To contact Matthew about his music, including possible commission collaborations, e-mail him directly at matthew@singersmca.org.

NEW RELEASES FOR 2024 and 2025!

Jesus Christ the Apple Tree (SATB, div. a cappella) – New Release for 2025!

An original composition using a traditional English carol text often heard in the Advent season. The piece is rhythmic with a contrasting middle section. It has a recurring motif that is passed between voice parts. A very lyrical and effective piece.  See the concert video here.

Sussex Carol (SATB, div. harp/piano, oboe) – New Release for 2025!

This addition to the popular Christmas with the Singers series is appropriate for church or school use. The arrangement is bright, festive, and fun to sing. It may be performed with harp instead of piano, and the bright optional oboe brings festive sparkle. (N.B. This work was published by Graphite Publishing until 2023.)  See the concert video here.

Jul, Jul, Strålande Jul (SATB, div. and solo, a cappella)

A timeless melody, wrapped in beautiful harmonies will make this setting an audience’s favorite carol of the night. Perfect for those with a wonderful, expressive soloist too!   See the concert video here.

O Come, O Come Emmanuel (SATB, div. a cappella)

This rhythmic and energetic setting of the Advent classic expresses longing and the promise of Christmas. The music captures the excitement of the text. Your choir will enjoy singing this unusual and effective treatment of the plainsong melody. See the scrolling score here. (descr. courtesy JW Pepper)

Stille Nacht, Heilige Nacht (SATB, a cappella)

Arranged for The Mirandola Ensemble, this gentle setting contains lovely countermelodies and can be sung in either German or English. A four-part setting that is interesting and accessible, and can serve to close a concert on a delicate note. See the scrolling score here.

“CHRISTMAS WITH THE SINGERS” series (Morningstar Music)

Angels We Have Heard on High (SATB div., a cappella)

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.

Away in a Manger (SATB, a cappella)

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.

The First Nowell (SATB, div., piano)

This setting of a Christmas favorite combines original material with the familiar melody to create a fresh musical expression of this classic. See the scrolling score here.

Gabriel’s Message (SATB div., a cappella)

Composer Matthew Culloton brings his special touch to this traditional text and tune. While retaining the most familiar elements of the carol, he adds accompanimental lines and textures that are fresh, creative, and fascinating to sing and hear.

God’s Mother Be (SATB, guitar or harp/piano)

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. 

Hark! The Herald Angels Sing (SATB div., a cappella)

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.

The Holly and the Ivy (SATB, div. a cappella)

Many of the Christmas with The Singers series pieces started with the intention of preserving what the audience cherishes about a particular carol while surrounding it with an a cappella choral arrangement that is fresh (and sometimes astounding.) For SATB with multiple divisi, this carol is rewarding and fun for any accomplished choir.

In Dulci Jubilo (SATB div., a cappella) ( SSAA and TTBB versions available!)

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. Set on the tune IN DULCI JUBILO. Particularly effective for advanced choirs.

In the Bleak Midwinter (SATB div., a cappella)

Beautiful textural and harmonic touches, sometimes very simple and sometimes more complex, illumine and elevate the text. The descant functions as a lone voice just as the text becomes the most personal, “What can I give him?” The thought, beauty, and emotion in this setting are not to be missed. See the scrolling score here.

Infant Holy, Infant Lowly (SATB div., a cappella)

Are you looking for the most beautiful a cappella version of this Polish carol? Then look no further. The familiar melody of this Polish carol appears in each of the voice parts while the rest of the parts sing a beautiful vocal accompaniment.

It Came Upon the Midnight Clear (SATB div., a cappella)

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. See the scrolling score here.

Lo, How a Rose E’er Blooming (SATB, div. a cappella)

Very sustained, long legato lines characterize this arrangement of the favorite 14th-century carol. Slow, gently moving meter changes create a almost meterless atmosphere, giving creating an ethereal mood. Lush and expressive.

Make We Joy Now In This Fest (SATB, a cappella)

Matthew Culloton provides a sprightly original setting of this 15th century text which alternates between short English and Latin phrases. SATB a cappella with the basses occasionally dividing at the octave at cadences, and the whole choir divisi in the last two measures. See the scrolling score here.

O Little Town of Bethlehem (SATB div., a cappella)

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.

Once in Royal David’s City  (SATB, div. a cappella)

I wrote this with the shadow of King’s College looming behind me! What better way to differentiate from that iconic tradition of the solo boy chorister on verse 1? I chose to delve right into a lush choral harmony and use varied textures throughout. See The Singers and Matthew Culloton perform this work here.

Silent Night (SATB div., flute and harp)

This setting reflects Matthew Culloton’s 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.

Still, Still, Still (SATB, bar. solo)

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.

Tomorrow Shall Be My Dancing Day (SATB div., a cappella)

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 the composer treats the ensemble as a self-sufficient choral idiom. See the scrolling score here.

What Child is This? (SATB div., a cappella)

Rich, warm harmonies surround the melody, which passes between voice parts as the piece unfolds. This beautiful a cappella arrangement of the familiar Greensleeves will be a stellar addition to your holiday program! See the scrolling score here.

We Three Kings (SATB, TBB solos, oboe)

This unaccompanied setting of the well-known carol uses three male soloists (one baritone, two bass) as the kings’ voices. The (optional) 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.

The Wexford Carol (Good People All, This Christmas Time) (SATB, sop. solo)

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. See the scrolling score here.

Your Little Ones, Dear Lord (SATB, div. a cappella)

The gentle flowing lines and tight harmonic writing bring a feeling of hushed calm surrounding the manger. There is a unique and special feel to this lovely a cappella composition. The piece is reminiscent of arrangements F. Melius Christiansen wrote for the St. Olaf Choir.

Morningstar Music Publishers – other works 

Create in Me a Clean Heart (SATB, piano)

Psalm 51 set in an accessible style. Very useful for the beginning of Lent or for other times in the church year. A beautiful descant appears over the established melody for a beautiful conclusion to this lovely piece. See the scrolling score here.

Deep River (SATB), 50-5912, $1.70

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.

Go to Dark Gethsemane (SATB, piano)

The familiar text by James Montgomery is given a new melodic setting that maintains a reflective tone throughout. The text depicts the journey from Gethsemane to the cross to Easter morning. See the scrolling score here.

Just As I Am, Without One Plea (SATB div., a cappella or with opt. piano)

Conceived for a small but capable choir (optionally a cappella), larger choirs will find it appealing as well. Using the familiar text with a new melody, the divisi is limited to the sopranos and altos in a few places and the basses on the last note. A moving offering for worship and concert settings. See the scrolling score here.

Manger Carol (SATB, piano), 50-1124, $1.70

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.

My Shepherd Will Supply My Need (SATB, flute and harp/piano), $1.85

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.

Softly and Tenderly (SATB, piano)

Accessible and lovely. A beautiful treatment of this old gospel tune. See the scrolling score here.

Watchman, Tell Us of the Night (SATB, piano)

This classic hymn text is set for SATB and piano accompaniment. There are hints of familiarity (e.g. the tonality shifts from minor to major as the text answers the previous phrase), but this melody is entirely original. The composer has a knack for writing singable music that sounds inevitable and right. Your singers and listeners will appreciate that!

What Wondrous Love (SATB, div.)

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. See the scrolling score here.

E.C. Schirmer / Galaxy Music

Stopping By Woods on a Snowy Evening (SATB, div., piano or harp)

The treasured poem by Robert Frost is set here with either piano or harp accompaniment in a way that gives the impression of gentle snow falling in the deep, dark woods. Beautiful and descriptive choral writing. (Duration: 4:30) See the scrolling score here.

Invictus (TTBB, piano)

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. See the scrolling score here.

G. SCHIRMER 

Balulalow (SATB, soprano soloist), HL.50600681, $2.10

A tender setting of this famous text features a gentle soprano solo line over a tender choral lullaby. The choral writing presents accessible and limited registers, while the soprano solo will be a great opportunity for one of your finer singers.

Requiem Aeternam (for Paul Salumunovich) (SATB), HL.50600075, $1.95

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. Published in the Dale Warland Choral Series.

SANTA BARBARA MUSIC PUBLISHING

Down in the River to Pray (SSA, a cappella)

This upbeat a cappella arrangement sounds fresh from the Appalachian mountains. Treble choirs will delight in singing this popular folk song in a strictly 3-part setting. 

Famine Song (SATB, a cappella) –  Famine Song (SSAA, a cappella)

Written by a professional vocal 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.

Shall We Gather at the River (SATB, div. a cappella)

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

Sinner Man (SATB div., a cappella)

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.

To the New Jerusalem (SATB div., a cappella)

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.

NEIL A. KJOS MUSIC PUBLISHING

Golden Slumbers, (SSA, piano and flute)

A tender setting of the classic English lullaby, this arrangement works wonderfully for treble choirs of any age. The melody is shared by sopranos and altos, as the delicate flute part adds a shimmer to the accompaniment. Golden Slumbers works for any time of the year, even for the holiday season.

Japanese Garden, (SA or TB, piano and clarinet)

This beautiful song is a true gem. The evocative, picturesque poem depicts a Japanese garden covered in snow, making it a great selection for winter or spring. The optional clarinet part is a delightful addition to the lyricism of the treble voices. Text by David Bengtson.

Take, O Take Those Lips Away, (SSA and piano)

The composer of the visionary “Japanese Garden” now brings us a fresh take on a popular Shakespeare text. The contemporary music treatment of ABA form is stark for the ‘A’ sections and hopeful for the ‘B’ section (“But my kisses bring again”). Ideal for medium to advanced women’s choir.

SHAWNEE PRESS

Past Three O’Clock, (SSA, piano and flute)

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.

 HINSHAW MUSIC

How Can I Keep From Singing? (SATB and piano)