Sarah Quartel

This imaginative setting of the well-loved text O little town of Bethleham, by Phillips Brooks, displays McGlade's characteristic rich and expressive harmonies, with their jazz inflections. It would b...

This peaceful and meditative work sets William Butler Yeats' classic poem, The Lake Isle of Innisfree. Underpinned by a balladic piano accompaniment, the flowing vocal lines convey a message of longin...

This arrangement of Huron Carol, renamed Iesous ahatonnia' to reflect its origins, sets new texts by Wendat poet Andrée Levesque Sioui and invites us to learn from the past while working to shape a be...

A rich texture is used in Gombert's setting of Quam pulchra es, with all voices singing almost all of the time. This texture is created through refined imitative contrapuntal writing, rather than homo...

Originally published in Epiphany to All Saints for Choirs, this seventeenth-century anthem for The Ascension of the Lord is full of melismatic polyphonic lines and features a fluid tonal centre.

This is a small-scale work, which would make a useful repertoire piece, bearing in mind the need to provide compatible items for groups playing the Debussy flute/harp/viola sonata.

alongside new material by Delphine Chalmers and the composer. It has sections for adult voices alone and sections for children's voices alone alongside passages for the two forces to combine as a full...

In this work, the only published completion of Grieg's Piano Quartet in B-flat, we hear how Finnissy takes Grieg's style and weaves it together with modern expression and references to Grieg's contemp...

This work puts a jazzy twist on three Shakespearean characters: Ophelia from Hamlet and Caliban and Miranda from The Tempest. The piano part may be played as written or used as a guide, and a part for...

Bring lightness and inspiring confidence to your choral repertoire with "Be like the bird" by John Rutter, published by Oxford University Press. This enchanting piece for two-part upper voices (SA) an...

Presented here in an arrangement for upper-voices, this is a beautiful setting of an evocative poem by Emily Dickinson that explores the symbolization of hope as a bird. Quartel offers soaring melodic...

She Sang the Stars uses the lens of Elias Lönnrot's Finnish epic, the Kalevala, to explore the stages of womanhood. With all texts in English translation, the work's outer movements act as an introduc...

En sueños sets Antonio Machado's poem 'Tal vez la mano, en sueños' on dreams as a space where memory, music, and truth meet. Evoking the vivid imagery in Machado's text, the expressive choral parts fl...

Gentle yet joyful, We Thank You is an ode to the beaty of nature. Setting a text by Ralph Waldo Emerson, the music is warm, comforting, and flowing, with Quartel's characteristically charming melodies...

Set to the text of a 12th-century Sequence in honour of the martyr St Olav and characterized by a mellifluous plainchant-style melody, this glorious motet pulses with understated intensity. The openin...

Rejoice in the Lord is a fast, festive, and joyful setting of Psalm 33. After an exuberant opening, a lively organ passage leads into a beautiful moment of stillness in the choir, unaccompanied, creat...

Sentinels was written for the Brodsky Quartet and John Metcalfe. The piece is really a long, unrelenting march whose pulse never slackens or quickens, and in which slightly quirky military-style gestu...

This heartworming setting of words from A Midsummer Night's Dream features all the hallmarks of Quartel's signature style, with uplifting melodies and a supportive, accessible piano accompaniment. Ori...

Ian Crawford breathes new life into this traditional American tune by employing a bluegrass-inspired style, jaunty syncopations, and an upbeat tempo. This flexible arrangement is accommodating and idi...

A haunting depiction of the 'magic made by melody . . . Held in the arms of rhythm and of sleep', from a poem by Elizabeth Bishop. Instrumental parts for the original version (SATB and strings) are av...

This work was written around 1940, placing it near the beginning of a series of Clarke's late compositions. It both looks forward to her lean, linear, avowedly modern conceptions and backwards to work...

Presented here in an arrangement for SABar voices, this setting of words by Chief Dan George optimistically reminds us that there is still beauty to be found in times of trouble and that difficult day...