This wonderful text has accessible settings by David Ashley White for either two-part or SATB choir with an optional C instrument. Different textures are used throughout, and many sections are a cappella.
This introspective anthem, based on the familiar German carol Lo, How a Rose E’er Blooming (ES IST EIN ROS), provides varied options for flexible performance: organ accompaniment alone, organ
Carl Daw's text speaks of the power of gathering communally in worship for the celebration of word and sacrament. Eleanor Daley sets the words to original, hymnlike music: tune in unison, unaccompanied
Craig Phillips has crafted a beautiful setting of the familiar benediction from the Book of Numbers, "The Lord bless you and keep you...." Each choral part moves expressively with Phillips' rich harmonic
This hymnlike anthem is set to a familiar text. Daley's new tune has a beautiful arch to it and moves along with energy. Stanza 3 is a cappella. Stanza 4 offers the more familiar tune inviting the
Richard Leach's memorable text is inspired by the Greek theological word for the three-in-one interwoven nature of the Holy Trinity: "perichoresis," literally meaning "dance around." The first three stanzas
This bright and joyous choral fanfare celebrates the joy of Easter with the familiar words of St. John of Damascus. The optional brass quartet and timpani parts are not at all difficult, making them easily
This setting of the evening canticles is for treble voices and organ; it is largely in two vocal parts throughout, with some minor divisi. The dance-like Magnificat makes effective use of
These five unaccompanied pieces by Sarah MacDonald are useful as introits or short anthems throughout the church year. Although several can be attached to certain feasts, seasons, or occasions (Eastertide,
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The familiar blessing, "May the road rise up to meet you" is set with great simplicity and grace. Perfect for a choral benediction or any occasion of farewell.
This anthem for TB voices and organ was written for the 108th annual Christmas Carol Services at the Memorial Church, Harvard University. Carl Daw's text uses Joseph's warning and the flight into Egypt as a
The evocative Thomas Troeger text of this anthem by Carson Cooman celebrates the inspirational work of the Spirit. The first section is gentle and slow, before the music breaks into a vibrant, rhythmic
Gold and Spices was written for Reading Phoenix Choir in 2018. The choir sings from memory and this influenced the use of patterns and repetitions within the piece, particularly the opening
This is a rich and glorious anthem in the spirit of Phillips’s popular The Risen Sun. Words from the book of Romans serve as the text, which speaks of "being not conformed to the world." The
Commissioned by St. Paul's Episcopal Church in Albany, New York, in memory of Katherine Anne Onufer. A beautiful and moving setting of this little-known text from Helen Keller. The optional oboe has an
The familiar benediction from the Book of Numbers receives an expressive a cappella treatment with lush and comforting harmonies. Easy and hymnlike, but with interesting parts for all four voices, it is
An effective, simpler choral setting of the Magnificat for Advent or evensong that alternates between SA and TB and unison for varied texture. Carl Daw's paraphrase is a wonderful contemporary resetting of
A lovely, pastorale carol-like setting of Chatterton's Christmas poem, "The Silver Lamps." Though there is some divisi in the soprano and bass, it's still readily accessible for smaller choirs.
This powerful Latin setting of the Mass Ordinary was commissioned for the 2013 London Festival of Contemporary Church Music. The Tongues of Fire subtitle refers to the Pentecost narrative from the
This exquisite motet by sister and brother duo Elizabeth and Thomas Coxhead has already seen many performances and is sure to become a favorite of many choirs. The music is simple and lyrical, supporting
Annabel Rooney has written a richly beautiful setting of the familiar Latin prayer meaning "Light born of light." Beginning with a simple texture, the lush added-note harmony ebbs and flows expressively
This stunning set of evensong responses features expressive, lyrical vocal lines and unexpected, striking harmonic shifts. Great expressive effect is found throughout, with varied chord voicings and
Sarah MacDonald wrote this set of treble-voice responses for her Ely Cathedral Girls' Choir with the intention that they be "easy and stress-free" (especially for times when the students were busy with
This anonymous 19th-century text, best known from Ned Rorem's classic motet, receives a flowing and lyrical accompanied setting by Sarah MacDonald based on one of her own hymn tunes. Various performance