Michael Burke

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Mass of Our Lady, Queen of the Valley (Extraordinary form) was composed as a heartfelt offering of gratitude and devotion, inspired by the quiet encouragement and maternal guidance of the Blessed Virgin Mary. Written originally for the Traditional Latin Mass and dedicated to the Choir and Ladies of the Sanctus Ignus Choir, the work emerged through perseverance, prayer, and a deep desire to honor Our Lady. Premiered at Midnight Mass on Christmas Eve 2023 at Our Lady of the Valley Parish in Easthampton, Massachusetts, the setting has since become a beloved tradition, uplifting worshippers with its reverent beauty and sense of heavenly peace.

Mass of Our Lady, Queen of the Valley (Extraordinary Form)

SATB

Format

The Triumph of Easter Day is shown in this new arrangement of the glorious hymn.

Christ the Lord is Risen Today

SATB Octavo

This reverent and lyrical setting of the Marian antiphon Salve Regina is written for SATB choir and is suitable for liturgical use throughout the Church year, especially Marian feasts, Lent, and Ordinary Time. Scored a cappella, the work features a calm, chant-inspired opening that unfolds into warm, expressive harmonies while remaining accessible to parish and community choirs.

The vocal writing is primarily homophonic with gentle moments of imitation, allowing the Latin text to remain clear and prayerful. Ranges are comfortable in all voices, and the moderate tempo supports thoughtful phrasing and expressive text delivery. This setting is ideal for choirs seeking a dignified and devotional Marian motet that balances musical interest with practical rehearsal demands.

Duration: approximately 4 minutes.

Salve Regina

The Holy City is well suited for use after Communion during the Easter Season, providing a reflective yet expressive musical meditation
that unfolds naturally from the reception of the Eucharist. In this moment of thanksgiving, the text’s vision of the New Jerusalem
invites the faithful to contemplate the promise of eternal life revealed through the Resurrection. The setting allows the liturgy
to continue without interruption, shaping the post-Communion period as a time of prayerful reflection rather than silence alone.

The arrangement moves through contrasting sections, with a more restrained central portion giving way to broader, confident choral
writing that mirrors the Easter proclamation of hope and renewal. This progression supports the theology of the season, drawing
the assembly from contemplation toward assurance in Christ’s victory over death. The familiar melody enables the text to remain
accessible, while the choral writing reinforces the unfolding meaning of the text without becoming overly demonstrative.

Appropriate for the Sundays of Easter, All Saints celebrations occurring within the season, and funeral Masses celebrated during
Easter time, The Holy City integrates seamlessly into the Roman Catholic liturgy. Its measured pacing and expressive shape make it
an effective choice for parish and cathedral choirs seeking music that sustains prayer after Communion while affirming the Church’s
Easter faith in the Resurrection and the life of the world to come.

The Holy City

Mass of Our Lady, Queen of the Valley was composed as a heartfelt offering of gratitude and devotion, inspired by the quiet encouragement and maternal guidance of the Blessed Virgin Mary. Written originally for the Traditional Latin Mass and dedicated to the Choir and Ladies of the Sanctus Ignus Choir, the work emerged through perseverance, prayer, and a deep desire to honor Our Lady. Premiered at Midnight Mass on Christmas Eve 2023 at Our Lady of the Valley Parish in Easthampton, Massachusetts, the setting has since become a beloved tradition, uplifting worshippers with its reverent beauty and sense of heavenly peace.

Mass of Our Lady, Queen of the Valley

God So Loved is a reflective choral work written during a period of personal trial as the composer witnessed his wife’s ongoing struggle with illness. Drawing inspiration from the profound truth of John 1:14—“And the Word was made flesh, and dwelt among us”—the piece serves as a reminder that God entered into human suffering and remains present with us in our deepest moments of need.

Accessible to most choirs, this composition weaves together tenderness and strength, offering reassurance that God’s love accompanies us through pain, uncertainty, and sorrow. At its heart, God So Loved invites singers and listeners alike to hold onto the enduring promise that, even in times of tumult, God is near.

God So Loved

This spirited arrangement of the beloved Easter hymn captures the unmistakable joy of the Resurrection with vibrant alleluias, rhythmic energy, and clear, accessible choral writing. Tender narrative moments balance the exuberance, drawing singers into the wonder of the empty tomb before returning to triumphant Easter celebration. A bright and uplifting addition to any parish or concert Easter repertoire.

O Filli Et Filiae

There are days when all I can do is look toward the light, reach out, and pray. Not every prayer is complex or carefully formed; sometimes it is not like the Our Father, but simply a quiet offering of the heart—a simple prayer.

I wrote this piece with the hope of giving voice to those moments when faith is sincere but words are few. We live in a complicated world that can easily overwhelm us, and in those moments, prayer may feel fragile or unfinished. A Simple Prayer is an invitation to pause, to breathe, and to offer whatever we can, trusting that it is enough.

Through gentle text and music, this work reflects prayer as something shared—born from open hearts and open hands. It reminds us that prayer does not need to be perfect or eloquent to be meaningful. Even the simplest prayer, offered with honesty and love, draws us closer to one another and to Christ.

A Simple Prayer

A Song for La Salette is an original sacred choral composition for SATB chorus written in honor of Our Lady of La Salette, the Blessed Virgin Mary under her title associated with the approved Marian apparition at La Salette, France. The work is devotional in character and seeks to reflect the sorrow, tenderness, and maternal solicitude of Our Lady, while drawing singers and hearers toward prayer, repentance, conversion of heart, and renewed confidence in the mercy of God. Its text and musical language are intended to support Catholic meditation on the Blessed Mother’s call to fidelity, penance, and hope in Christ.

A Song for La Salette

Across centuries of Catholic worship, the four seasonal Marian antiphons have given voice to the Church’s devotion to the Blessed Virgin Mary at the close of Compline and throughout the liturgical year. These newly composed settings for SATB choir seek to restore that beloved tradition to parish life, offering music that is both accessible to choirs and prayerful in character.

Each antiphon is written to serve its proper place in the Church year: Alma Redemptoris Mater from Advent through the Feast of the Presentation, Ave Regina Caelorum from the Presentation to the Easter Vigil, Regina Caeli throughout the Easter Season, and Salve Regina during the remaining weeks of the year. In this way, the collection provides choirs with a complete cycle of Marian devotion that can be woven naturally into parish worship, whether following Communion, at the conclusion of Mass, during Benediction, or in seasonal Marian celebrations.

These settings aim to honor the long tradition of Marian antiphons while offering fresh musical language for today’s choirs. They are intended not simply as concert pieces, but as living prayers that invite the faithful to rediscover the beauty of honoring Our Lady throughout the year and to deepen their devotion within the liturgy of the Church.

Antiphons of our Lady

Who’d We Crucify? is a reflective Passion meditation that confronts the listener with the central
question of Holy Week: not merely who was crucified, but why. Through restrained musical
language and direct, searching text, the work invites singers and listeners alike into a moment
of communal examination and remembrance.
Rather than narrating the Passion story, the piece meditates on its meaning—juxtaposing
Christ’s mercy, healing, and self-giving love against humanity’s failure to recognize Him. The
recurring question, “Who’d we crucify?” becomes both accusation and confession, drawing
the listener inward rather than outward.
The work concludes with a quiet yet powerful declaration—“He was the Son of God”—
echoing the centurion’s realization at the Cross and offering a moment of stillness, recognition,
and faith. Intended for Good Friday or Holy Week, this piece is suitable for both liturgical use
and concert performance, calling the assembly to reflection rather than spectacle.

Who'd We Crucify?

Take Heart is a reflective and uplifting choral work inspired by John 16:33 and Psalm 46:10. Written in response to the pain and turmoil present in the world, this piece reminds listeners of God’s steady and comforting presence amid hardship. With expressive lines and accessible writing, Take Heart encourages choirs and congregations alike to hold fast to hope and trust that God is ever near. Perfect for worship, concerts, or moments of reflection.

Take Heart

Your Voice is a reverent contemporary Catholic prayer in song, giving voice to the soul’s desire to hear the Lord more clearly and follow His holy will. Through text centered on grace, truth, light, and the search for God’s call, this original composition reflects the life of discipleship and the longing of the faithful heart to remain close to Christ. Gentle yet expressive, it is well suited for Catholic worship, including offertory, meditation, communion reflection, Eucharistic adoration, retreats, parish missions, and other moments of prayerful devotion. With its warm melodic writing and sincere spiritual tone, Your Voice invites both singer and listener into a deeper posture of listening before God.

Your Voice

2/3/4-Part

This vibrant choral setting draws its inspiration from Psalm 95, the Church’s ancient Invitatory Psalm, which calls the faithful to joyful worship of God. With an energetic opening and strong rhythmic drive, the work invites the assembly to “come, let us sing to the Lord, the rock of our salvation,” echoing the timeless call to praise found in the liturgy of the Church.

The piece unfolds in contrasting musical sections that reflect the psalm’s theological message. Bold opening statements proclaim the greatness of God, “the King above all things,” while flowing lyrical passages highlight the relationship between God and His people: “For He is our God and we are His people, the sheep within His flock.” A more reflective middle section encourages prayerful meditation on the psalm’s warning: “If today you hear His voice, close not your hearts.”

Written for SATB choir with piano, the work combines accessible vocal writing with expressive harmonies and a supportive accompaniment. The music moves between strong unison declarations and full choral textures, allowing the text to remain clear and prominent throughout. The result is a joyful yet reverent proclamation of faith rooted in Sacred Scripture.

Suitable for concert performance, sacred choral programs, or liturgical celebrations, this setting of Psalm 95 serves as a powerful musical invitation to worship, reminding singers and listeners alike of their call to praise the Lord with thanksgiving and joyful song.

Come, Let Us Sing to the Lord

Pange Lingua Gloriosi is a reverent and expressive setting designed for the Holy Thursday procession to the Altar of Repose. Combining Latin and English text, this work features accessible choral writing with a steady, processional character supported by a solemn piano accompaniment (pages 3–6). An additional Tantum Ergo setting is included (page 8), making the piece suitable not only for Holy Thursday but also for Eucharistic Adoration throughout the year. Ideal for parishes seeking a dignified and prayerful musical offering for the Triduum.

Pange, Lingua, Gloriosi

The Dawn of the Third Day is a triumphant choral work celebrating the Resurrection of Christ. Opening with reflective lines that recount the empty tomb and the angel’s proclamation that “He is not here,” the piece quickly rises into a vibrant proclamation of hope and victory. Drawing on themes from Matthew 28 and 1 Corinthians 15, the score blends accessible vocal writing with expressive piano accompaniment, building toward a powerful rejoicing in the Risen Lord. Ideal for Easter morning or any service of resurrection and renewal.

The Dawn of the Third Day

Voice Subcategory

Vidi Aquam is a joyful and prayerful Easter acclamation rooted in one of the Church’s most ancient baptismal texts. Sung traditionally during the Easter season, the Vidi Aquam antiphon recalls the living water flowing from the temple—an image fulfilled in Christ and renewed in the waters of Baptism.

This setting is designed to serve the liturgy with clarity and strength. Bold choral proclamations give way to flowing melodic lines that reflect the movement of water and the quiet power of renewal, drawing the assembly into the mystery being celebrated. The inclusion of an English rendering alongside the traditional Latin text allows the meaning of the words to be clearly heard and understood, while preserving the dignity and continuity of the Church’s musical tradition.

Especially well suited for the Rite of Blessing and Sprinkling of Water during Eastertide, Vidi Aquam provides parishes with a vibrant yet reverent musical offering that reinforces the connection between Baptism, Resurrection, and new life in Christ—inviting the faithful not simply to listen, but to enter more deeply into the prayer of the Church.

Vidi Aquam

Eight-Part Octavo

The Day Death Lost Its Sting is an Easter anthem for SATB choir and piano that tells the story of Christ’s Passion, Resurrection, and the promise of salvation through vivid scriptural imagery. The work opens in a reflective, minor-key setting recalling the Crucifixion—“We saw Him hanging from that cross”—before moving toward the joyful proclamation of the Resurrection: “He has risen from the dead; our broken lives restored.” 

The anthem concludes with a confident declaration of faith and mission, reminding believers that Christ is with us always and calling the Church to proclaim the Good News. Accessible for parish choirs while still musically expressive, the piece is suitable for Easter Sunday, the Easter season, or services celebrating the Resurrection.

The Day Death Lost Its Sting

The Kingdom Is Near is a compelling SATB choral work with optional descant that proclaims the central Gospel message of repentance, renewal, and readiness for the coming of the Lord. Drawing its text from scriptural themes associated with Advent and penitential seasons, the work unfolds as a dramatic call to conversion—urgent, hopeful, and ultimately triumphant.

The piece features rhythmic vitality in the lower voices, expressive melodic writing in the upper voices, and carefully shaped dynamic contrasts that heighten the sense of proclamation. Repeated textual refrains such as “Repent, for the kingdom is near” provide both musical unity and theological clarity, while contrasting sections offer moments of reflection and invitation.

Well suited for Advent, Lent, missions, retreats, or any liturgy emphasizing repentance and preparation, The Kingdom Is Near is accessible to parish choirs while offering enough musical interest to engage more advanced ensembles.

The Kingdom is Near

SSAATTBB Octavo

Processional on OLD HUNDREDTH is a stately and jubilant fanfare-processional based on the historic Genevan tune OLD HUNDREDTH, most widely associated with the text All People That on Earth Do Dwell (Psalm 100). Designed for ceremonial use, this setting combines confident brass writing with organ and choir to support a dignified entrance or festive liturgical moment.
The arrangement treats the venerable melody with respect while enhancing it through rhythmic vitality, bold harmonic support, and antiphonal gestures between brass and voices. Scored for mixed choir, brass ensemble, timpani, and organ, the work is suitable for major feasts, festivals, ordinations, confirmations, and other solemn celebrations. While rooted firmly in the hymn tradition, the piece offers a fresh and effective procession that is both accessible and stirring.

Processional on OLD HUNDRETH

SATB Full Score

Global Sections - CORE [DO NOT TOUCH]*

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