Composed by William Mathias, transposed and sung by the dwsChorale (www.dwsolo.com) Nowell, nowell. Who is there that singeth so, I am here, Sir Christèmas. Welcome, my lord Sir Christèmas! Welcome to all, both more and less! Come near, come nea...  moreComposed by William Mathias, transposed and sung by the dwsChorale (www.dwsolo.com) Nowell, nowell. Who is there that singeth so, I am here, Sir Christèmas. Welcome, my lord Sir Christèmas! Welcome to all, both more and less! Come near, come near, come near, Nowell, nowell. Dieu vous garde, beaux sieurs, Tidings I you bring: A maid hath borne a child full young, Which causeth you to sing: Nowell, nowell. Christ is now born of a pure maid, Born of a pure maid; In an ox-stall he is laid, Wherefore sing we at a-brayde: Nowell, nowell. Buvez bien, buvez bien Par toute la compagnie. Make good cheer and be right merry, And sing with us now joyfully Nowell, nowell  less

Score (for the original higher voice setting in The European Sacred Music book) https://www.sheetmusicplus.com/title/4422853?aff_id=175705 Lotti's 8 part setting of the Crucifixus sung by the dwsChorale, transposed down for men's voices Crucifixus ...  moreScore (for the original higher voice setting in The European Sacred Music book) https://www.sheetmusicplus.com/title/4422853?aff_id=175705 Lotti's 8 part setting of the Crucifixus sung by the dwsChorale, transposed down for men's voices Crucifixus etiam pro nobis; sub Pontio Pilato passus et sepultus est. Translation He was crucified also for us, under Pontius Pilate he suffered and was buried.  

This is the final section from my Modal Mass (men's voices version) This setting of the Communion Service uses mainly the Mixolydian and Dorian modes (with short excursions into Lydian and Aeolian and occasionally jazzy modes). A higher (SATB) versio...  moreThis is the final section from my Modal Mass (men's voices version) This setting of the Communion Service uses mainly the Mixolydian and Dorian modes (with short excursions into Lydian and Aeolian and occasionally jazzy modes). A higher (SATB) version of the whole mass is also available (sung by Matthew Curtis)  

Robert Ramsey’s O vos Omnes is a haunting 17th-century masterpiece that blends late-Renaissance polyphony with the bold, expressive dissonances of the early English Baroque. This five-voice setting uses poignant word-painting to bring the "sorrow of sorro...  moreRobert Ramsey’s O vos Omnes is a haunting 17th-century masterpiece that blends late-Renaissance polyphony with the bold, expressive dissonances of the early English Baroque. This five-voice setting uses poignant word-painting to bring the "sorrow of sorrows" from the Book of Lamentations to life. It remains one of the most intimate and emotionally raw works in the sacred choral repertoire.  

El coro de voces femeninas VokalArs, dirigido por Nuria Fernández, interpreta O vos Omnes, de Miklós Kocsár (Hungría, *1933) .

Utwór Szymona Godziemby - Trytka "O vos Omnes", wykonywany podczas przesłuchań VI Ogólnopolskiego Konkursu Pieśni pasyjnej (15.03.2013, Kościół pw. św. Apostołów Piotra i Pawła w bydgoszczy). Dyryguje - Michał Gacka Nagroda Specjalna za najlepsze wy...  moreUtwór Szymona Godziemby - Trytka "O vos Omnes", wykonywany podczas przesłuchań VI Ogólnopolskiego Konkursu Pieśni pasyjnej (15.03.2013, Kościół pw. św. Apostołów Piotra i Pawła w bydgoszczy). Dyryguje - Michał Gacka Nagroda Specjalna za najlepsze wykonanie kompozycji pasyjnej "O vos Omnes" Szymona Godziemby-Trytka  

Thomas Weelkes' madrigal transposed down for men's voices and sung by the dwsChorale Originally published in Balletts and Madrigals, to Five Voyces, 1598. Hark, all ye lovely saints above Diana hath agreed with Love, His fiery weapon to remove. F...  moreThomas Weelkes' madrigal transposed down for men's voices and sung by the dwsChorale Originally published in Balletts and Madrigals, to Five Voyces, 1598. Hark, all ye lovely saints above Diana hath agreed with Love, His fiery weapon to remove. Fa la la. Do you not see How they agree? Then cease fair ladies; why weep ye? Fa la la. See, see, your mistress bids you cease, And welcome Love, with love's increase, Diana hath procured your peace. Fa la la. Cupid hath sworn His bow forlorn To break and burn, ere ladies mourn. Fa la la.  less

Setting by William Walton of the poem by Phineas Fletcher "Drop slow tears", transposed for men's voices and sung by the one-man choir dwsChorale

Arrangement of an old English folk song for three voices (versions available for women's voices, mixed voices and men's voices). This version is for mixed voices AAB or MezAB

Arrangement of an old English folk song for three voices (versions available for women's voices, mixed voices and men's voices). This one is for women's voices. Images from Dunham Massey in Cheshire