Caligaverunt Oculi Mei (1585) is the ninth responsory for the matins of Good Friday. Scored for unaccompanied mixed voices, the text combines scriptures from Job and Lamentations as an allegory
A minimum quantity of 5 is required on this title.
Commissioned for the 1999 Papal Mass in St. Louis. In its simplest form, it can be performed with assembly, cantor and keyboard. There are also parts for handbells brass, flute, timpani and percussion.
The chant tone for this setting is from the Nicene Creed from the composer's Jubilation Mass. Verses may be sung in unison or SATB (doubling the keyboard). A refrain is provided, or it can be sung
A lively and energetic setting of the Gloria for two-part equal voices. Very usable in worship and liturgical settings.
The "alleluia" refrain for the sprinkling rite and again for the gospel acclamation uses the melody of the undulating vesper antiphon the Liber usualis. The sprinkling rite is scored for cantor,
Beginning simply with soprano 1 in unison, this setting of the traditional text builds to a gorgeous full four-part contrapuntal Amen. The text then repeats, this time homophonically in four parts, with a
Written for the Salisbury Cathedral Choir, these verses and prayers are traditional in style. This particular set includes a striking setting of the Lord's Prayer. This setting of these prayers will be a
Well-known sacred composer Michael Bedford has set verses and responses from the Book of Common Prayer. This setting is particularly well written and inspired by the text. This will be a favorite for you,
The octavo comprises settings of an introit, a call to prayer, an amen, and a benediction for each of four Psalms: 24, 67, 95, and 100. Each of the short pieces for SATB choir has its own reverent character
Written for SAB voices, a priest, and the assembly, this collection of music for the Rite of Acceptance and Initiation Acclamations is based on the hymn tune ST. THOMAS. This edition includes: Receive
Developing choirs will be motivated and engaged by this unique set of three, short, original a cappella pieces. Written in contrasting styles, the opening Gloria In Excelsis Deo is exuberant and