Sacred Music for Clarinet

Piae Cantiones, published in 1582, is a collection of late medieval sacred and secular songs begging to be given performance, either as written, or perhaps in new settings. Three sacred tunes in

Perhaps the most beautiful of Johann Sebastian Bach's melodies, Come, Sweet Death has been transcribed for clarinet quartet reflecting performance interpretations created by organist, Virgil Fox,

Perhaps the most beautiful of Johann Sebastian Bach's melodies, Come, Sweet Death has been transcribed for clarinet choir reflecting performance interpretations created by organist, Virgil Fox, and

This inspirational collection of ten classic hymns arranged for C and/or B-flat instrumental duets will provide just the right message of faith when a special musical moment is needed during worship

Away in a Manger is found in several unique musical settings. Among them, three are utilized in this medley: Cradle Song, Old Normandy Carol, and Mueller. Old

Taken from Piae Cantiones (1582), Divinum Mysterium is the name of the medieval chant melody which accompanies the hymn Of the Father's Love Begotten. Piae Cantiones is a

Do not let the slow start to this piece deceive you! Containing many contrasting sections, this work is a medley of O Come, O Come, Emmanuel (Veni Emmanuel); Of the Father's Love Begotten

Seven familiar hymns are tastefully arranged and edited for treble instrument and piano. These pieces may be played by flute, oboe, clarinet, or violin, with piano accompaniment. The part includes music for

The Holst setting of Christina Rossetti's poem In the Bleak Midwinter is the basis for this moody work for clarinet and piano, largely inspired by the poem's first verse that speaks of the cold

This delightful and musically sensitive arrangement of one of the oldest and most familiar Christmas carols is a welcome addition to the clarinet repertoire. Suitable to play in both concert and church

Old 100th derives its name from its original pairing with All People That on Earth Do Dwell (Psalm 100). The tune is attributed to Geneva-based French composer Louis (Loys) Bourgeois in

Another reproducible collection of festive descants by Patricia D. Backhaus, this time focused on hymns with Reformation themes. Each descant is provided over the melody in both C and B-flat. While the