Herbert Howells composed his Magnificat And Nunc Dimittis evening canticles for St Paul's Cathedral in 1951, going on to become among his most famous and enduring works. These beautiful canticles were composed by a master of setting the Anglican liturgy, and are arranged for SATB Chorus and Organ Accompaniment. These two wonderful works of choral music are characterised by a unique blend of unison harmonies and disparate melodies that highlight each voice perfectly. The lingering notes, crescendos and subtle dynamic changes were composed with the acoustics of that great cathedral in mind, but they also work equally well in any setting.

Herbert Howells: Magnificat and Nunc Dimittis (Collegium Regale) for SATB and Organ accompaniment is a vibrant sacred work with beautiful voicings and a wonderful effervescence. This faithful transcription is brought to you by Novello. Herbert Howells has successfully brought together Tudor church music, and merged it with modern harmony and counterpoint – This is rich and colourful church music with integrity. It is dedicated to King's College, Cambridge.

Novello presents a setting of the Nunc Dimmitis in Latin for SSAATTBB Choir, A Cappella. Although written for Richard Terry in 1915, the first concert peformance of this work was given in June 1974. Desmond Ratcliffe has prepared a keyboard reduction for rehearsal purposes only.

We are not as alone as we think we are in the universe. Aliens are all around us. The problem is that humans don't want to accept aliens as friendly members of society. They feel the need to exterminate them before the aliens devise a plan to exterminate all humans. The aliens have studied human existence and discovered a way to live among us enough to create their new home under the sea. TONY CHEVERIE, the main character who lives in the small coastal town of Eastport, Maine, is a scientist who comes across the alien's existence by accident. He wants to help them. The antagonist is Peter McGurk captain of the military weaponry division. Dan wants all the aliens dead.

Herbert Howells (1892-1983) was a prodigiously gifted musician and the favourite student of the notoriously hard-to-please Sir Charles Villiers Stanford. Throughout his long life, he was one of the country's most prominent composers, writing extensively in all genres except the symphony and opera. Yet today he is known mostly for his church music, and there is as yet relatively little serious study of his work. This book is the first large-scale study of Howells's music, affording both detailed consideration of individual works and a broad survey of general characteristics and issues. Its coverage is wide-ranging, addressing all aspects of the composer's prolific output and probing many of the issues that it raises. The essays are gathered in five sections: Howells the Stylist examines one of the most striking aspect of the composer's music, its strongly characterised personal voice; Howells the Vocal Composer addresses both his well-known contribution to church music and his less familiar, but also important, contribution to the genre of solo song; Howells the Instrumental Composer shows that he was no less accomplished for his work in genres without words, for which, in fact, he first made his name; Howells the Modern considers the composer's rather overlooked contribution to the development of a modern voice for British music; and Howells in Mourning explores the important impact of his son's death on his life and work. The composer that emerges from these studies is a complex figure: technically fluent but prone to revision and self-doubt; innovative but also conservative; a composer with an improvisational sense of flow who had a firm grasp of musical form; an exponent of British musical style who owed as much to continental influence as to his national heritage. This volume, comprising a collection of outstanding essays by established writers and emergent scholars, opens up the range of Howells's achievement to a wider audience, both professional and amateur. PHILLIP COOKE is Lecturer in Composition at the University of Aberdeen. DAVID MAW is Tutor and Research Fellow in Music at Oriel College, Oxford, holding Lectureships also at Christ Church, The Queen's and Trinity Colleges. CONTRIBUTORS: Byron Adams, Paul Andrews, Graham Barber, Jonathan Clinch, Phillip A. Cooke, Jeremy Dibble, Lewis Foreman, Fabian Huss, David Maw, Diane Nolan Cooke, Lionel Pike, Paul Spicer, Jonathan White. Foreword by John Rutter.