Sheet Music for Mixed Choir (SATB)

Kenneth Grahame's simple and slightly archais language brings to mind the gentle rocking rhythm associated both with traditional carols and folk lullabies, which the composer has augmented with occasi...

A haunting melody matched by a haunting text, in an atmosphere of hushed yet vibrant magic. This sixteenth century devotional song is particularly well-suited for Christmas or Easter performances.

Cuckoo calls and shifting moods across three verses round out this satisfying Welsh folksong arrangement.

This native welcoming song from British Columbia features free incantation alongwith evocative choral writing.

Folksy, poignant, and slighty tongue-in-cheek, this lament portrays the thoughts of a dying British Columbian cowboy.

Nukapianguaq presents Inuit music in a choral setting that remains as faithful as possible to the aesthetics of the original tradition.

Hauntingly beautiful, this is the story of a young girl exiled to a remote island by a hard-hearted uncle. The story of love and loss that unfolds is second only to the lush harmonies of the vocal lin...

Winner of the 2004 Emerging Composer Competition awarded by the Yale Glee Club, this work is a setting of the Latin antiphon by Hildegard von Bingen. Alternating between joy and reflection, this buoya...

This breathtaking work, derived from unique fragments of plainchant from the 13th century, evokes a sense of serenity and peace. O Columba begins slowly and quietly with three verses of hymn in praise...

A joyous fanfare, heralding the great news of birth in the time of darkness. This piece is full of precise rhythms and should be sung with breathless enthusiasm.

Written in May 2005, when the composer was living in the Netherlands, this piece is a set of four songs for a cappella chorus. Each movement addresses one direction of the wind, implying one season of...

This arrangement of a British folk song is so authentic in its sound, you will almost be able to catch a hint of salt in the air. Buoyant four-part writing and accessible harmonies convey the story of...

February Twilight is a stark setting of poetry by Sara Teasdale. The controlled restraint used in the vocal lines creates the image of a cold, clear winter's night. You'll practically see the night sk...

Simple, soaring descants, countermelodies, and rich harmonic textures provide a symphonic breadth to this second movement of 'Heavenly Home: Three American Songs' that encompasses the full, four-octav...

The Saddest Noise is a setting of Emily Dickinson's poem The Saddest Noise, the Sweetest Noise. It begins the story of The Lost Birds in spring: the season of birth and renewal, and a time of year whe...

Wild Swans, a setting of a poem by Edna St. Vincent Millay, ends the first half of The Lost Birds. Told from the point of view of the poet, it starts with the sound of bird cries: gradually approachin...

With a simple melody inspired by children's songs, All That Could Never Be Said is a setting of Sara Teasdale's poem In the End. Showcasing her signature pairing of nihilism and pastoral beauty, the p...

I Shall Not See the Shadows is based on Christina Rossetti's poem "When I Am Dead My Dearest." It portrays death at its most indifferent--unnoticed, unheralded, unremembered. It suggests that forgetti...

Chorpartitur - mit Klavierbegleitung zu Probenzwecken

The text of When David Heard is taken from the Second Book of Samuel and deals with King David's grief over the death of his son Absalom. The lines are simultaneously both personal and universal, and...

Chorpartitur - mit Klavierbegleitung zu Probenzwecken

Panda Chant is a section from The Games: a science fiction opera by Meredith Monk and Ping Chong, which was originally created for the Schaubühne Ensemble of West Berlin. Monk composed the music and a...

This setting of Solveig's Song from Act V of Ibsen's Peer Gynt is a gentle lullaby in ABA form. It features a variety of choral textures, some alternation of meters and interplay between the mezzo-sop...