Sheet Music for Mixed Choir (SATB)

This is the 'a capella' version of Alexander L'Estrange's beautiful mixed voice composition, Lute-book Lullaby, and is the latest addition to the highly acclaimed Faber New Choral Works series. First...

Stars In Heaven was written for the Choir of Westminster Abbey. This festive work sets a contemporary text by Charles Anthony Silvestri and wonderfully captures the joy of Christ's birth. Vibrant, sty...

This reflective anthem is especially suitable for the Feast of All Saints but may be used throughout the liturgical year. The setting is still, gentle and atmospheric, combining a simple melody with m...

The Mass Of St Dominic was written in 2013 at the request of the Spode Music week for the 60th anniversary of their summer course. It is a setting in English of the new translation of the Mass and is...

When David Heard was written as a memorial to the victims of the 2011 terrorist attacks in Oslo and Utoya. It sets the well-known and intense passage from 2 Samuel and intersperses it with a verse fro...

Romance of the Epiphany . Scored for mixed voices, this vibrant carol may be accompanied either by organ or piano and double bass. Goodall sets joyful Spanish words by Jose de Valdivielso to a wonderf...

This powerful work takes a well-known hymn tune from the Mainz Gesangbuch of 1661 (Stabat Mater) as its musical starting point, interweaving it through different textures and variations alongside the...

Setting both English and German texts, Sure of the Sky, Sure of the Sun; Des Himmels sicher, der Sonne sicher is a haunting and moving reflection on the futility of war. The 5-minute piece for SATB ch...

Stark and gritty yet always rooted in tonality, Matthews's expressive harmonies bring a potent immediacy to the bitter, disillusioned words of war poet Harold Monro and the two lyrical solos for sopra...

Commissioned for the congregation and choir of St Francis Church, Simon's Town, South Africa, this beautiful choral work by Howard Goodall sets a moving text attributed to St. Francis of Assisi. Combi...

This piece is a reticent carol and weaves a complex web of counterpoint within both the vocal lines and organ part, distilling into a stark treble solo as the text turns to English. An ideal work to h...

This setting of 'O lux beata Trinitas' (ascribed to St Ambrose) weaves together a range of vocal styles and textures to build gradually from the quietly pensive opening section to a rousing unison dec...

This enchanting work for mixed choir sets three Shakespearean texts that delight in the wonders of music and its connection to the natural world. Scenes from Henry VIII, The Merchant of Venice and Cym...

Varied choral textures and luscious harmonies make this Irving Berlin standard an ideal selection for a cappella vocal groups. Ultimately romantic! Available: SATB a cappella, SAB a cappella, SSAA a c...

Launching a new series by Dr. Jo Ann Miller of North Dakota State University, this work features a text by Walt Whitman set to music by Daniel Pederson. His command for the a cappella choral instrumen...

In contemporary madrigal style, Daniel Pederson has eloquently set this Shakespeare love poem. This is a high school or college chamber chorus selection that would also be a wonderful festival selecti...

Dr. Dickau's works have already become festival favorites, and this one follows right in step. Provided both in Latin and English versions, this classic text is given a fresh face in contemporary chor...

Canadian Brian Tate makes this rocking spiritual fun to sing. Maintaining a fast pace and lots of blue notes, he includes a repeated ostinato section that adds parts and builds to the final ending. Th...

Canadian Brian Tate makes this rocking spiritual fun to sing. Maintaining a fast pace and lots of blue notes, he includes a repeated ostinato section that adds parts and builds to the final ending. Th...

One of three part-songs Mendelssohn composed for his friends, it was meant to be sung while resting.

The title means let nothing disturb thee, and Montoya's musical setting is tranquil and honoring. The Renaissance era text is assuring and calming as is the a cappella texture. A fine concert opener.

The final part-song in the set of three. A charming setting.

Even in this new setting, this part-song has lost none of the charm which so beguiled Mendelssohn's contemporaries.