Below are Sarah Riskind’s choral compositions for mixed voices, including both accompanied (often piano and string obbligato) and unaccompanied. Some have been arranged for multiple voicings already, but other arrangements can be completed by request.
The price for pieces sold here allows you to make up to 60 copies. Additional purchases are needed for larger ensembles. If questions, email sarah.riskind@gmail.com.
Purchase Oseh Shalom at Swirly Music
A Jewish prayer for peace in a tango style, accessible for school, church, and synagogue choirs. SATB, piano, and violin.
Purchase Hariyu at Swirly Music
An exuberant Hebrew setting of Psalm 100 with homophony in changing meters. SATB and piano.
Purchase Sim Shalom at Swirly Music
A solemn Hebrew prayer with a choral refrain and solo verses. Accessible piece for SATB, soprano or tenor soloist, and piano or organ.
Simple arrangement of one of the most popular songs sung at Passover seders. “Dayeinu” can be translated as “it would have been enough.” SATB and piano. 
Simple arrangement of the haunting Passover melody “Eiliyahu Hanavi” about the prophet Elijah, for SATB and piano.
“Who is like You, O God?” A bright, upbeat homophonic setting of moderate difficulty.
A triumphant and melodic Hebrew setting of Psalm 96:1, “Sing to the Lord a new song.” SATB and piano, moderate difficulty.
A Hebrew call to prayer in three-part canon. SSATB a cappella, but adaptable to any voicing.
A call-and-response anthem in Mixolydian mode with mixed meters; the mixed choir is often in unison. For a cappella choir, soloist(s), and percussion ad lib.
Purchase Psalm of the Sky at Swirly Music
A setting of Rabbi Rachel Barenblat’s modern reimagination of Psalm 23, commissioned in 2019 for TBB voices as part of CCM’s Creative Commissions Project, sponsored by the Harmony Fund. This version is for SAB voices with optional tenor part, piano, and violin.
Two new settings of traditional Hanukkah texts: Hanerot Halalu, a three-part canon, and Mi Y’malel, an energetic Klezmer-inspired piece for SATB, piano, and optional violin.
A brief homophonic setting of a common prayer of gratitude for the Torah. SATB with piano or organ.
A guided improvisation in which section leaders choose pitches to fit notated rhythms. SATB and pitched instrument(s).
Arrangement of a Bulgarian Sephardic wedding song in 2+2+2+3. SATB with pitched and unpitched instruments, suggestions included in the performance notes, moderate to moderately advanced. Has detailed performance notes, with links to source recordings and a Judeo-Spanish pronunciation guide.
Scholarly performing edition of a sacred Spanish motet by the Mexican Baroque composer Manuel Zumaya. It is for SATB+SATB choirs and organ, but it also works well with instrumental doublings, or with instruments covering some of the parts. Verses can be performed by a small group.
Warm, light setting of Psalm 8 for SAB and piano.
Arrangement of an upbeat Moroccan Sephardic copla about celebrating Purim, a Jewish holiday that usually falls in March. SATB a cappella, moderate difficulty. Has detailed performance notes, with links to source recordings and a Judeo-Spanish pronunciation guide.
Homophonic setting of one English verse of the Hanukkah song Rock of Ages (Maoz Tsur).
A lyrical psalm setting for moderately advanced choirs. SATB, piano, and cello.
This piece was inspired by those who struggle to find welcome in new places. The optimistic textual changes transform a command into a personal commitment. For advanced a cappella SATB choir with some divisi and a brief soprano solo. Premiered by The Esoterics in Seattle, directed by Eric Banks.
Hebrew setting of Psalm 101, “I will lift up my eyes to the mountains.” SATB with piano, lyrical and mostly diatonic.
A lilting melody with primarily homophonic accompaniment, suitable for many church choirs. SATB, piano, and optional violin.
Lyrical Dorian/minor piece for baritone, mixed choir, and piano that works well before or during worship.
Exuberant Lydian setting of Psalm 100 for SATB and organ with some syncopation.
Original unaccompanied Renaissance-style harmonizations of the tune “Heart’s Ease” from Playford’s 1651 Dancing Master, which is mentioned in Shakespeare’s Romeo and Juliet. The first is fairly straightforward, while the second is more chromatic. Both are included in three keys to suit individual ensembles.
Original chromatic setting that pairs well with the Gibbons. SATB a cappella.