for SATB and piano With a text by the composer, this work was originally inspired by members of the Radcliffe Ladies' Choir and their motto 'friendship through singing'. The lilting vocal lines are subtly underpinned by a delicate piano accompaniment, and the opening performance direction, 'contentedly rocking', describes the overall nature of the piece: peaceful, content, and easy-going.

for SATB and piano This uplifting and affirmatory piece sets a text by the composer inspired by the reflections of the Northwest Girlchoir on what their choir means to them. A warm unison first verse and chorus is next transposed into 6/8, taking on a dance-like feel, first in two and then three vocal parts, while the forward motion of the piano's continuous quaver movement echoes the text's encouragement to 'carry the music on'. The gradual building of choral texture creates an atmosphere of heartfelt celebration of choral singing, leading to the profound closing words 'I hear you. I see you too'. Also available in a version for upper voices.

for unison voices (with opt. second part) and piano With a text by the composer, this work was inspired by members of the Radcliffe Ladies' Choir and their motto 'friendship through singing'. The lilting vocal lines are subtly underpinned by a delicate piano accompaniment, and the opening performance direction, 'contentedly rocking', describes the overall nature of the piece: peaceful, content, and easy-going. Also available in versions for SATB, upper voices, solo high voice, and solo low voice.

for unison voices (with opt. second part) and piano This atmospheric setting of familiar words from Shakespeare's As You Like It is sprightly and uplifting, with singers being asked by the composer to perform with 'a bit of frost and a knowing smile'. Also available in versions for SATB, SSA, high solo voice, and low solo voice.

for unison voices (with opt. second part) and piano Arranged here for unison voices and piano, this uplifting and affirmatory piece sets a text by the composer inspired by the reflections of the Northwest Girlchoir on what their choir means to them. A warm first verse and chorus is transposed into 6/8, taking on a dance-like feel, while the piano's continous quaver movement echoes the text's encouragement to 'carry the music on'. The gradual building of textures creates an atmosphere of heartfelt celebration of choral singing, leading to the profound closing words 'I hear you. I see you too'. Also available in versions for SATB, and upper voices.

for unison voices (with opt. second part) and piano Sarah Quartel brings a fresh take on a familiar fifteenth-century text in this enchanting carol. The dialogue between Mary and the infant Jesus is woven to a beguiling folk-like melody, in 6/8 metre, with each verse ending in the lilting refrain 'Lully, by by, lullay'. Also available in versions for SATB, upper voices, and lower voices.

for SSAA, piano, and cello Prologue is the first movement from Sarah Quartel's Snow Angel, an evocative five-movement choral work which is a firm favourite with choirs across the world. The musical language is emotive and pictorial, allowing performers to play an active role in the storytelling with a haunting and poignant cello line woven throughout the work. Snow Angel is also available in a version for SATB.

for SA and piano Commissioned by the English Montreal School Board Chorale for its 40th anniversary, Be like the bird sets an English translation of a text by Victor Hugo. Quartel uses lyrical melodies and rising sequences that reflect the uplifting message of the words, supported by a glittering piano accompaniment. A passage from the original French text is set to the same melody, before interweaving with the English text as a countermelody.

for SSAATTBB unaccompanied The Island Itself is a setting of the poem Homage to Omey by Irish poet, Joan McBreen. The imagery of the sea conveyed in the text is reflected through lilting, syncopated rhythms. The melody is supported by a bed of ostinati sung with vocables. The swelling dynamics and long, held notes create an immersive wash of sound.

for SSAA and piano Down the Silver Road is a comforting and uplifting setting of the poem To F.W. by Edith Franklin Wyatt, which describes the joy of growing old with a companion. It was premiered by the choir of Nazareth College, NY at a concert specifically for individuals living with Alzheimer's or other dementias and their families and caregivers. Alongside the flowing lyrical melodies, Quartel incorporates a simple vocal part that can be taught to audience members who may be encouraged to join in when it occurs.

for SSA and piano Setting words by Chief Dan George, this optimistic work reminds us that there is still beauty to be found in times of trouble and that difficult days will not last forever. Quartel's sensitive setting uses triplets against duplets to give a sense of fluidity to the melodic phrasing. The balanced vocal lines will be enjoyed by youth and adult upper-voice choirs.

for SATB (with divisions) and organ Density of light is an anthem that sets an evocative hymn by Thomas Troeger. The text is drawn from an Epiphany reading and explores the theme of the triumphing of light over darkness. The organ opens with a rising and falling quaver motif that is taken and expanded upon in the vocal lines. Expanding into dramatic homophonic textures, the piece ends with the words 'glory be to you O God' sung to powerful fortissimo chords.

for SATB (with SAT semi-chorus) and cello Quartel has chosen a powerful combination of texts by Hildegard von Bingen and Mother Teresa for this emotive choral work. The main choir is accompanied by a small ensemble singing the word 'love' with rippling ostinati that reflect the title of the work. The solo cello line contributes lyrical melodic lines, moving into triplet rhythms and broken chords as the piece progresses to its emotive climax.

for SABar unaccompanied The Parting Glass is a traditional Scottish song, often sung as a farewell at the end of a get-together. Sarah Quartel's arrangement features close harmonies, idiomatic Scotch snap rhythms, and effective interjectory moments in what is a largely homophonic setting. The arrangement was made for the composer's friend Matt Jones, who served with the Canadian Military in Afghanistan in 2010-2011; his deployment and eventual safe return inspired the setting of the piece. With its valedictory message, The Parting Glass would make a fitting end to a performance, perhaps as an encore item. Also available in versions for SATB and TTBB.

for SATB and piano On this Silent Night perfectly conveys the magic and excitement of winter, conjuring images of warmth by the fireside while the weather outside closes in and giving a subtle nod to Franz Gruber's Silent night. The vivid imagery of the secular text is enhanced through gleaming harmonies and glittering quaver movement in the piano accompaniment. Hemiolas give the piece a dance-like quality, while a contrasting middle section uses darker sonorities and textures to reflect the storm outside.

for TB and piano. I remember sets a text reflecting on the wonder of the natural world and the people who shape our lives. The stirring melody calls to mind the folksong tradition, and is underpinned by a gently flowing piano accompaniment. The middle section brings a contrast of tonality, with the basses accompanying the tenors' melodic line, before the beguiling melody of the opening returns to bring the setting to a poignant close. Also available in versions for SA and piano, SABar and piano and unison upper voices & piano.

for TTBB unaccompanied or with optional handbells (or percussion, or organ) Sarah Quartel brings a fresh take on a familiar fifteenth-century text in this enchanting carol. The dialogue between Mary and the infant Jesus is woven to a beguiling folk-like melody, in 6/8 metre, through each of the voice parts, with each verse ending in the lilting refrain 'Lully, by by, lullay'. Also available in a version for upper voices or SATB.

for TB and piano. This secular work for upper voices sensitively sets Langston Hughes's poem of the same name. A lilting melodic line, eloquent part-writing, and an effective piano part combine to create a piece that will appeal to both youth and adult choirs. Also available in versions for unison voices and piano, SA and piano, SABar and piano, and solo voice (high/low).

for TTBB and hand drum Sing, my Child sets a joyful text celebrating the beauty found all around us in everyday life. Characterized by tight harmonies and a dynamic percussion line, the buoyant 7/8 metre of the opening drives the piece forward. Lush harmonies colour the hymn-like B section as the text evolves into a call for strength despite the troubles that may come. Also available in a version for SSAA and hand drum and SATB and hand drum

for TTBB unaccompanied This lively reimagining of the traditional hymn is a thrilling a cappella arrangement which pairs the soaring legato melody with a rhythmic vocal accompaniment. Together, these elements capture both the gentle hope and the profound joy contained in the text. Also including moments of tenderness and reflection, the piece comes to a rousing close with an energy that engages singers and audience alike. Also available in a version for SSA unaccompanied and SATB unaccompanied.

for SSATBarB unaccompanied Setting words by the composer, One of these days is an affirmatory piece with pop-inspired rhythms and harmonies. The scat syllables and repeating patterns of the lower parts provide a rich cushion for the lilting melody of the soprano lines, with lyrics that encourage us to seize the day!

for unison voices and piano This secular work for upper voices sensitively sets Langston Hughes's poem of the same name. A lilting melodic line, eloquent part-writing, and an effective piano part combine to create a piece that will appeal to both youth and adult choirs. Also available in versions for SA and piano, SABar and piano, and solo voice (high/low).

for SSA and piano This uplifting and affirmatory piece sets a text by the composer inspired by the reflections of the Northwest Girlchoir on what their choir means to them. A warm unison first verse and chorus is next transposed into 6/8, taking on a dance-like feel, first in two and then three vocal parts, while the forward motion of the piano's continuous quaver movement echoes the text's encouragement to 'carry the music on'. The gradual building of choral texture creates an atmosphere of heartfelt celebration of choral singing, leading to the profound closing words 'I hear you. I see you too'.

for unison upper voices and piano I remember sets a text reflecting on the wonder of the natural world and the people who shape our lives. The stirring melody calls to mind the folksong tradition, and is underpinned by a gently flowing piano accompaniment. The middle section brings a contrast of tonality, with the altos and baritones accompanying the sopranos' melodic line, before the beguiling melody of the opening returns to bring the setting to a poignant close. Also available in a version for SA and piano, SABar and piano, and TB and piano.

for SSAA and piano Like the original version for SATB voices, this upper-voice arrangement of Wide Open Spaces reflects on the journeys and adventures to be found in the wide opens spaces within ourselves and in the world around us. The uplifting melody is passed from the sopranos to the altos before the piece opens out into an expansive texture with rich harmonies. Quartel introduces a playful episode of scat singing before a resolute final chorus brings this evocative piece to a peaceful and serene close.