Subtitled "a choral hymn," this work is a simple strophic setting of the familiar text. Intended for choral rather than congregational singing, it could be performed either unaccompanied or with keyboard,
This brief setting of the traditional threefold text provides several performance options: SATB, SAB, SSAA, or TTBB. The music employs a traditional harmonic language, but with some added contemporary
An a cappella The familiar benediction from the book of Numbers receives an expressive treatment by Alfred Fedak. Easy and hymn-like, but with interesting parts for all four voices, it is sure to become a
An unaccompanied motet for SAB voices (with very occasional divisi) that is a worthy addition to the small repertoire of contemporary three-part choral music. The text by James Quinn, S.J. is a prayer
Cooman's setting of the first verse of Psalm 115 begins with a prayerful, litany-like character. The music builds in intensity, leading to a joyous celebration of God's "love and faithfulness," and a
A minimum quantity of 25 is required on this title.
David Ashley White has composed a flexible, powerful anthem for Pentecost or general use. Creates a framework for simple improvisation to create a mystical performance.
Carl P. Daw, Jr.'s metrical paraphrase of the First Song of Isaiah is well-known and appears in many hymnals. Composer Craig Phillips has provided a very distinctive and different setting for unaccompanied
Sean Michael Salamon sets the traditional antiphon (in English) in an expressive manner with great harmonic variety. Largely homophonic and with no divisi, this work could be performed by small choirs.
This unaccompanied anthem was written for the installation of the 29th president of Harvard University. The familiar words of Micah 6:8 were chosen for the occasion. Cooman's fervent and expressive setting
This moving unaccompanied motet is a setting of a collection from The Book of Common Prayer. It is suitable for memorial services or occasions of more general remembrance (such as All Saints/All
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