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The text of Omnes nu laet ons gode loven is from an old Flemish carol, and is a mixture of Old Flemish and Latin (presented here alongside an English text by Jeremy Jackman).

The melody and text of this traditional carol were first collected in 1968 by the composer Peteris Plakidis, in Katlakalns (a district of Riga). It is here arranged for unaccompanied SSA voices by Sel...

Acalentándo Jesús is a gentle lullaby for the newborn baby Jesus by Brazilian composer Ernani Aguiar. Here the original text by Gerson Galle is presented alongside English words by Jeremy Jackman.

Scored for unaccompanied SSAA voices, this vibrant setting of Isaiah 9: 6 draws on the rhythms and textures of modern Nigerian art music in a setting full of dynamic contrast. A version for SATB voice...

Hyun Chul Lee's carol Ju Nashuhtdah welcomes the newborn king with the jubilant acclamation 'Jesus is born'. Using Korean traditional rhythms, and a pentatonic melody, he creates a bright feeling of e...

In this carol for unaccompanied SSA voices Séamas de Barra sets Séamus Ó Néill's translation of I sing of a maiden (both version of the text are presented in the score).

With lilting rhythms and modal inflections in the harmony, this short, unaccompanied motet celebrates The Annunciation of Our Lord to the Blessed Virgin Mary. Includes an English translation of the La...

O fear the Lord sets two verses from Psalm 34. A controlled organum-style opening gives way to a more fervent, harmonic middle section. An approachable and beautiful piece.

This a cappella anthem, suitable as an introit or call to worship, was inspired by Celtic folksong and is available here in German translation.

Setting inspiring words by James Weldon Johnson, My heart be brave is an ideal choice for choirs looking to address issues of social justice in their programming. Also available in mixed- and lower-vo...

This is a substantial setting of the canticles of Mary and Simeon, suitable for both concert and liturgical settings The choral writing features fugal counterpoint and a chromatic soundworld rooted ar...

The polyphonic writing in this joyous motet for Eastertide includes both rhythmic and melismatic passages to reflect the celebratory text. The piece concludes with a brief section in triple metre, and...

Snow Angel is an evocative five-movement work exploring themes of love, rebirth, and beauty. It may be performed with narration and features a haunting cello line. The emotive and pictorial musical la...

Three songs make up this cycle entitled Western Songs - 'Buffalo Gals', 'Green Grow the Lilacs', and 'Ol' Chisholm Trail'. The arrangements by turn spin contrapuntal and antiphonal textures then relax...

This lyrical setting of a text by Colin Coppen has an elegant melody and flowing piano accompaniment. It would make a charming addition to any concert or service, and is also available in a version fo...

Truly uplifting and appropriately joyful, this carol is ideal for a Christmas service or concert. Instrumental material is available on hire.

In Grown about by fragrant bushes, Skempton sets a poem by Robert Louis Stevenson using gentle, lilting melodies. The theme of loss is sensitively conveyed in a tonal language that is made more expres...

The strong homophonic opening of this motet, in honour of St Michael the Archangel, the defender in battle against all things evil, makes an impactful statement, before exploring the intricate weaving...

The text of this motet is taken from the Palm Sunday antiphon, which celebrates the entry of Jesus into Jerusalem. The repeated 'hosanna' phrases at the end of the motet bear witness to Palestrina's m...

Ante luciferum genitus is the first antiphon of Lauds for the Feast of the Epiphany and culminates with cascading, descending 'alleluia's. Originally scored for lower voices, the motet is presented he...

Likely to date from the early part of the composer's career, this motet has a relentlessly dense texture, but the clever use of well-shaped phrases and dynamics, informed by the text, leads to an exci...

Victoria captures the sorrow of the Passion by sustained homophonic writing from the start and subtle points of imitation. The use of a descending melodic line depicting the sorrow of the text is one...

The darkness evoked in this piece mirrors not only the title word 'Tenebrae', but also the intense grief of the crucifixion, as Jesus gives up his spirit.