Motet by Thomas Tomkins - one of the greatest emotional expressions of the late Renaissance. Absalom, son of King David, was a handsome prince and considered by some to be worthy of the throne of Israel, even before David's death. One day, as Absalom w...  moreMotet by Thomas Tomkins - one of the greatest emotional expressions of the late Renaissance. Absalom, son of King David, was a handsome prince and considered by some to be worthy of the throne of Israel, even before David's death. One day, as Absalom went riding, a tree's branches caught his luxuriant hair and he hung there helpless. He was slain by his enemies. King David was inconsolable. Performed by the dwsChorale, a multitracking one-man choir  

A simple Communion Service for choir, organ and congregation written for a local church. The photographs were taken by Keith Brownlow, fellow student at Sale University of the 3rd Age, with thanks.

Anthem by John Amner, performed by the multitrack one-man choir dwsChorale Come let's rejoice unto the Lord: let us make joy to God our Saviour. Let us approach to his presence in confession: and in psalms let us make joy to him. Alleluia. (Word...  moreAnthem by John Amner, performed by the multitrack one-man choir dwsChorale Come let's rejoice unto the Lord: let us make joy to God our Saviour. Let us approach to his presence in confession: and in psalms let us make joy to him. Alleluia. (Words based on the first two verses of Psalm 95, known as the Venite)  

Parody by dwsolo of Gruber's Christmas carol "Silent Night" sung by the composer multitracking. Here the would-be sleeper is kept awake by biting insects! A version for SATB is also available at http://www.musicaneo.com/sheetmusic/sm-181539_silent_gnat...  moreParody by dwsolo of Gruber's Christmas carol "Silent Night" sung by the composer multitracking. Here the would-be sleeper is kept awake by biting insects! A version for SATB is also available at http://www.musicaneo.com/sheetmusic/sm-181539_silent_gnat.html#181540  

A performance with a few extra (silly!) musical ideas by the dwsChorale Sumer is icumen in Lhude sing cuccu Groweþ sed and bloweþ med and springþ þe wde nu Sing cuccu Awe bleteþ after lomb lhouþ after calue cu Bulluc sterteþ bucke uerteþ muri...  moreA performance with a few extra (silly!) musical ideas by the dwsChorale Sumer is icumen in Lhude sing cuccu Groweþ sed and bloweþ med and springþ þe wde nu Sing cuccu Awe bleteþ after lomb lhouþ after calue cu Bulluc sterteþ bucke uerteþ murie sing cuccu Cuccu cuccu Wel singes þu cuccu ne swik þu nauer nu Sing cuccu nu Sing cuccu. Sing cuccu Sing cuccu nu Summer has arrived, Loudly sing, cuckoo! The seed is growing and the meadow is blooming, and the wood is coming into leaf now, Sing, cuckoo! The ewe is bleating after her lamb, The cow is lowing after her calf; The bullock is prancing, The billy-goat farting Sing merrily, cuckoo! Cuckoo, cuckoo, You sing well, cuckoo, Never stop now. Sing, cuckoo, now; sing, cuckoo; Sing, cuckoo; sing, cuckoo, now!  less

Robin Adair arranged for SATB choir (sung, transposed down in this video, by the one-man multitrack choir dwsChorale) [Note: a few textual errors have crept into the performance - but the score has the correct words] The original tune was composed...  moreRobin Adair arranged for SATB choir (sung, transposed down in this video, by the one-man multitrack choir dwsChorale) [Note: a few textual errors have crept into the performance - but the score has the correct words] The original tune was composed with the words Eibhlin a Ruin (Ellen Aroon or Eileen Aroon) by the Irish bard Carroll O'Daly (14th Century), although it was later attributed to the 18th century Irish composer Charles Coffey (this was presumably an arrangement of the original). The words of "Robin Adair" itself are understood to be by Lady Caroline Keppel, who was in love with a surgeon by that name. (This seems more likely than the theory that Robert Burns wrote it, although Burns certainly knew Keppel's lyrics and made his own parodies upon the words). Some later versions of the melody contain "Scotch snaps" but this version follows the simplest melodic line, without the Scotch snaps - possibly O'Daly's original tune? - and with quite romantic choral harmonies.  less

Devon folk song arranged for mixed choir The words of the song can be found in many places on the Net, some more accurate than others. All of the places are in Devon, except Callington, which is in Cornwall, but it is likely to be the correct place sin...  moreDevon folk song arranged for mixed choir The words of the song can be found in many places on the Net, some more accurate than others. All of the places are in Devon, except Callington, which is in Cornwall, but it is likely to be the correct place since it is so close to the centre of the events - ie towns and villages North and West of Dartmoor. (The Yetties' version of the song refers to "North Looe", but this is very unlikely to be correct, since Looe is much further into Cornwall). In this the version I finally decided upon "North Lew" (a compromise between Quoditch's version and the Yetties' version):  less

Gospel style setting for 2 or 4 voices, 2 flutes, double bass, guitar and tambourine of my evangelical poem about the meaning of Christmas.

Litany to the Holy Spirit is my setting of the whole of Robert Herrick's poem by that name (as opposed to other well-known settings which only use a few verses). The whole poem deserves to be set in its entirety since the full story can be told and He...  moreLitany to the Holy Spirit is my setting of the whole of Robert Herrick's poem by that name (as opposed to other well-known settings which only use a few verses). The whole poem deserves to be set in its entirety since the full story can be told and Herrick's feelings come out all the more.  

My Love - a hypnotic and yearning quasi-canon for three equal (alto) voices, with an ostinato guitar motif.