Edgar Bainton, Arthur Bliss, Harold Darke, George Dyson, E.J. Moeran, Sydney Nicholson, and Martin Shaw studied composition with C. V. Stanford at the Royal College of Music (RCM) between the years 1895-1914. Each contributed to an existing Anglican choral tradition that adopted familiar forms and text treatments, and they generally wrote with a conservative harmonic language. Collectively these works offer a limited profile of Anglican choral music in the early twentieth century, especially the types of works produced by a generation of composers who converged in the early years of the RCM. This study is a repertoire survey of Anglican choral music by select composers who studied with Stanford, bringing attention to some composers and works that are infrequently studied or performed. For each composer, this survey includes a brief biographical overview including a summary and characterization of their sacred choral compositions; analysis and discussion of a representative choral work written for Anglican worship; and a conductor’s guide and annotated score for each work. Conclusions address commonalities among the selected works, individual distinctions, observations about how this collection of works is situated in the repertoire of early twentieth-century Anglican music, and areas for further study. The concepts and analytical approaches of this survey are applicable to a wider range of repertoire, useful for engaging in other time periods, idioms, and traditions. Choral conductors and clergy may draw on this as a resource to expand programming and worship repertoire.