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Sensitively composed, this setting of the beloved passage from Numbers 6:24–26 is a reverent closing blessing for sacred concerts and church services. Chorale- and motet-style writing creates textural

As similar as the O Antiphons are in terms of their form, the feelings they evoke can be just as different: anticipation, yearning, restlessness, quiet expectancy, confidence, or excitement in the days just

Based on Gregorian chant, this ninth-century antiphon is given new life as an urgent plea for peace. A sense of powerlessness and desperation is reflected in the use of free and mixed meter, while

This solemn evening prayer lets singers and audience alike calm down at the end of the day. With the appeal for God's grace, the dynamics and intensity of the composition gradually increase, to return at

Alternately accompanied by the upper and lower voices, the solo tenor tells the story of the well-known English Christmas carol. In a combined effort, the refrain resounds, and after a lively modulation

Opening with a low bass solo and unfolding into a radiant mixed-choir arrangement, this take on the popular spiritual incorporates elements of gospel, jazz, and pop music. An incredibly fun a cappella

Using text from a 15th-century English poem, this original work depicts Jesus' humble birth by the Virgin Mary. With changing voice leading and a variety of voice combinations including optional soli, this

I Will Lift My Weary Eyes is a commissioned work of a very different kind. In this sacred composition Kinley Lange invites choirs to the world of bluegrass. The close position harmonies typical of this kind

Written with a swing, this a cappella jazz arrangement passes the melody between voice parts and is oh so fun to sing! The tenor part is also accessible to altos, making this piece fitting for a variety of

Though this arrangement begins rather unassumingly, after a couple of jazzlike chords the journey to a cappella pop begins. Rhythmically playful and radiant, this carol includes flowing quarter-note runs,

Influenced by the choral works of Mendelssohn, Robert Seymour Bridges' sacred poem is sensitively set for double choir through the use of classical voice leading and harmonic structure. Appropriate for both

Lyrics that speak of the dreams, wishes, and desires of young and old alike during the Christmas season are given an original melody and tight harmonies in this warm and contemporary a cappella setting.

Marked by exceptionally rich and powerfully expressive melody and harmony, this Latin Mass radiates joy, encourages solemnity, assists in lamentation, moves in contemplation, speaks directly to human

This Latin Mass for three-part mixed choir (SAB) includes four a cappella movements of the traditional Mass: Kyrie; Gloria; Sanctus; and Agnus Dei. 

The well-known text by Catherine Winkworth has been transformed into a sacred composition for mixed a cappella choir. The soprano begins, followed by the alto and tenor, with the bass joining in at the end.

Commissioned by the University of Birmingham Women's Choir, this lively setting of Psalm 100 opens and closes with a fanfare! Exciting syncopated rhythms build toward a lyrical middle section before

With traditional Latin text by St. Thomas Aquinas, this is a beautiful choice for both concert and liturgical settings. Its serene homophonic texture features antiphonal singing, making it accessible to

This third volume of the successful choral book series ROMANTIK A Cappella features music for the Advent and Christmas season. Repertoire comes from the so-called "long 19th century", the time from 1789 to

This is a strophic setting of the antiphon from the Holy Thursday liturgy. The composition commences with a solo voice before all four voices merge for the refrain (Ubi caritas et amor) and ultimately the

Originally from County Wexford, this Irish Christmas carol proclaims the joyful message of Jesus' birth. Accompanied by the choir, several soloists have a chance to tell the story: the tenor begins, three

Gently rocking, this arrangement of the well-known carol begins in the upper voices and then continues in the lower voices. The song begins quite traditionally until Carol of the Bells slips in and