Psalmos Penitentiales is an extended sacred work comprising three settings of sections from the Penitential Psalms linked by four arrangements of the well-known Ubi caritas plainchant. The three psalms (Nos. 6 101 and 129) may also be performed separately giving the work added flexibility in performance. The work is suited for Lent and Passiontide.

The texts of these three antiphons commissioned by the World War II Commemorations Team and St. Paul's Cathedral are taken from the Psalms and Isaiah which have been set to music by this masterful contemporary composer.Theantiphons received their first performance in May 1995 at St. Paul's Cathedral London on the occasion of the Service of Thanksgiving Reconciliation and Hope to commemorate the 50th anniversary of the end of the war in Europe.

Under the heading “Three Psalms of David” popular writer Rosephanye Powell has composed a trilogy. Although they can be performed separately they function best as a set: O God You Are My God (Psalm 63:1-2); MakeHaste O God (Psalm 70:1-3 5b); The Righteous Cry Out (Psalm 34:17-18a). Her originality and creativity provide a musical perspective that is fresh and captivating. Great for church or school. Available: SATB.

Three Psalm settings are included useful as introits and/or benedictions. The pieces are easily prepared and highly effective when performed making this anthem a creative and useful resource you can use for a variety of occasions. Available: SATB.

The Vocal Score for Judith Weir's Truly I Tell You a setting of three different Biblical passages from Psalms and Mark's gospel. This work was first performed by the Choir of Westminster Abbey at theCommonwealth Day Observance on the 9th of March 2015. It is arranged for SSATB Chorus and Organ. Truly I Tell You is a setting of Psalms 8: 4-10 and 34: 1-4 and Mark 10: 15. The thread thatmarries these three texts together is the comparison between man and the name of God the literal exposition of the word of God (working beautifully within the context of such a brilliantly-composed piece of music) and thehopeful entering of God's kingdom in general. In the December 2015 edition of RSCM Church Music Quarterly Magazine the reviewer states that this piece is 'highly recommended' and is a 'useful churchanthem that is not too difficult'. Judith Weir is a British composer whose music often draws influence from her many extra-musical interests such as medieval history and Scottish traditionalmusic. In 2005 Weir received a CBE for her services to music and in 2014 she was appointed the Master of the Queen's Music becoming the first female holder of a post which dates back to 1626.

KV 339-We know that Mozart held his Vespers in high regard since he once asked his father in a letter dated 12 March 1783 to send the two works to him in Vienna so that he could show them to Baron Gottfried van Swieten. The Office hymns designated as Vesperae de Dominica K. 321 and Vesperae Solennes De Confessore K. 339 both call for four Vocal parts two Violins two Clarinets Timpani Basses (Violoncello Double Bass and Bassoon) three Trombones and Organ. They contain settings of Psalms 109 (Dixit) 110 (Confitebor) 111 (Beatus vir) 112 (Laudate pueri) 116 (Laudate Dominum) and of the Magnificat canticle. Each of the Psalms forms an autonomousunit; the Doxology at the end is derived from the themes of the various Psalms. Urtext of the New Mozart Edition Performance material (BA4894) vocal score (BA4894-90) available for sale

This is the full score of Herbert Howells' 1950 composition Hymnus Paradisi for Soprano and Tenor Soli SATB chorus and orchestra. Now available for the first time in print this score has been prepared from the known sources revised and edited with critical commentary and includes a preface by Paul Spicer and introductory notes by Sir David Willcocks. Four of the choral movements (II-V) are settings of Latin and English texts. These are drawn from the Psalms and the 'Miss pro defunctis' the book of Common Prayer and are immemorial reflections upon the transient griefs and indestructible hopes of mankind. All are appropriate to the mood and purpose ofa Requiem. Movement VI is a setting of lines from the Salisbury Diurnal used here in the translation by Dr G. H. Palmer appearing at the end of Robert Bridges' Anthology The Spirit of Man. The first performance was at the Three Choirs Festival at Gloucester on 7th September 1950 which the composer conducted. The Bach Choir gave the first London performance early in 1951 and recorded the work in 1970 with the Philharmonia Orchestra under Sir David Willcocks.

Par HUSZAR LAJOS. Lajos Huszár composed his motet for mixed choir Strafe mich nicht in deinem Zorn commissioned by the town of Debrecen for the 26th Béla Bartók International Choir Competition in 2014. The composer says about his work: ''This choral work is the closing piece of a series for mixed choir consisting of three motets in German. The text is from the Bible as translated into German by Martin Luther (parts of Psalms 6 and 7), supplemented by a few words of a chorale. Its style is based on modal key systems and it adapts throughout to the singing voice.''/ Répertoire / Choeur Mixte

A vocal score with Latin text for this rare work arranged for SSAATTBB and piano accompaniment. Edited by Watkins Shaw.