The seventh movement from Stopford's Missa Deus Nobiscum, the Benedictus is reflective and "blessed," for he who comes in the name of the Lord is God with us.

Simple setting of the short form of the mass: Kyrie, Sanctus, Benedictus, and Agnus Dei, with the addition of a response, and a benediction. It uses the approved translation of the Latin text and is based

This exciting setting of the Latin text extracted from the larger Missa Romantica appears in two versions: the first is accompanied as it appears in the larger work; the second is an a cappella version for

Haydn's eighth setting of the ordinary of the Mass was composed in 1782 for performance in Mariazell, Austria. The brief opening portion of the Gloria has been selected for this anthem, featuring Haydn's

Here is a delicate and unaccompanied setting of In Paradisum with an option to repeat the text in English. Smooth phrases match a good setting of the text that will challenge your chamber

This setting of the traditional Latin text was written as a memorial with a soothing and calming effect. The piece opens with a solo, then moves into contemporary harmonies along with some polyphonic vocal

A refreshing take on the traditional Latin text from the Requiem Mass takes inspiration from the great settings of the past but uses suspended, sustained melodic lines and open harmonies to create a

A powerful commemoration motet for double choir with bold tonal and textural shifts, framed by outer sections in a deliberate archaic style. Originally published in A Stanford Anthology.

A choral anthem crafted from the familiar communion setting used in many Lutheran congregations, this arrangement expands to three iterations. The first time uses the standard harmonies, the second features

The traditional Latin "eternal light" text is brought to life in this a cappella work. With plenty of room for rubato and dynamic expression, this piece employs a variety of choral textures with an approach

Normand Gouin has set familiar Gregorian chant Ordinary mass movements, crafting a timeless Mass scored for assembly, SATB voices, and organ, with optional chamber orchestra. The choral parts alternately

This is an excellent Spanish setting of the Mass. Scored for SAB choir, cantor, keyboard, guitar, and two solo instruments in C or B flat. 

A beautiful sacred suite. The issue has sold well in Sweden since it first was published. Music by Malmo-based Martin Arpaker.

Kyrie, Gloria, Sanctus and Agnus Dei for women's choir. At Christmas, a recitation of Bible texts about the Nativity fit in nicely between movements. The piece can be performed as a whole, or as separate

Missa Brevis received its premiere performance on June 30, 2013, by the St. Bartholomew's Episcopal Church Choir, New York City, William Trafka, conductor. This is the third work David Conte has composed

Joyful and exuberant in nature, this edition begins with a repeated refrain in Latin, with the rest of the setting in English. While the enjoyable lilt of the tune continues throughout, the changes in

The opening section of Faure's beloved Requiem could easily be considered a classic in its own right. Conductor and former Chanticleer singer Sanford Dole has done a marvelous job adapting it for a cappella

A brief setting of the famous Latin text is set with an undulating keyboard part and mild dissonance in the voices. Farrell provides lyrical and moderate range lines to express the moving text.

Ravel's popular Pavane pour une infante defunte arranged for mixed voices and organ, allows choirs to perform this beautiful staple of the orchestral repertoire with meaningful text. The

There are so many great things to exalt with Burchard's new "Missa Brevis." Set consistently for four-part voices but accessible to small choirs - including church choirs -  we are blessed with

Extracted from his larger work "Requiem Novum," this Sanctus movement stands on its own as a concert work with organ accompaniment. Written for and beautifully recorded by the VOCES8 Foundation