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Descending angels in the form of your sopranos and altos are accompanied by an optional heavenly harp in this anthem written with Eastertide text. The scene between the three Marys and the angels and the

This festive Easter anthem has a beautiful text by Christina Rossetti and incorporates the hymn tune GELOBT SEI GOTT throughout the instrumental interludes. This anthem is accompanied by organ and has

This choral fantasy uses the hymn tune VRUECHTEN as its underpinning but riffs on the tune by altering the phrasing, cadences, and even takes an excursion into the relative minor. Divisi parts form two

From the larger work "Songs for the Journey" which was meant to be a companion piece to the Faure Requiem, this rather tranquil setting with independent vocal lines is based on Psalm 31:5 and an excerpt

This five-part C-major motet has a Latin text from the antiphon from the Good Friday liturgy. Notated on five staves, the soprano 1 and 2 parts have their own staves. An optional continuo part for organ is

This text from the fourth century is a reflection on the anguish felt by Mary at the crucifixion, her sorrow and grief emulated by the music.

A wonderful Easter carol that in some way harkens back to Renaissance dance music. Rhythmic, stark, and strong, the piece begins with a short refrain that keeps returning in a ritornello-like fashion. This

Part of the National Collegiate Choral Organization Choral Series. This edition still contains many of the editorial touches of Thomas Dunn's 1976 edition; however, when the NCCO asked that it be included

This tonal setting of Psalm 130 follows the strophic translation created by Elizabethan poet and composer Thomas Campion. Each verse follows an original melody which is elaborated upon progressively

The surprising joy of the Resurrection is conveyed through jubilant fanfares in the accompaniment and a shifting of the rhythm between 3/4 and implied 6/8 meters. As the mood softens, a more melodic section

This musical setting employs changing meters to emphasize the inherent rhythm of the lyrics. The opening solo flows as if a cantor might perform it, slightly lingering on important words and relaxing the

This setting of Psalm 48 uses the Myles Coverdale translation of the Bible, and adds alleluias which occur three times and serve as a sort of refrain. The addition of these alleluias provides

This remarkable new arrangement for SATB chorus and piano focuses on the inherent drama of the text. Each verse expresses a different reaction to its question about the Crucifixion. The piano accompaniment,