“Anthony Palmer’s compositions possess a strong individuality, which originates in a deep sense of musical structure, an ability to build beautiful melodic and rhythmic material, and a keen sense of the capacity of the human voice. I recommend his work with the greatest enthusiasm to any conductor who is looking for original works that call for musical sensitivity and imagination.”

– Professor André de Quadros, Boston University; Board advisor, International Federation for Choral Music; editor, Cambridge Companion to Choral Music; Artistic Director, Tomohon International Choral Symposium and Competition.

Tony Palmer’s music is very contemporary in style while being immediately accessible to the average listener. Whether writing for voices or instruments, Tony uses his masterful compositional technique to create music that is harmonically rich, melodically appealing, and rhythmically exciting. His music deserves to be widely performed and widely heard.

– William McManus, Former Chair, Music Education, Boston University

“Opferlied (Ludwig van Beethoven) is a worthy addition to the choral repertoire. . . . “Opferlied” is a strophic setting (two verses) of a text by von Mathisson for soprano, alto, and tenor solos and chorus. Vocal and musical demands for both chorus and soloists in this four-minute octavo are minimal, although intensity of the vocal line (“Langsam mit innigster Andacht”) is required. . . . an effective performance can be attained with either piano or orchestral accompaniment (available separately from publisher).”

– The Choral Journal Review, December

“O Amarilli (Johann Hermann Schein) This early Baroque madrigal sets the “Amarilli” text popular during that time. It should be sung in German using Continuo . . . Imitation is a central feature of the texture, a texture that also provides interesting alternation of parts. . . . The continuo (not optional) is a reasonable realization, with parts for keyboard, cello, and/or double bass, which one could vary according according to the size of ensemble, recommended to comprise 5-15 singers.”

– The Choral Journal Review, November

“Polish Carol This lovely Christmas lullaby would be especially effective with a children’s choir. Both an English translation and the original Polish are printed. . . . “Polish Carol” could be used with equal success in church or school. It provides an accessible opportunity to sing in a language other than the usual English, Italian, Latin, French, and German.”

– The Choral Journal Review, September

“Sing Ye Muses (John Blow) The epilogue to Blow’s Amphion Anglicus, “Sing Ye Muses” is the only 4-part work in the collection of secularworks dedicated to Princess Ann of Denmark. Carefully edited by Anthony J. Palmer, the work is a fine example of the English mid-Baroque concerted madrigal style which features alternation between homophonic and polyphonic writing. . . . This piece is highly recommended for proficient chamber chorales.”

– The Choral Journal Review, February

“Neujahrslied (Felix Mendelssohn) [Hi]s short compositions—masterpieces in miniature—are, unfortunately, not as we)l known as his oratorios and motets; “New Year’s Song,” #1 of opus 88, features a highly expressive text set in modified strophic form; the final verse begins with an excursion through remote key centers. The editor has supplied a singable English translation which captures the drama of the original German; however, the work should be performed in the original which is also included. . . . This work along with other of Mendelssohn’s partsongs could make an unusual and dramatic concert section for a college or professional chamber chorale.”