Oxford University Press

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.

For solo alto and guitar. Settings of nine poems by Irene Noel-Baker which take and transform elements of Greek myths. The piece shifts from the mythological past to the present, just as the medium of...

For bass-baritone and piano to a text from Seeing the World, a book of poety by Dick Davies.

This three volume series comprises the bulk of the solo songs which Vaughan Williams published with Oxford University Press. The songs span his whole long career, until his death in 1958. The majority...

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...

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...

A beautifully constructed song-cycle set to poems from Christina Rosetti to WB Yeats and the sixteenth century French poet Pontus de Tyard. Exploring the themes of yearning and longing at the end of a...

For mezzo-soprano and piano. Song cycle originally scored for tenor and harp. These songs are among Berkeley's earliest compositions, written at the suggestion of Peter Pears. The poems, by Thomas Har...

This anthology has been compiled from the best-known and most frequently sung songs in the five volumes previously published by OUP. It includes songs to suit both male and female voices, although mos...

For solo baritoneThe Flea was commissioned as a work 'suitable for singing in an informal setting and easily memorised'. It is a free and humorous setting of John Donne's poem in which the poet attemp...

This three volume series comprises the bulk of the solo songs which Vaughan Williams published with Oxford University Press. The songs span his whole long career; from 1869 to 1958. The majority are s...

For unaccompanied soprano and mezzo-soprano. This unaccompanied duet for soprano and mezzo conflates R. S. Thomas' beautiful poem on the sacred quality of moorland with passages from three different P...

For mezzo-soprano and piano. This song cycle uses texts by women poets and focuses on women's experience with great humour and irony. The cycle will appeal to singers with real interpretative flair an...

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....