Chorpartituren

SATTBB unaccompanied Gombert's In illo tempore: loquente Jesu is a six-part unaccompanied study in intricate part-writing, with sinuous stepwise motion and persistent imitative entries. The optimism o...

Sibelius composed Den 25 Oktober 1902 for mixed choir as a birthday gift to a friend, Thérèse Hahl (1842-1911) who enjoyed a position of high esteem in Helsinki concert life and was a sought-after ora...

Mysterious yet lyrical, Lars Karlsson's setting for mixed choir to Paula Hiekkala's poem Mare crisium (1990) is a beautiful journey from stormy sea towards radiant peace.

Julinatt på ön (A July Night on an Island, 1974/2022) for mixed choir by Lars Karlsson is set to Arvid Mörne's text in Swedish. A peaceful and atmospheric song lasts about 2 minutes.

Franck Domine Deus In Simplicitate Offertoire 1er Dim Stb A Cappella

French composer, Jean Gilles (1668-1705) received his musical training as a choirboy in Aix-en-Provence. His substantial works are entirely religious, Messe Des Morts being no exception. Gilles catal...

SATB soli, SATB chorus and orchestra

Composed in 2020 at the invitation of the Festival de Chaillol for the vocal ensemble Musicatreize, 'Lands Unseen' for 6 voices a cappella sets poems of four female writers from different places and t...

Eja, mater, fons amoris ("O, Mutter, Quelle der Liebe") vertont einen Auszug aus dem lateinischen Gedicht Stabat Mater aus dem 13. Jahrhundert, einem Hymnus an die Jungfrau Maria, der ihr Leiden währe...

Philip Kern skillfully weaves together two familiar spirituals, Ezekiel Saw The Wheel and There Is A Little Wheel A'Turning In My Heart, to create a choral gem. The voices sing each melody separately,...

A simple four-measure a cappella opening develops slowly and meaningfully into a gorgeous ballad of farewell. 'I know you must travel your road as I must travel mine, but may our paths meet again some...

This full- sounding choral work with a driving, rhythmic intensity may be performed a cappella or with the piano doubling the voices. ABA form makes for quick learning. Secular text is perfect for sch...

All Ye Who Love Music was given its English text by Thomas Oliphant in 1837. This arrangement has been lowered one step from the original key of G major to F major. The soprano (Part 1) melody is basi...

This sensational arrangement of the ever-popular spiritual begins in Eb and ends in G with a bright, showy finish. It includes a rhythmic a cappella section reminiscent of an old-fashioned gospel quar...

Breathtaking! This gorgeous setting of the Agnus Dei text begins piano and gradually crescendos to a mezzo forte before ending in a pure, hushed final major chord. Easy to teach, this ABA-form piece w...

This is classic American choral writing. Opens with a legato 'oo' passage which may be performed a cappella. Comfortable ranges. A timeless addition to your choral library.

This popular general-purpose spiritual is now available for your men. Creative and full-sounding choral writing features both homophonic and 2-part textures. Clever, innovative, non-sacred text: 'No n...

Another well-edited arrangement by Russell Robinson of a light and spirited work from the madrigal repertoire. It's the perfect choice for any SSA or 3-part mixed choir, with or without experience in...

An emotional and electrifying new arrangement of a classic American work, with your choice of accompaniment options, including full concert band. Fine choral writing is the hallmark of this work, with...

A thoughtful song of parting, benediction-like, in the style of an Irish blessing. Basic choral writing throughout with much opportunity for rubato phrasing. Moderate ranges in all voice parts in both...

Morley's famous madrigal is arranged perfectly for 3-part mixed voices. Excellent for developing choirs and small vocal ensembles. Limited range male part.

An original, newly composed madrigal written for developing SAB and SSA choirs. Great for any choir of any size learning to sing in the madrigal style. The unique text, written in 1912 by William Jero...

The energy of this piece is derived from the layering effect of vocal lines and handclaps. The interweaving of voice parts makes for joyous part singing.