Spartiti medio Musica sacra e religiosa

The ten arrangements in this collection are designed to allow average to advanced players the opportunity to perform these beloved works in church and school, or anywhere Christmas is being celebrated...

The ten arrangements in this collection are designed to allow average to advanced players the opportunity to perform in church and school, or anywhere Easter is being celebrated. Each solo book includ...

Here is a new and exciting major work for double women's chorus a cappella which offers a challenge for the advanced or professional women's choirs.

This work, written over a seven year period, started life in 2009 as an introit for Wells Cathedral (Sanctus II, commissioned by Matthew Owens). The Gloria and Agnus Dei followed in 2009 by way of a c...

By the Waters of Babylon by Edwin Fissinger for SATB choir a cappella.

Joshua arranged by Norman Luboff for SATB choir a cappella.

This arrangement utilizes a gentle piano accompaniment to underscore the folk feeling coupled with a powerful a cappella section that brings home the message.

A fairly advanced setting for three SATB choirs that is good for concert or worship situations.

This is a moderately challenging, a cappella setting of Psalm 144, 'What is a man that you even notice him?'

This motet for mixed choir a cappella interweaves newly composed variations of Brahms' folksong In stiller Nacht with a musical setting of the Passion events from the New Testament, with the experienc...

Das 'dritte Schöpfungswort' des Titels bezieht sich auf Verse aus Rilkes Stundenbuch, welche die Furcht davor bekunden, was Gott nach 'Licht' und 'Mensch' wohl noch an heiklen Experimenten einfallen w...

Nach einem Marienlied aus dem 15. Jahrhundert auf eine Melodie aus dem Andernacher Gesangbuch (Köln 1626) und einen Text von Daniel Sudermann (um 1626)

An evocative work that appeals various psychological levels. One first experiences the vowel 'a' developing from the initially hummed singing, without verbal form. Then the singing assumes a polyphoni...