Douglas Mears

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A fresh and original setting of this beloved traditional spiritual. The lyrical and very accessible vocal line is accompanied by an expressive and richly harmonized accompaniment that offers pianists a rewarding challenge. Contemporary harmonies and shifting tonalities combine to produce this awesome new arrangement.

There Is a Balm in Gilead

Vocal Solo

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Brigg Fair is a traditional English folk song from the town of Brigg in North Lincolnshire. Its title refers to the Brigg Horse Fair, a centuries-old August gathering that drew traders, musicians, and revelers from across the region. More than just a marketplace, it was a social highlight of the year, alive with music, dancing, courtship, and celebration.
The song’s verses reflect this festive spirit, telling of two young lovers hurrying to the fair, rejoicing in reunion, and pledging their constancy.
The song as we know it today was first collected in 1905 from Joseph Taylor, a farm bailiff from the nearby village of Saxby-All-Saints. Admired for the clarity and sincerity of his singing, Taylor’s rendition was preserved in some of the earliest recordings and later inspired renowned arrangements by Percy Grainger and Frederick Delius.
In this setting for chorus and orchestra, the voices retain the unaffected charm of Taylor’s singing, while the orchestra evokes the pastoral landscape from which the song emerged.

Lyrics 

It was on the fifth of August, the weather fair and fine;
unto Brigg Fair I did repair, for love I was inclined.
I got up with the lark in the morning, my heart so full of glee,
expecting there to meet my dear, long time I’d wished to see.

I looked over my left shoulder to see whom I could see.
And there I spied my own true love come drawing near to me.
He took me gently by the hand, all merrily was my heart.
For now we’re met together and nevermore shall part.

For its meeting is a pleasure, and parting is a grief;
and an inconstant lover is worse than any thief.
For the green leaves they will wither bare and the branches they will dee 
if ever I should prove untrue to the one who loves me.

Brigg Fair

Chamber Orchestra Score & Parts

Voice Category

Isaac Watts, known as the "father of English hymnody," penned this powerfully moving hymn set here to two contrasting folk hymn tunes, "Morning Song," attributed to Elkanah Kelsay Dare and "Martrydom," adapted by Hugh Wilson. The dramatic orchestral accompaniment provides vivid word-painting for the profound text of this inspired Lenten hymn.

Alas! and Did My Savior Bleed

SATB Octavo

Since its first appearance in 1819, iBrethren, We Have Met to
  Worshipi has become one of the most popular American folk hymns still sung
  today. The opening stanza of this call to worship invites Christians to pray
  for the Holy Spiritis presence as the service begins. The final stanza
  urges believers to live in the love of God in anticipation of the full
  redemption of creation when Christ returns. This setting for SATB Choir and
  chamber orchestra reflects the unbounded joy and rich blessings of Christian
  worship.

Brethren, We Have Met to Worship

At the Fair is a work for SATB chorus and chamber orchestra that presents three time-honored folk songs—She Moved Through the Fair, Brigg Fair, and Scarborough Fair. Though drawn from different corners of the British Isles, these songs share themes of love, parting, and remembrance. In each, “the fair” becomes both a gathering place and a crossroads of human experience—where longing, joy, and grief converge.

The first movement, She Moved Through the Fair, of Irish origin, opens with a dreamlike melancholy. A young man watches his beloved move through the fair, radiant and ethereal, unaware that their promised wedding will never come to pass. The evocative lyrics, shaped by centuries of oral tradition and immortalized by Padraic Colum’s 1909 verses, blur the line between love and loss, life and death. Its haunting ambiguity—whether a tale of grief, ghostly return, or fleeting dream—has kept it a favorite for generations.

The second movement, Brigg Fair, shifts to the English countryside and stands apart from the other two in tone and outcome. Collected in 1905 from Lincolnshire singer Joseph Taylor, it celebrates reunion and enduring love at the annual Brigg Horse Fair. Unlike the tales of sorrow and longing in the surrounding movements, Brigg Fair ends in quiet joy. Its lilting rhythms and glowing melody capture the warmth of simple devotion and the beauty of love fulfilled.

The final movement, Scarborough Fair, remains one of England’s most familiar folk songs. The text unfolds as a wistful exchange between former lovers, framed by the refrain naming four herbs—parsley, sage, rosemary, and thyme—each once a symbol of comfort, wisdom, remembrance, and courage. Its verses pose a series of impossible tasks, evoking yearning and the quiet recognition that some bonds can never be restored. The song’s hauntingly beautiful melody and poetic imagery have made it an enduring vision of bittersweet love.

Across the three movements, At the Fair explores life’s passage through the shifting seasons of longing, love, and loss. Reimagined here for chorus and chamber orchestra, these beloved folk songs continue to resonate with the same depth and humanity that first gave them life.

At the Fair

Choral Parts are available separately.

The Wexford Carol stands among the most beautiful of all Christmas carols and is believed to be one of the oldest still sung today. Though its exact origins remain uncertain, the song likely dates back several centuries. Its author is unknown, but the carol gained prominence in the 19th century after musicologist William Grattan Flood (1857–1928) heard it performed by a local chorister and helped bring it to wider attention.

At the time, Flood served as organist and choirmaster at St. Aidan’s Cathedral in Enniscorthy, County Wexford. Struck by the carol’s beauty, he quickly added it to his repertoire for the local congregation. The Wexford Carol was later published in 1928—the year of Flood’s death—as No. 14 in The Oxford Book of Carols, edited by Percy Dearmer, Martin Shaw, and Ralph Vaughan Williams.

Now widely known and beloved throughout the world, the carol tells the deeply moving story of Christ’s birth — tracing Mary and Joseph’s weary search for shelter in Bethlehem and culminating in the quiet miracle at the manger. Written in the mixolydian mode, its gentle, haunting melody perfectly captures the reverence and radiance of the Nativity.

Good people all, this Christmastide,
Consider well, and bear in mind
What our good God for us has done,
In sending His beloved Son.
With Mary holy, we should pray
To God with love this Christmas Day.
In Bethlehem upon that morn
There was a blessed Messiah born.

The night before that happy tide
The noble Virgin and her guide
Were long time seeking up and down
To find a lodging in the town.
But mark how all things came to pass:
From every door repelled, Alas!
As long foretold, their refuge all
Was but a humble ox’s stall.

Let all your songs and praises be
Unto His heav’nly majesty:
And evermore amongst our mirth,
Remember Christ our Savior’s birth.
That night the Virgin Mary mild
Was safe deliver’d of a child;
According unto Heav’n’s decree,
Man’s sweet salvation for to be.


*This arrangement is also available in a version for SATB choir and chamber orchestra.

Wexford Carol

Saint John Henry Newman's inspiring hymn of supplication and John Bacchus Dykes' stirring tune, "Lux Benigna," are combined in this dramatic new setting for SATB Choir and chamber orchestra. Building to a powerful climax on the words, "So long thy pow'r hast blest me, sure it still will lead me on," the work concludes peacefully, as it began, culminating a journey from darkness into light.

Lead, Kindly Light

Voice Subcategory

The beautiful and moving African American spiritual, "My Lord, what a morning," presents an apocalyptic vision of Christ's triumphant return.  Its numerous descriptions of the Second Coming have their foundations in scripture. "You will hear the trumpet sound" is a reference to 1 Corinthians 15:52, telling how, when Christ returns, "The trumpet shall sound and the dead shall be raised incorruptible." Another powerful metaphor in this hymn is "the stars begin to fall." Revelation 6:12-13 provides a stark description of the end of the world: "And lo, there was a great earthquake; and the sun became black as sackcloth of hair, and the moon became as blood; and the stars of heaven fell unto the earth." A similar recurring image in each verse is the allusion to waking "the nations underground." Scripture states that on that final morning, all believers, dead and alive, will be victoriously resurrected to new life. 

This imaginative, new setting for SATB choir and orchestra by Douglas Mears seeks to illuminate and intensify the many dramatic images presented in this beloved spiritual.

My Lord, What a Morning

SSAATTBB Octavo

This evocative setting for string orchestra of the traditional Irish folk
  song, iShe Moved Through the Fair,i is a tone poem in which the music
  depicts the heartfelt story of two young lovers longing to be wed.

She Moved Through the Fair

String Orchestra Score & Parts

The African American spiritual "Deep River" is a passionate song of hope expressing a yearning for peace and freedom, both in the present and in the afterlife.  The moving accompaniment for this setting, scored for SATB choir and chamber orchestra, reflects the inner tranquility and optimism of those who originally sang these words. A refrain from a similar spiritual of faith and trust, "Swing Low, Sweet Chariot," is also heard as the work concludes with quiet confidence.

Deep River

"There Is a Fountain Filled with Blood" is a timeless Christian hymn written by William Cowper (pronounced Cooper) in 1772.  Cowper, an English poet who struggled with severe depression, found solace in his faith, which is reflected in this hymn's powerful imagery and message of redemption. The hymn was published in the influential 1779 collection "Olney Hymns," co-authored with John Newton. Known for its opening lines, "There is a fountain filled with blood drawn from Immanuel's veins," the hymn emphasizes the cleansing power of Christ's blood for sinners. It has been set to various tunes, with Lowell Mason's "Cleansing Fountain" being the most popular. This beloved hymn continues to be cherished in Christian worship for its profound expression of salvation and grace.
In addition to this new arrangement for SSAATTBB Choir, violin solo, harp, and organ, a setting with chamber orchestra accompaniment is available.

There Is a Fountain

SSAATTBB Octavo Choral Score

"A Manger Carol" was composed in 1985 for Connie Creveling,
  Director of Music, and the choirs of Bethesda United Methodist Church in
  Bethesda, Maryland. It was originally written for unison children's choir,
  SAB youth choir, SATB adult choir, handbells, and organ. It has also been
  scored for choirs with orchestra. Michael Cockett's stirring text presents
  the theme of darkness and light, two images beautifully contrasted by the
  birth of Christ. When the shepherds and the wise men peered into the cold,
  dark manger, they saw a glorious light radiating from the newborn Savior. The
  Apostle John describes this Light by saying, "In Him was life, and that
  life was the light of men." As the carol begins, Cockett's text
  describes the darkness of the stable, and the musical themes are presented in
  a minor tonality with the SATB choir responding "Kyrie eleison"
  ("Lord have mercy"). When the lyrics shift, now describing the
  light of Christ, the same themes are presented in a major key with the choir
  responding "Gloria in excelsis Deo" ("Glory be to God on
  High"). In a wonderfully unique way, "A Manger Carol" presents
  the joyful, Good News of Christmas: "In him was life, and that life was
  the light of the world. The light shines in the darkness, and the darkness
  cannot overcome it."

A Manger Carol

"Wayfaring Stranger" (also known as "Poor Wayfaring Stranger" or "I Am a Poor Wayfaring Stranger"), is a well-known American folk spiritual, likely originating in the 18th century. It tells the story of a plaintive soul on the journey through life, longing to be home in God's kingdom. As with most folk songs, many variations of the lyrics exist and many versions of this song have been published over the years. Yet they all tell of a weary pilgrim determined to reach the promised land despite the rough and steep path ahead. 

This new setting for SATB choir and orchestra embraces the haunting and plaintive melody of the timeless spiritual and highlights the intense drama of its powerful lyrics.

Wayfaring Stranger

The traditional Polish carol "W Zlobie Lezy" ("In the Manger He Lies") portrays the simple circumstances surrounding the birth of Christ. It describes the presence of animals at the manger side and the visit of humble shepherds, who were among the first to greet the newborn Savior. In 1920, this beloved carol was translated into English as "Infant Holy, Infant Lowly" by Edith Margaret Gellibrand Reed (1885-1933), a British musician and playwright. Reed found the original Polish text in the hymnal "Spiewniczek Piesni Koscielne," published in 1908, although the carol itself may date back to the sixteenth century. The text is attributed to the Jesuit and famous patriotic preacher, Piotr Skarga, while the melody resembles the coronation polonaise of Polish King Wladyslaw IV Waza.

In addition to this arrangement for SATB choir, violin solo, harp, and organ, a version scored for SATB choir and chamber orchestra is also available.

Infant holy, infant lowly,
for his bed a cattle stall;
oxen lowing, little knowing
Christ, the babe, is Lord of all.
Swift are winging angels singing,
noels ringing, tidings bringing:
Christ, the babe, is Lord of all.

Flocks were sleeping, shepherds keeping
vigil till the morning new
saw the glory, heard the story,
tidings of a gospel true.
Thus rejoicing, free from sorrow,
praises voicing greet the morrow:
Christ, the babe, was born for you.

Infant Holy, Infant Lowly

This haunting, new arrangement of the African-American spiritual, "Sometimes I Feel Like a Motherless Child," by Douglas Mears highlights the spiritual's overwhelming sense of loneliness and despair. Its unrelenting repetition of the melody and the lyrics underscores both the pain of being lost and alone and the comfort of an irrepressible hope for the future. 

In addition to this imaginative setting for SATB choir and chamber orchestra, a reduced version for SATB choir, violin solo, harp, and organ is also available

Sometimes I Feel Like a Motherless Child

Instrumental Parts

"Amazing Grace" is one of the most beloved hymns of the last
  two centuries. The inspiring text, written by John Newton in the late
  eighteenth century, is a powerful assurance and declaration of the grace of
  God. This new arrangement of the anonymous hymn tune New Britain for SATB
  choir and chamber orchestra reflects the quiet confidence found in trusting
  God's amazing grace.

Amazing Grace

Early versions of the popular medieval carol, "Gabriel to Mary Came," can be found in at least six manuscripts dating from the late thirteenth to the mid-sixteenth century in England, France, and Ireland. The words first appeared in Latin ("Angelus ad virginem") as well as English ("Gabriel fram evene king), with subtle differences in the melody across the sources. A precious gift from Franciscan friars, this beloved carol was brought to Britain in the 13th century. The complete poem, which recounts the angel Gabriel's visit to the Virgin Mary, is said to have originally consisted of twenty-seven stanzas, each beginning with the consecutive letter of the alphabet. This new arrangement for SATB choir and chamber orchestra draws on both medieval and contemporary musical styles to enhance the telling of the annunciation story.

Gabriel to Mary came, a gentle message telling.
With his salutation glad, her maiden fears dispelling.
There heaven and earth received his call:
"Hail! Hail thou queen of virgins all;
Thou yet undefiled shalt bear a Son to comfort all, a Child of sovereign grace.
Thou shalt bear Him, Lord and God of all, to save our human race."

"How shall this befall," said she, "to me, a virgin lowly?
How can I deny the vows that bind me to be holy?"
Then said the angel, "Mary, believe,
God's Holy Ghost shall this achieve.
So be not afraid but now rejoice, rejoice indeed, now ever in His sight.
For thy trust shall be in His mercy, by God's exceeding might." 

Maid and mother of us all, who bore the gift God gave us,
praise we now in earth and heaven thy Son, who came to save us.
Pray now the Child and Lord of love,
that He may hear in heaven above,
and may succour and redeem us by his holy love, and save us when we roam,
that by His good grace we make our place in heaven's eternal home.
Alleluia!

Gabriel to Mary Came

The Latin original of this very striking and intimate Passion hymn, an
  intense conversation with the crucified Jesus, was by Ravenna-born Jean de
  FeIcamp (d. ca. 1078), Abbot of FeIcamp, author of influential theological
  works, and go-between for kings and popes. 
    
    It was first translated by Johann Heermann (d.1647), a pastor who
  ministered through plague and serial military occupations of his town during
  the Thirty Years War, and a writer of many devotional poems and hymns. 
    
    It was translated in turn, and in part reworked, by the poet Robert Bridges
  (d.1930), choirmaster in the village of Yattendon, near Oxford, and compiler
  of the famous Yattendon Hymnal in which this hymn appeared. 
    
    The hymn tune, 'Herzliebster ['most beloved'] Jesu', is by Johann Cruger
  (d.1662), the composer of some of the greatest and best-loved German chorale
  melodies. 
    
    The intense drama, portrayed in this hymn's text and tune, is the
  inspiration for this new arrangement by Douglas Mears for SATB choir,
  timpani, percussion, harp, and strings.

Ah, Holy Jesus

Though not as well-known as the Toccata from his Organ Symphony No. 5, Widor's Final from the Sixth Organ Symphony is equally breathtaking. In fact, Widor thought so much of it that he later transcribed the work as the culmination of his Symphony for Organ and Orchestra. "Rejoice! The Lord Is Risen!" was written to be sung to the accompaniment of this stunning organ finale. Widor's extraordinary music provides the inspiring foundation for this Easter anthem that will thrill both choirs and congregations. Optional brass and percussion parts add to the work's magnificence.

Rejoice! The Lord Is Risen!

The British Christmas carol "The Holly and the Ivy" possesses a rich and mysterious history. The version commonly sung today (see lyrics below) was first published in 1909 by English folk song collector Cecil Sharp (1859-1924). Sharp collected the lyrics from a woman named Mary Clayton in the market town of Chipping Campden, Gloucestershire. However, Clayton was not the author of the text; all evidence points to a much older origin, possibly dating back to medieval England. 
Holly and ivy plants have strong ties to pagan traditions as symbols of fruitfulness, enduring greenery, and vibrant colors--emblems of hope amidst the harsh conditions of winter. The early Church and Christians embraced holly and ivy for similar reasons, applying this symbolism to the everlasting life of Christ and hope in the Resurrection. Holly and ivy blended Christian and pagan metaphors and were referenced repeatedly in poems and literature for centuries. Thus, this beloved carol likely originated as a poem with varied words but without accompanying music
Over time, these words have been sung to a variety of tunes. This new arrangement for SATB choir and orchestra by Ralph Vaughan Williams and Douglas Mears is based on an old English folk melody titled "The Lark in the Morning." Vaughan Williams collected the tune on April 24, 1904, from Mrs. Harriet Verrall of Monk's Gate, Horsham in Sussex, and he incorporated it into his 1949 cantata for women's voices and orchestra titled "Folk Songs of the Four Seasons." The combination of lyrics provided by a simple Gloucestershire woman with a tune sung by a folk singer from Monk's Gate creates a joyous new setting of this enduring carol.

The holly and the ivy,
When they are both full grown, 
Of all the trees that are in the wood,
The holly bears the crown.

The holly bears a blossom, 
As white as lily flower, 
And Mary bore sweet Jesus Christ
For to be our sweet Savior.

The holly bears a berry,
As red as any blood, 
And Mary bore sweet Jesus Christ
For to do poor sinners good.

The holly bears a prickle,
As sharp as any thorn, 
And Mary bore sweet Jesus Christ
On Christmas Day in the morn.

The holly bears a bark, 
As bitter as any gall,
And Mary bore sweet Jesus Christ
For to redeem us all.

The Holly and the Ivy

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