In a truly unique arrangement of this Christmas favorite on the tune GLORIA, the composer establishes a motif with a repeated "Gloria" theme creating a rhythmic pulse that is prevalent throughout the piece.

A hushed, quiet mood is established as the first line of this favorite carol is sung in unison by soprano voices. The arranger uses the familiar Cradle Song tune, and utilizes tight harmonic structural writing throughout. A peaceful, calming arrangement.

This text by the Wedderburns is best known from Benjamin Britten's timeless A Ceremony of Carols. This setting serves as a manger lullaby, with the soprano soloist representing Mary.

Luscious harmonies and rich textures permeate the writing in this piece. This a cappella setting features the melody primarily in the soprano and uses the other voices to establish a layered accompaniment to that melody.

Written by a quartet of women named VIDA and inspired by the stories of Sudanese basket weavers who expressed the pain and hope experienced by those in the famine of the 1980s, this is a most unusual and fascinating song. Arranger Culloton has captured all the pathos of the original version. A proven audience pleaser.

Composer: VIDA Performed By: VIDA

This piece features lush choral writing that can be effectively accompanied on either piano, harp or guitar. The well-known English text is clearly presented making this appropriate for use in both worship services and concert settings.

A joyful a cappella setting of this grand Christmas carol MENDELSSOHN. The composer keeps the focus on the traditional melody handing it off to different voices throughout the piece. Soaring glorias as well as additional text painting throughout makes this a challenging and beautiful piece. Appropriate for worship or concert use.

A new SSSAA arrangement of the bestselling original SSAATBB voicing set on the tuen IN DULCI JUBILO. From the outset a unique choral accompaniment is established, incorporating a vibrant rhythmic motif that is prevalent throughout the piece. The melody is easily identifiable throughout, and a quiet energy makes this an exciting setting. Particularly effective for advanced choirs.

Commissioned by the Minnesota Valley Men's Chorale, Invictus should be sung with rhythmic intensity and a growing sense of urgency. The chorale that concludes the work should be sung with a sense of unity and triumph. The writing is powerful but not overly complex. Henley's poem was written in 1875, and it has been quoted and used by such dignitaries as Winston Churchill, Nelson Mandela, and Barack Obama. Duration 3:00

A hallmark of Matthew Culloton's arrangements is his ability to take a familiar carol and invest it with something fresh and surprising without losing the sentimental attachment the listener might have with the original. This piece does that, with imaginative choral writing, a solo verse for the altos in a key perfect for them, and a satisfying conclusion.

The original music, both delicate and nuanced, casts the "Infant Holy, Infant Lowly" text in a new light from the traditional hymn setting. The sweeping melodies will cause the listener to envision soothing the newly-born babe in his cradle. Commissioned by the Youth Chorale of Central Minnesota, this work is a perfect choice to highlight the youth choir during the Christmas season, though adult choirs will cherish this music all the same.

A lush combination of voices and instruments makes this setting of this Early American hymn a piece that will be a favorite of both choirs and congregations. Set on the hymn tune RESIGNATION. The accompaniment is equally effective with either piano or harp.

This traditional carol is set here with luscious harmonies and flowing lines on the tune FOREST GREEN. The choral writing allows for each voice part to shine.

The refrain of this well-loved melody is believed to have been a signature tune of the London waits, or watchmen, as they made their hourly calls. This particular frosty morning they are also announcing Christ's birth. Matthew Culloton skillfully arranges Past Three O' Clock for three-part treble voices and flute for Christmas concert or festival.

This work is dedicated to the memory of the legendary choral director Paul Salamunovich and his favorite musical genre of Gregorian chant. The composer has written an original chant in the Gregorian style with undulating musical phrases shaped in the ancient style but with contemporary harmonic structures, creating both a familiar and yet unsettling new requiem.

The arranger has created an elegant, beautiful setting of this well known melody that will work well in the concert hall, or the church.

This setting reflects Matthew Cullotons gift for hearing something traditional in a brand new way that still feels comforting and familiar. The first verse is set entirely in unison, but is ethereal and lovely. The basses are assigned the melody in the second verse, and the third verse is full SATB. The flute/violin floats high above, reinforcing the melody in places. Reproducible part for Flute or Violin included.

A clever arrangement of this minor key American folk song, it often plays the women against the men and vice versa, as they tell the story of "where you gonna run to," thereby creating drama and fun as the story evolves. Conservative ranges and little divisi make this accessible to many choirs.

Set against a gentle rocking syncopation, this familiar Austrian carol takes on new life. A baritone soloist is used on the middle verse. All parts divide except the alto. A beautiful arrangement for a cappella use.

Matthew Culloton has created a fresh and stunning arrangement of this popular Christmas carol. Though a cappella, the lower three parts sometimes act as accompaniment with neutral syllables, granting the cherished melody prominence. The carol is frequently interjected by Culloton's own lovely melody, conveying a ritornello form. The composer's intimate knowledge of choral writing is apparent in his arrangement. A true treasure.

This arrangement of the upbeat shape-note tune is a great one for a procession, to sing in the round, or just to perk up a concert. The arrangement builds in strength to a dramatic ending.

A lilting choral accompaniment evokes pizzicato sounds surrounding the tenor melody in verse one. The other verses are set more conventionally but still reflect the goals of our Christmas with The Singers series: that the audience will enjoy the famliarity of the carol but be enchanted by the creativity of the arrangement. Challenging, but masterful in how Matthew Culloton treats the ensemble as a self-sufficient choral idiom. Duration 2:30

This unaccompanied setting of the well-known carol uses three male soloists (one baritone, two bass) as the kings voices. The oboe reinforces the melody, dances around it, and even quotes Greensleeves. The divisi chorus sings backup to the kings and all the refrains, which are set differently. Five full verses are used, but due to the fun and creativity present in the writing, the piece unfolds in a very fulfilling way.

This setting of the well-known hymn from William Walker's Southern Harmony, begins in a reflective, meditative style, but grows in volume and intensity. The piece is based on the tune WONDROUS LOVE.

The gentle flowing lines and tight harmonic writing bring a feeling of hushed calm surrounding the manger.