen Elizabeth II, and is suitable for many festive occasions such as weddings and All Saints' Day. Offprinted fr...

Illuminate your concert or church service with "Christ is the morning star"—a profoundly moving work for mixed choir (SATB) and organ. Published by the renowned Oxford University Press, this compositi...

Inspired by a 16th-century Scots text, Jackson has composed a memorable carol full of character and beauty. The choir is serenaded throughout by the organ, which imitates the haunting qualities of the...

With "When time is broke: Three Shakespeare Songs", Oxford University Press presents an exquisite musical gem for advanced women's choirs (SSAA unaccompanied, with divisions). Composed in 1941, this c...

This joyful carol sets a text by Henry Wadsworth Longfellow. The piece opens with an imitation of bells spread across the voices, and this festive, celebratory quality is maintained throughout. Simple...

God is Light, published by Oxford University Press, is a deeply moving and radiant a cappella motet for five-part mixed choir (SSATB). Originally composed in aid of Macmillan Cancer Support, this comp...

A rich texture is used in Gombert's setting of Quam pulchra es, with all voices singing almost all of the time. This texture is created through refined imitative contrapuntal writing, rather than homo...

Originally published in Epiphany to All Saints for Choirs, this seventeenth-century anthem for The Ascension of the Lord is full of melismatic polyphonic lines and features a fluid tonal centre.

This dazzling work presents an exploration of light in its many forms and uses, from starlight and sunlight to electricity, photosynthesis, or guiding ships to safety. Both piano and voices are used p...

The optional opening section, for which there is a graphic score, is spoken to texts by Henry Wadsworth Longfellow and other esteemed poets and authors. The four sung movements which follow are conven...

A new orchestration by Edward Harper has brought this colourful setting of Coleridge's epic poem back to life after the original orchestra score was destroyed in a bombing raid in 1940. A welcome addi...

Andrew Carter's setting matches in its powerful simplicity the text attributed to the French Quaker missionary, Stephen Grellet: 'I expect to pass through this world but once; any good thing therefore...

Setting the George Herbert poem 'Whitsunday', this lilting, gentle anthem is particularly useful for Whit Sunday services. Syncopations and duplets provide rhythmic interest, with memorable melodies,...

This tender movement from the Advent cantata O Come, Emmanuel is in memory of Bullard's teacher, Herbert Howells, with text translated from a traditional German carol Es ist ein Ros entsprugen. Suitab...

Eurydice is based on a work by the great Scottish artist Ian Hamilton Finlay - a series of six large stones installed in a garden in Provence, set in a sea of lavender (representing water) and inscrib...

This suite from 1925 is one of Vaughan Williams' most enigmatic pieces. The chorus never articulates a single word, and instead serves as a section of the orchestra, creating an elegant vocal texture...