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 email@example.com.
A Jewish prayer for peace in a tango style, accessible for school, church, and synagogue choirs. SATB, piano, and violin.
An exuberant Hebrew setting of Psalm 100 with homophony in changing meters. SATB and piano.
A solemn Hebrew prayer with a choral refrain and solo verses. Accessible piece for SATB, soprano or tenor soloist, and piano or organ.
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.
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.
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.
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.
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.