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Deep in the forest is No. 3 of the ‘Five Carols for 3 and 4 Parts’, which were written so as to be performable in more than one choral combination, for example, for women’s voices only with an optional part for men. Along with No. 4, A baby lying, those two carols are the darker pair of the set. However the numbering is no indication of performance order, where the five carols are being sung together as a group. In this case the following order is suggested: Nos. 2, 3, 5, 4, 1.

• McLeod: Five Carols for 3 and 4 Parts; computer-set 

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• McLeod: Five Carols for 3 and 4 Parts; computer-set 

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• McLeod: Deep in the forest; computer-set 

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• McLeod: Deep in the forest; computer-set 

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• McLeod: Sun Festival Carols; computer-set 

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• Wanganui Schola Sacra Choir: Pohutukawa Carols  Year: 2002 

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J’ai oui chanter (I heard the nightingale) is No. 1 of The ‘Five Carols for 3 and 4 Parts’, which were written so as to be performable in more than one choral combination, for example, for women’s voices only with an optional part for men. Along with No. 2 Je sais, vierge Marie (I know, O Virgin Mary) , the first two carols are the light-hearted pair of the set. However the numbering is no indication of performance order, where the five carols are being sung together as a group. In this case the following order is suggested: Nos. 2, 3, 5, 4, 1.

• McLeod: Five Carols for 3 and 4 Parts; computer-set 

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• McLeod: J'ai oui chanter (I heard the nightingale); computer-set 

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• McLeod: J'ai oui chanter (I heard the nightingale); computer-set 

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J’ai oui chanter (I heard the nightingale) is No. 1 of The ‘Five Carols for 3 and 4 Parts’, which were written so as to be performable in more than one choral combination, for example, for women’s voices only with an optional part for men. Along with No. 2 Je sais, vierge Marie (I know, O Virgin Mary), the first two carols are the light-hearted pair of the set. However the numbering is no indication of performance order, where the five carols are being sung together as a group. In this case the following order is suggested: Nos. 2, 3, 5, 4, 1.

• McLeod: Five Carols for 3 and 4 Parts; computer-set 

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• McLeod: Five Carols for 3 and 4 Parts; computer-set 

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• McLeod: J'ai oui chanter (I heard the nightingale); computer-set 

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• McLeod: J'ai oui chanter (I heard the nightingale); computer-set 

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Je sais, vierge Marie (I know, O Virgin Mary) is No. 2 of the ‘Five Carols for 3 and 4 Parts’, which were written so as to be performable in more than one choral combination, for example, for women’s voices only with an optional part for men. Along with No. 1 J’ai oui chanter (I heard the nightingale), the first two carols are the light-hearted pair of the set. However the numbering is no indication of performance order, where the five carols are being sung together as a group. In this case the following order is suggested: Nos. 2, 3, 5, 4, 1.

• McLeod: Five Carols for 3 and 4 Parts; computer-set 

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• McLeod: Five Carols for 3 and 4 Parts; computer-set 

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• McLeod: Je sais, vierge Marie (I know, O Virgin Mary); computer-set 

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• McLeod: Je sais, vierge Marie (I know, O Virgin Mary); computer-set 

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Je sais, vierge Marie (I know, O Virgin Mary) is No. 2 of the ‘Five Carols for 3 and 4 Parts’, which were written so as to be performable in more than one choral combination, for example, for women’s voices only with an optional part for men. Along with No. 1 J’ai oui chanter (I heard the nightingale), the first two carols are the light-hearted pair of the set. However the numbering is no indication of performance order, where the five carols are being sung together as a group. In this case the following order is suggested: Nos. 2, 3, 5, 4, 1.

• McLeod: Five Carols for 3 and 4 Parts; computer-set 

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• McLeod: Five Carols for 3 and 4 Parts; computer-set 

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• McLeod: Je sais, vierge Marie (I know, O Virgin Mary); computer-set 

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• McLeod: Je sais, vierge Marie (I know, O Virgin Mary); computer-set 

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This is a modern folk song about the history of glass-making in Sunderland. It is part of a collection of songs about the River Wear, “Winter Wear”. It can be performed as a Christmas song, or at other times of year. It is not especially religious.

Glass-making has always played an important role in the cultural and industrial history and soul of Sunderland and the River Wear: Benedict Biscop’s unique use of French glass-makers to fill in the windows of his monastery church, St. Peter’s in the 9th century; the industrial melting pot of the 19th century where the abundant supply of coal from the Durham coalfield, ferried down the River Wear fuelled several industries, most notably steel-making, shipbuilding and glass making; the European monopoly of Joblings Glassworks making heatproof oven-ware out of Pyrex in the mid- 20th century; and the National Glass Centre of today in which students at the University and glass artists from around the country craft enchanting art works. The first people to see each of these phenomena must have been transfixed by the novelty they were witnessing. This song portrays the response to each of these first encounters with the magical glass.

• Camm: Magical Glass; computer set 

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• Camm: Magical Glass; computer set 

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This is a modern folk song about the history of glass-making in Sunderland. It is part of a collection of songs about the River Wear, “Winter Wear”. It can be performed as a Christmas song, or at other times of year. It is not especially religious.

Glass-making has always played an important role in the cultural and industrial history and soul of Sunderland and the River Wear: Benedict Biscop’s unique use of French glass-makers to fill in the windows of his monastery church, St. Peter’s in the 9th century; the industrial melting pot of the 19th century where the abundant supply of coal from the Durham coalfield, ferried down the River Wear fuelled several industries, most notably steel-making, shipbuilding and glass making; the European monopoly of Joblings Glassworks making heatproof oven-ware out of Pyrex in the mid- 20th century; and the National Glass Centre of today in which students at the University and glass artists from around the country craft enchanting art works. The first people to see each of these phenomena must have been transfixed by the novelty they were witnessing. This song portrays the response to each of these first encounters with the magical glass.

• Camm: Magical Glass; computer set 

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• Camm: Magical Glass; computer set 

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The words and music of this prophetic carol were written by Willow Macky. They have since been set for carillon, piano, and SSA choir. This arrangement is planned to meet the needs of the Church choral director, who is often looking for something interesting but reasonably simple for mixed voices (bearing in mind that tenors tend to be very hard to come by nowadays) with a varied (but not difficult) three-stave organ accompaniment. Written at the request of Canadian Dominion Carilloneur, Gordon Slater, in 1986 for the United Nations’ International Year of Peace, it was performed on carillon in the U.S., Holland, Belgium, Canada, Australia and New Zealand in that year. The song has been broadcast through national radio networks in New Zealand by Diane Philson and the Auckland Balkan Folk Orchestra.

• Macky: Peace to the World; computer-set 

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• Macky: Peace to the World; facsimile 

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• Sahar: Still the Night; computer-set 

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