Andrew Cusworth's Adam Lay Ibounden is a work for Unaccompanied SAB Choir a setting of an anonymous 15th century English text. A performance lasts around 1 and a half minutes. This short setting of a well-known text is only 34 bars long but is nevertheless an attractive piece for choirs of sopranos altos and baritones. Each voice is allocated the tune which provides an effective setting appropriate to sing after the traditional first lesson at a service of Nine Lessons and Carols. - Sunday by Sunday

Thea Musgrave's arrangement of the Anonymous 15th century text Adam Lay YBounden is scored for Children's Voices SATB Choir and Piano a performance of which lasts around 2 minutes.A review in the September 2016 issue of Organist's Review calls this 'a haunting setting...with a bell-like cascading descant' and that this 'characterful response to the words stands comparison with the well-known Ord and Ledger settings.'

Christmas setting for upper voices (three parts) of a traditional 15th-century English text with Latin refrain: ‘Gabriel of high degree …’ / ‘Ut nova: Ave fit ex Eva’. An explanation of the Latin pun is included in the publication. Particularly suitable for children’s voices of intermediate standard.

Deo Gracias-This wonderful piece is taken from Britten's A Ceremony Of Carols Opus 28. It is based on a beautiful 15th century text and is arranged for SSS choir with Harp or Piano accompaniment.

Text early 15th century-A new setting of the well-known Christmas text this work was written for London Consort Choir. It is a mostly homophonic and approachable but effective alternative to other settings of the text which will add variety to Christmas services and concerts as well as a choir’s Christmas repertoire. For SSATBB

An anonymous 15th century English text forms the lyric framework for this stirring work that features mixed meters and bold melodic lines. Very much in the mainstream of the British choral tradition this short accompanied piecemakes a fine concert opener. Duration: ca. 1:30

The text for “Blessed Be That Maid Mary” comes from an anonymous 15th century English author and makes liberal use of a common literary device of the time: mixing English and Latin phrases together. Set with a gentle melody like a lullaby the Christmas work evokes warmth and a sense of quiet wonder. Duration: ca. 4:15

‘God rest ye merry Gentlemen’ is an ancient English carol. It was first published in 1833 but it can be traced as far back as the 15th century which makes it one of the oldest carols known. ‘God rest ye merry’ is a Middle English salutation. In this manner people wished one another greatness and might. In modern English the first line of this carol would read ‘May God keep you mighty gentlemen’. Andrew R. Mackereth has not kept to the original words in his up-tempo arrangement of the carol. It is still clearly recognizable but the arranger has taken a good many liberties. Sometimes a particular note is held longer at times motifs follow oneanother in various parts. If you listen carefully you may even be able to detect a motif from another well-known song.

Meditation on 'O come O come Immanuel'-The Advent hymn we all know today as O Come O Come Immanuel was arranged in its modern form by Thomas Helmore and published in Hymnal Noted in 1856. Both the words and melody however predate this version by centuries.The tune Veni Immanuel is taken from a 15th century processional of French Franciscan nuns part of the setting for the funeral hymn Libera Me. This arrangement aims to expand on the power and mystery of the original tune and will be most effective if the solo trumpet at the start and end of the piece can be placed away from the band maybe at the back of the auditorium.

The Swete Roose was written for the Choir of New College Oxford. This gentle piece offers choirs an appealingly fresh option for Advent and Christmas services. The lovely 15th-century text provides a characterful foundation over which Toby has crafted an essentially contemporary carol that cleverly recalls the modal world of medieval music. Scored for unaccompanied mixed voices with divisi this work is especially suitable for Cathedral and Chapel choirs.

In Circles - 16 Imaginary Dances for 18 Players (2010). Parts are available on hire: hire@ewh.dk Instr.: FluteOboeClarinet in BbBass ClarinetBassoonHorn2 Trumpets In BbTenor-Bassposaune2 PercussionistsPiano2 ViolinsViola2 CellosDouble Bass Programme note About five years ago the Ensemble Modern commissioned a composition giving me relatively free rein over instrumentation duration and completion date. I was very excited about the opportunity and eager to start work but first I had to finish asymphony and a cello concerto. However when I wanted to begin writing the piece for Frankfurt inspiration became silent and remained silent for the next three years apart from the two works for chamber orchestra: I experienced my first writer’s block. This was not my first commission but the first time that I was seriously worried about a piece and started thinking about the commissioning ensemble and its expectations. If anything I held the Ensemble Modern in too high esteem. The ensemble is notorious for being a group of all-rounders who have already seen and done everything. However it was simply time for me to challenge my self-belief as composer and to search out what kind of composer I really am. Whatever the true reason was I still didn’t get anything down on paper. Nothing would gel. In 2008 a stipend from a New York foundation led me to an Italian lavender-castle from the 15th century far away from everything else deep in Umbria. The deadline for my first opera moved dangerously closer but was barely started. The next commission for an orchestra was also waiting in addition to the piece for EM: only empty sheets.  When I came home six weeks later though I hadn’t finished anything the spell was broken. Behind the massive walls drafts had been created for what within the

15th Century English-Canadian composer Mark Sirett has an exceptional compositional voice. Try this spirited work with your treble chorus.

The 15th century text Adam Lay Ybounden has here been set for SSA choir with Piano accompaniment by Michael Hurd. Originally published in Merrily on High (NOV032121).

This work When Christ Was Born of Mary Free sets the words of a traditional carol dating from the 15th century sensitively in D minor for the verse moving to a more joyous F for the Chorus. Darke’s papers list this piece as having been scored for Soprano solo Chorus SATB and Piano. Harold E Darke was an English composer and Organist of international renown. Darke composed extensively for choir and Organ. In 1916 he established the Monday lunchtime Organ recitals at St Michael’s Cornhill which continue to this day the longest-running such series in the world. His setting of Christina Rosetti’s poem In the Bleak Midwinter created a melody and lilting Organ accompanimentthat has never fallen from favour. It is regarded as one of the greatest of Christmas carols.

A haunting melody evokes all the power of this little-known anonymous 15th-century text. The theme is essentially that the Lord will be known not by pomp or grandeur but 'by the holy harmony which His coming makes in thee.'