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.

Judith Clurman Choral Series-This cycle of three psalms captures key ritual moments in the Jewish life cycle. Birth marriage and death are the powerful milestones that frame our existence. Composed by Bruce L. Ruben Director of the Debbie Friedman Schoolof Sacred Music at Hebrew Union College and arranged by Broadway composer and arranger Larry Hochman this setting of the Psalms for SATB Choir Solo Piano Clarinet Violin and Cello works equally well in worship or concert.Baruch Haba (Psalm 118); Adonai Maon (Psalm 90); Ivdu Adonai (Psalm 100).

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.

Here is an edition of a three-movement work by iconic Israeli composer Yehezkel Braun. A singable English version is included. This is a challenging work worth the time spent in rehearsal.

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.

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 clarini kettledrums 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 autonomous unit; the Doxology atthe end is derived from the themes of the various Psalms.Urtext of the New Mozart EditionFull score & performance material (BA4893) vocal score (BA4893-90) available for sale

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 Clarini Kettledrums 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 anautonomous unit; the Doxology at the end is derived from the themes of the various Psalms.Urtext of the New Mozart EditionPerformance material (BA4894) vocal score (BA4894-90) available for sale

Violoncello Contrabass and Bassoon-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 clarini kettledrums 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 autonomous unit; the Doxology atthe end is derived from the themes of the various Psalms.Urtext of the New Mozart Edition Full score & performance material (BA4893) vocal score (BA4893-90) available for sale

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

Symphonie-Kantate. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn describes to his friend Klingemann the 1840 work as 'a ‘symphony for chorus and orchestra’… First three symphonic movements, to which 12 choral- and solo- movements are appendaged; the words from the Psalms, and indeed all pieces, vocal and instrumental, are composed in the words ‘Everything which has breath, Praise the Lord’; one understands by this that first the instruments give praise in their own way, and then the chorus and the individual voices. '/ Répertoire / Solistes SST, Choeur SSAATB, 2 Flûtes Traversières

Symphonie-Kantate. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn describes to his friend Klingemann the 1840 work as 'a ‘symphony for chorus and orchestra’… First three symphonic movements, to which 12 choral- and solo- movements are appendaged; the words from the Psalms, and indeed all pieces, vocal and instrumental, are composed in the words ‘Everything which has breath, Praise the Lord’; one understands by this that first the instruments give praise in their own way, and then the chorus and the individual voices. '/ Répertoire / Solistes SST, Choeur SSAATB, 2 Flûtes Traversières

Liber Canticorum Va-The text for the choral work 'Hominis dies' is partly form the book of psalms partly from Isaiah in the Latin translation of the Bible. The words are relevant today - they are about the fate of humanity - our fear of war and destruction violence and polution. The choral work is divided in three parts all of them introduced with a Halleluja. A Halleluja is most often a praise but that is not the case in this work where the suppressed and oppressed manking with this work express desperation and sorrow but also hope.

Symphonie-Kantate. Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn describes to his friend Klingemann the 1840 work as 'a ‘symphony for chorus and orchestra’… First three symphonic movements, to which 12 choral- and solo- movements are appendaged; the words from the Psalms, and indeed all pieces, vocal and instrumental, are composed in the words ‘Everything which has breath, Praise the Lord’; one understands by this that first the instruments give praise in their own way, and then the chorus and the individual voices. '/ Répertoire / Solistes SST, Choeur SSAATB, 2 Flûtes Traversières