I had the idea of a choir earlier. I wanted the forum to sing a Passion, but it's nearly impossible. I've sang in the temporary choir of an NO salesian parish, but since I can't attend a Trad choir, I invite you to the CathInfo choir!
Our first song is an Easter song and this will be the Easter gift of CathInfo (if we have a St. Patrick's skin, so why not?): The Victory Choir from Händel. I've sang this in the NO choir and I love this song.
You can view the sheet here. And is an excellent rendition of the King's College Choir. Now we need:
- minimum 5 sopranos, altos, tenors and basses,

AUDITIONS:
sopranos:
- none yet;
altos:
Pelly;
males (males should give their range):
-none yet

You must learn the sheet, sing it with the instrumental, upload the acapella somewhere. Then I'll assemble and render it on my computer. Please post the link of the sound file.

Audtitons can be made in this thread. Please add:
- your username;
- your voice range;
- a sample of your singing voice.

If you're admitted to the choir, then you can proceed to the actual singing.

I appreciate your effort, Pelly, but I have to ask, why would you want to
choose a Protestant song from a Protestant website?  

Associating with the rituals and music of heretics is called FALSE EcuмENISM,
which is traditionally NOT CATHOLIC.  It has become commonplace in
Newchurch, though, as part of the One World Religion movement.



Their repertoire is as follows:  



    A Mighty Fortress Is Our God
    Abide with Me, Fast Falls the Eventide
    Ah, Holy Jesus, How Hast Thou Offended
    All For Jesus
    All Glory, Laud and Honor  <------- they have a Protestant version of this here
    Alleluia, Sing to Jesus
    America the Beautiful
    And Can It Be
    Angels We Have Heard on High
    Away In a Manger
    Be Thou My Vision
    Christ the Lord Is Risen Today
    Come Thou Fount of Every Blessing
    Come, Christians, Join to Sing
    Crown Him with Many Crowns
    Eternal Father, Strong to Save
    Fairest Lord Jesus
    For the Beauty of the Earth
    Gentle Mary Laid Her Child
    God of Our Fathers
    Guide Me, O Thou Great Jehovah
    Hallelujah, What a Savior
    He Leadeth Me: O Blessed Thought
    Holy, Holy, Holy
    I Greet Thee Who My Sure Redeemer Art
    I Sing the Mighty Power of God
    Immortal, Invisible, God Only Wise
    Infant Holy, Infant Lowly
    It Is Well with My Soul
    Jesus, Thou Joy of Loving Hearts
    Joy to the World! The Lord Is Come
    Let All Mortal Flesh Keep Silence
    Lift High the Cross
    Like A River Glorious
    Make Me a Captive, Lord
    May the Mind of Christ My Savior
    My Jesus, I Love Thee
    Now Thank We All Our God
    O Come All Ye Faithful
    O Come O Come Emmanuel
    O God, Our Help In Ages Past
    O Sacred Head, Now Wounded
    O the Deep, Deep Love of Jesus
    Onward, Christian Soldiers
    Praise, My Soul, the King of Heaven
    Rejoice the Lord Is King
    Savior, Like a Shepherd Lead Us
    Silent Night
    Soldiers of Christ, Arise
    The Church's One Foundation
    The Lord's My Shepherd
    Thine Be the Glory
    This Is My Father's World
    We Are God's People
    We Come O Christ To You
    When I Survey the Wondrous Cross



The few in bold above are Catholic titles I recognize, and the others
are all Protestant titles.  I have not listened to them on this site,
though.  

You have to be very careful in music because when a Protestant
convert hears a Catholic choir sing music that he recalls having heard
in his old protestant services, it evokes in him the heresies they taught
there, which he is now trying to leave behind, so it makes it all the
more tortuous for such converts to remain Catholic!  

Also, even if the music does NOT contain any objective heresy,
the fact that it is commonly heard in the Protestant setting, where
heresy abounds, the implication of all those heresies is communicated
by the music simply by association.  

This was explained to me by Michael Malone, a convert (now deceased)
who went to great lengths to evangelize and attempt to share his
newfound faith with other Protestants.  He said it can DESTROY all your
work of helping someone convert to the True Faith, when you sing
those songs that he recalls from his past.  

This is why the modern Novus Ordo penchant of having "A Mighty
Fortress Is Our God" or "Amazing Grace" and the like at Mass or at a
funeral, is offensive to pious ears, and smacks of heresy.  This is
important.

There is a interesting description for Crown Him With Many Crowns on the
website above.  In this "history" you can easily see how Protestants have
feared to have music that might seem too "Catholic."  And what is it that
makes it so, primarily?  Doctrine!  But like I said before, doctrine is not
the only issue.  It's important but not everything.  When it comes to music
there is a lot more to be concerned with besides doctrine alone.  



////
Hymn Story:

The text of this great hymn is a composite or combination by two different authors, both of whom were inspired by Revelation 19:12. The first printing was a six-stanza hymn in Hymns of the Heart (1851) by Matthew Bridges, who later in his life left the Church of England and became a Roman Catholic. Bridges' hymn was originally titled: "The Song of the Seraphs."

In 1874, Godfrey Thring feared that some of the Bridges' verses spoke too much of Catholic doctrine. Verse two, for example, said:

Crown Him the virgin's Son, the God incarnate born,
Whose arm those crimson trophies won which now His brow adorn;
Fruit of the mystic rose, as of that rose the stem;
The root whence mercy ever flows, the Babe of Bethlehem.

He wrote six new stanzas for the hymn. The new six stanza text was published in Thring's Hymns and Sacred Lyrics."

Over the years, the twelve stanzas (six by Bridges and six by Thring) became intermingled in various hymnbooks.

Hence, the hymn that had two entirely different six-stanza texts appears in most hymnals with a composite 4 stanza text.
////




On this linked website, in the recordings, you can easily hear the BREAKS
in the accompaniment, organ (or brass), which breaks are intended to signal
the congregation when to breathe.  It is a kind of presumed participation of
the whole body of people in attendance that they will sing with the choir at
all times.  Keep in mind that the Protestants pretty much have two things:  
they have preaching and they have singing. They don't have any
sacrament, they don't have any sacrifice, they don't have any authority, they
don't have any jurisdiction, they don't have any tradition due to the fact that
they reject the principle (even though they accrue it nonetheless, in practice)
and they do not have any sanctifying grace.  So singing is really a big deal, as
that's pretty much it, except for preaching.  You might say "but they have
prayer!"  Well, they might think they have prayer, but God doesn't hear the
prayers of heretics, so what good is it?  

This break in the accompaniment is like a fish out of water in a Catholic Church.
Certainly, an organist can employ a sudden stopping of the organ at key points,
but to do that every time the end of a phrase comes, just to be sure the
congregation knows when to breathe is something that destroys the flow, and
the LINE of the music, turning it into a mechanical, juke-box kind of thing,
without life and without holiness.

I'm pretty sure Handel was a Protestant.

Maria Elizabeth has the right idea:  constructive suggestions!

A popular version of the Magnificat in Latin Chant alternating with harmony
is found in the St. Gregory Hymnal,* #216.  The choir sings verse 1 in unison,
then verse 2 (and all subsequent even verses) in harmony, found at the bottom
of the page, then returns to unison for verse 3 (and subsequent odd verses).  
The harmony is given in 3 parts "for two part chorus or 3 equal voices" but can
easily be expanded to 4 parts, with Tenors on part 3 and Basses pick the notes
they would sing, which are not shown on the page.  What works well is for the
Basses to remain on an F for the first half of the harmony (4 "measures"), then
sing C, G, C, F for each of the final 4 "measures."  (There is no time signature
so the "measures" are arbitrary.  The harmony section is effectively 4/4 time
but the first half, the odd verses, have no time sig, so it is customary not to
switch back and forth from time, no time, time, no time, etc.)

*St. Gregory Hymnal and Catholic Choir Book, complete edition, Newmann Press.

One Eastertide hymn that everyone knows and some don't like much because
it sometimes gets to be monotonous, is O filii et filiae (English trans. = Ye Sons
and Daughters).   If it's done well, it's pretty good, but it's easy to mess it up.  
Gregorian Chant has a niche.  

But this is sung when the Alleluia has not been uttered for 40 days, and it is
a real treat to hear the joyful Alleluia.  It should be made to sound GREAT!

One way to make it more interesting is to have different voices do prominence
for different verses.  If you have a choir, you can have the Altos sing more
prominently for verse 2 while the rest of the choir backs off or even sings
"Oos" instead of words, then the whole choir re-join for the 3 Alleluias, then
have the Tenors sing louder for verse 3, etc., then Sopranos for verse 4, etc.,
then Basses for verse 5, etc.  Then have everyone do verse 6 together.  

This is very effective, actually.  Here are the words (I put hyphens between
sentences because Chant should not be interrupted audibly):

It begins with 3 times Alleluia, which is the repeated chorus, in unison.
1. O filii et filiae - Rex coelestis, Rex gloriae - Morte surrexit hodie - Alleluia (+ 3x)

Then the Alto solo sings (with the other voices in soft background, typical):
2. Et mane prima sabbati - Ad ostium monumenti - Accesserunt discipuli - Allel...

Tenor solo:
3. Et Maria Magdalene - Et Jacobi et Salome - Venerunt corpus ungere - Alleluia...

Soprano solo:
4. In albis seden Angelus - Praedixit mulieribus - In Galliaea_est Dominus - Ale...

Bass solo:
5. Et Joannes Apostolus - Cucurrit Petro citius - Monumento venit prius - Alleluia...

Tutti:
6. Discipulis astantibus - In medio stetit Christus - Dicens: Pax vobis omnibus - A...

Do you see how the various verses are very appropriate for each of the voices?  
Each verse's message is magnified by the quality of the voices singing it.
The Basses finish with St. John the Beloved Apostle waiting at the tomb for St.
Peter, the prince of the Apostles, and then everyone sings of Our Lord appearing
to everyone gathered in fear, in the Upper Room. saying, "Peace be with you."

The same pattern can be used a second time, with the Altos on verse 7 singing
about St. Thomas not having been present, then the Tenors sing in v. 8 of him
announcing his incredulity unless he sees the side, the feet, the hands of Our
Lord, then the Sopranos take v. 9, when St. Thomas puts his finger into the
wounds in His hands, and feet and his hand into His side, and says "Thou art my
God!" And then the Basses sing the words of Our Lord, the words for our time,
"Beati qui non viderunt, et firmiter crediderunt, vitam aeternam habebunt."

And it finishes with tutti: In hoc festo sanctissimo - Sit laus et jubilatio -
Benedicamus Domino - Alleluia! (+ 3x) And De quibus nos humillimas -
Devotas atque debitas - Deo dicamus Gratias - Alleluia! (+ 3x).

I have Jesu, Rex Admirabilis in my school songbook. CONCLUDED: program change to "Jesu, Rex admirabilis"

O Fili et Filae added, because it resembles in Alleluia tone used in my (another) NO Church.
EDIT: found the Liszt Franz version.