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In this passionate four-movement work, composer Bob Chilcott and lyricist Delphine Chalmers explore themes of inclusivity, identity, and unity. Songs my Heart has Taught Me brings singers and audience...

Comprising four separate 'Lamentations', this work takes its text from John Donne's The Lamentations of Jeremy, and is set in Howard Skempton's characteristic pared-down style.

It is believed this cantata was written for Senesino when he arrived in England in 1720, however this volume was not complete until 1722.

The autograph would seem to identify this work as having an English provenance; corroborated by the lack of key signature in the recitative and highly embellished melodic style..

The style of this cantata points to an Italian provenance, due to the survival of a copy in an Italian manuscript.

Handel must have particularly enjoyed the light and airy first aria, as versions of it can be found in a number of his works, including Rodrigo, Io languisco, and Il pastor fido.

This aria has been dated to 1722, and, also like Deh! Lasciate, it may have been written for the castrato Senesino.

A highly ornamanted cantata, possibly written for a single singer, and, based on style comparisons, this may have been castrato Valentini.

This cantata is unusual in that its text is addressed to a man, with the persistent use of the masculine form 'caro' rather than 'cara'.

This cantata was originally composed for the marquis Ruspoli in the soprano range.

Qualor crudele survives in twelve sources, all of which are of English origin. Aspects of the text suggest a Neapolitan provenance.

The original autograph for soprano can be associated with Handel's brief journey to Naples in spring and early summer of 1708.

The dating of the autograph suggests that the cantata was written for the castrato Valentini.

Because of the extensive bass figures in the autographs, this has been associated with the group of so-called pedagogical cantatas.

The earliest surviving source for Stanco di più soffrire may be the copy in the Santini collection prepared by Angelini, which is a third higher.

In O be joyful, the lyrical melody lines from the upper voices are supported by a sensitive and melodic piano accompaniment. The piece moves through a variety of tonalities and metres, which is typica...

This beautiful, simple piece for mezzo soprano and piano sets part of Alexander McCall Smith's poem, Winter Poem. It was first performed at Clare Hall College, Cambridge on 8th December 2012.

Brave Guy of Warwick sets text from Lines written at Warwick by George Crabbe (1754-1832) which describes a portion of the legend of Guy of Warwick. This piece is engaging and characterful, and audien...

This work, commissioned by Jeremy Huw Williams in association with the Vaughan Williams Trust, sets three poems by Dylan Thomas. The first is melancholic in character; the second contrasts the fearles...

'The Bridge of Fire', written in 1906, is the title poem of James Elroy Flecker's first published volume. It is largely a vivid description of the many Gods of Heaven, the great and the good, the bad...

Arranged here for solo high voice and piano or organ, this heartfelt setting is built upon a haunting melody of folk-like simplicity, underpinned throughout by a lyrical and independent accompaniment....

Scored for high voice and piano or organ, this is a moving, traditional Irish blessing set to music of great simplicity and beauty. Chilcott perfectly captures the warmth and sincerity of the text, an...

This is a gentle and graceful anthem setting the well-loved words usually ascribed to St Francis of Assisi. It has been arranged for high voice from the composer'sLux Perpetua, a choral work on the th...

Scored for high voice and piano, Wilberg's arrangement of this popular carol is bright and lively, supported by a tinkling piano accompaniment. Also available in a version for low voice and piano.