With Grieg's characteristic lyrical style and Romantic chromaticism, this unaccompanied work is written with mostly homophonic textures. Grieg's setting of this sacred Latin text occasionally divides into

Stanford’s setting of this Latin text for six unaccompanied voices ventures into limited polyphony in a late Romantic, lyrical style. Piano reduction included.

This Roger Dean Edition is taken from microfilm copies of the original manuscript.  The editor has done meticulous work to retain the original intentions of the composer and to reflect the performance

This challenging motet in Latin for six unaccompanied voices is an example of the height of Renaissance polyphony in England. Piano reduction included.

One of the numerous folk-song arrangements by Holst for unaccompanied mixed choir, I Love My Love takes the traditional Cornish melody through all the voices. Innovative textures and intriguing

Lush, dense harmonies characterize this eight-part setting of text from the Requiem Mass. Challenging even for accomplished choirs, the work involved in rehearsing the piece will be rewarded by moving

Opening with a chant-like tenor solo, this exciting piece in 5/8 has the effect of one long crescendo as the texture grows through the addition of voices and increasing dynamic level. Full of rhythmic

With a very tender opening, this setting of a Christmas text inspires a sense of calm even as the music traverses a number of keys. About halfway through, the homophonic texture changes with canonic

This 16th-century unaccompanied Latin motet is among the most sublime of Victoria’s compositions. With polyphonic and homophonic sections, this is a beautiful work to include in services, concerts,

Among the most beautiful of Bruckner’s motets, this late Romantic work is written for unaccompanied mixed chorus that divides briefly into eight voices. This Latin text, about wisdom and justice, is

Notated without a key signature, this setting of the first part of the traditional text evokes a sense of mystery as chromatic voice-leading shapes the vocal writing, leading to a climax in C Lydian. Short

For a mixed choir of six unaccompanied voices, this beautiful polyphonic work is a lament in English which demonstrates how English composers approached chromaticism during the Renaissance. Piano reduction