Sacred Choral Concert Music

This favorite choral fugue from Bach's "Magnificat" is arranged here for only four parts with a playable piano accompaniment. This piece is a wonderful introduction to polyphonic texture, and the Latin text

A contrapuntal setting of Veni Sancte Spiritus and Herr Jesu Christ, dich zu uns wend by a Romantic composer who was a contemporary of Johannes Brahms and taught composition to Jean

Composed in 1842 during Liszt's most active period of touring, the sweet tunefulness of the main melody contrasts with moments of solemnity and drama at other times. Plainchant is recalled in his frequent

The exquisite musical lines and vocal parts that are written in ideal tessiture make this not only a pleasure to sing but also a fantastic teaching piece. With many teaching and performing suggestions

With colors and textures influenced by the composers experience singing at Westminster, this solemn yet glorious work will bring out the true artistry of any choir. While the Sine paenitentia text

This work, one of Palestrina's later works, not only demonstrates his more familiar mellifluous polyphony, but also contains a wonderful mix of diverse styles, from gentle and reflective homophony through

This motet is considered by many as one of the great masterpieces in the choral canon, embodying both expanded choral sound and polyphony. This edition utilizes a Renaissance chant tradition of placing

The melodious individual lines paired with the musica ficta added to this edition by the editor bring out the haunting quality of this relatively simple setting woven around subtle hints of the original

Lush contrapuntal lines that maintain the sensibilities and lineage of the German Renaissance while using the sound pallete of the late Romantic era make this work by Albert Becker a true treat.

The second of six motets in Sechs Spruche, opus 79, is homophonic and stoic in nature. In this edition, the vowels of the words are placed directly below the written pitches, which agrees with Mendelssohn's

This is the sixth work in a series of seven O Antiphons which are traditionally sung in service in the final week of Advent. The text calls for unity and redemption of humanity through the arrival of the

Dedicated to the memory of those who died in the terrorist attacks of 9/11, this powerful work comprises three organically interconnected sections reflecting the themes of remembrance, destruction, and

This motet for the new year is written in the typical contrapuntal style utilized so well by Becker - maintaining the sensibilities and lineage of the German Renaissance cantus firmus motet while employing

Written for a service of Compline, this celebratory anthem uses fragments of plainchant to create imagery depicting the descending golden light of dawn; it ends with pleas for the despair of night to

In this work, a portion of the text from the Prayer of St. Francis ("Where there is darkness, let me show your light") is combined with the Latin Agnus Dei text from the Ordinary of the Mass. From the

After an initial setting of the Gloria, a portion of the text from the Prayer of St. Francis ("Where there is doubt, faith. Where there is despair, let there be hope") joins the Gloria text. Musically, the

This original concert work with a traditional Latin text contains elements of chant with dramatic organ writing and an optional French horn part. A variety of textures and tempos are explored, including a

Although Rosephanye Powell often selects sacred texts for her music, it is the uniqueness of her writing style that enables it to serve both in worship and concert. Ascribe to the Lord, one of her

The fourth movement of Dan Forrest's new LUX:The Dawn from on High is now available as a stand-alone octavo. Its jazz-influenced harmonies, infectious rhythmic energy, soaring vocal lines, and

A rhythmic drive in the divisi inner voices contrasts with the flowing lines in soprano and bass, leading to a largely homophonic grand maestoso section that builds to grand ending.

Set for SSAATB voices with campanelli/glockenspiel accompaniment.

A lush, warm, and flowing setting of this sacred text in the way only Esenvalds can do it. Absolutely stunning.

Harriet Beecher Stowe poetry comes to life in this beautiful new setting of the classic Mendelssohn hymn. Richly scored for SATB a cappella choir, it exudes confidence, comfort, and assurance as it builds