This lovely lullaby on a text of William Blake is beautifully crafted by composer Gerald Custer. Scored for divisi mixed chorus with harp (or piano) try it for your lessons and carols service.

Songs Of Innocence by Per Drud Nielsen - 5 miniatures for mixed choir (SATB) a cappella based on poems by William Blake. As a parallel to this booklet another booklet (WH31293) has been published that contains 5 songs based on poems fromBlake’s Songs of Experience.

POD-The Little Girl Found is a work for Unaccompanied SATB Choir by composer Julian Marshall. A setting of a poem by William Blake from 'Songs of Experience' performances will last around 3 minutes.

Blake Fragments was written for performance in Frank Lloyd Wright's iconic Guggenheim Museum in New York City and calls for the solo voices to be placed in various positions on the concentric rings that rise up from the central rotunda. In subsequent performances this configuration will generally be impossible but the soloist arrangement that was used is included should performers like to respond in some fashion to the original arrangement. The piece may be performed with the four soloists singing within the main chorus though some spacial separation on a single level or additionally using a balcony or backstage might better dupicate the original intentions. To allow fordifferent positions the four solo parts may be sung by more than four choral members (in the premiere there were two different sopranos covering the soprano part.)

Job (Vocal Score)-A substantial work for four soli SATB chorus and orchestra using text from the translation of Stephen Mitchell's The Book Of Job. Like Vaughan Williams in his Job: A Masque for Dancing Davies was inspired inpart by William Blake's 21 engravings for the Book of Job. His oratorio however is less dependent on find parallels for Blake's visual details given the direct poetry in David Lemon's adaptation of the Stephen Mitchelltranslation from the biblical original it is hardly surprising that the spotlight should be so much on Job's suffering litany. The baritone has the lion's share of the setting though the other soloists occasionally reinforce hisplea and chorale-like episodes universalize his predicament. Davies frames with work with two seminal plainsong-like passages; there is also plenty of dramatic contrast both within Job's monologues and in the vivid orchestralwriting for the smarmy Comforters the initially shrill God who finally appears out of a dazzling orchestral whirlwind and the animal life he uses to illustrate the wonders of creation to a humbled Job.Commissioned by theUniversity of British Colombia it was first performed in May 1997 by Valdine Anderson (soprano) Linda Maguire (mezzo soprano) Paul Moore (tenor) and Kevin McMillan (baritone) with the Vancouver Bach Choir and the CBC VancouverOrchestra conducted by the composer.Vocal score with piano reduction of the orchestral score. Duration c. 70mins.

Written by Giles Swayne in 1995 based around the poem ' The Tiger' by William Blake . The work is for SATB choir and SSSATB soloists. A separate line for hands and feet is included on the score with fingerclicking and foot stomping adding to the percussive feel of the work.This is the full score showing all vocal parts and the body percussion line. ...African influences are also felt in Swayne’s Blake setting The Tiglet which bristles with foot stamping finger clicking and sharp vocal projectiles... Robert Levett International Record Review 01 February 2007The Tiglet (part of Swayne's work The Tiger) features some 'wild syllabic interjections half sung and half shouted' which have to be heard to be believed!Church Music Quarterly 01 December 2006 Listen to a sample here

Noël! 3 is an exciting collection of Advent, Christmas and Epiphany music for mixed-voice choirs, from the easy to learn to the more challenging and unconventional. The contents range from the Baroque to the present: familiar settings of traditional and lesser-known carols through the ages to Howells, Berkeley and Warlock, and works by today's composers including Richard Rodney Bennett, Paul Mealor, John Tavener, Francis Pott and Richard Allain. Mixed-voice choirs of all levels will enjoy these new arrangements of favourite carols as well as stimulating original works for the Christmas season. / Choeur SATB Et Orgue (Ou Piano)

The Vocal Score for Tarik O'Regan's 2004 composition Threnody forms a part of the larger cantata Triptych but works beautifully as a piece in its own right. Lasting around five minutes Threnody was commissioned with funds from The RVW Trust for the Choir of London's inaugural concert in Christ Church Spitalfields on the 18th of December 2004. The work is arranged for SATB Chorus and String Orchestra and this item is the Vocal Score. Taking the lyrics from a diverse range of literary sources including William Blake's Auguries of Innocence William Penn and Psalm133 the solemn beauty of these texts is matched by the dynamism of the vocal performances in conjunction with the staccato rhythms of the orchestra. Crescendos and diminuendos give a sense of urgency and excitement to the vocals the harmonies of which are expertly composed.

Cantata for string orchestra and chorus. Triptych represents the concatenation and re-orchestration of two extant works. Movement I was commissioned with funds from The RVW Trust for the inaugural concert of the Choir of London conducted by Jeremy Summerly in Christ Church, Spitalfields on 18th December, 2004 - the work, premièred as Threnody, was subsequently toured by the Choir to Jerusalem and the West Bank from 19th-26th December, 2004. Movements II and III, commissioned by Portsmouth Grammar School with financial support from the PRS Foundation, were premièred as And There Was a Great Calm in a contiguous version for lower strings and upper voices by the Portsmouth Grammar School Chamber Choir and the London Mozart Players in a concert at Portsmouth Anglican Cathedral on 13th November, 2005 conducted by Nicolae Moldoveanu. The title of this latter section is taken from Thomas Hardy's poem of the same name, written at the signing of the Armistice on 11th November, 1918 - a couplet from which is set, in a moment of tranquillity, in the final movement. Relatively new to living in New York, I am much more aware of the independent, vibrant cultural plurality that exists today - it's probably the single most dazzling facet of the City and is largely responsible for the infamous 'edginess' that pervades daily life there. With this in mind, I set to work on Threnody (movement I here) in 2004 - I wanted to write something that was relevant to the Israeli/Palestinian issue without losing that City 'edge'. The texts, in English, are excerpted from a variety of sources: William Penn, William Blake, the Psalms of David and Muhammad Rajab Al-Bayoumi, an Egyptian poet of the early twentieth-century. Fast and rhythmically influenced by the music of North Africa in its syncopations, this movement was the first composition that evolved entirely from my New York perspective. From the moment that the commission for And There Was a Great Calm (movements II and amp - III here) was offered, I knew the piece I was about to embark upon would end up being linked with Threnody in some way. I realized that what I had been aiming for in Threnody served as a template for this new piece, originally composed for a Remembrance Sunday concert. Musical works connected with commemoration or memorials are often suitably pensive and slow - I wanted to start with that concept, but to bring in some of the relentless urban rhythms that had been such a large influence on my life in the preceding two years. The result is that that the second movement is quiet and gentle (a moment of recollection), while the final movement is much faster and vibrant, returning to a more openly elated rendering of the start of Triptych (the texts here dealing with transmigration and the future). and nbsp - I gratefully acknowledge the assistance of Bruce Ruben and Judith Clurman, as well as that of my parents, with the collation of the texts. Tarik O'Regan New York, February 2006 / Soprano, SATB Et Orchestre De Cordes

Cantata for string orchestra and chorus.Triptych represents the concatenation and re-orchestration of two extant works. Movement I was commissioned with funds from The RVW Trust for the inaugural concert of the Choir of London conducted by Jeremy Summerly in Christ Church Spitalfields on 18th December 2004; the work premièred as Threnody was subsequently toured by the Choir to Jerusalem and the West Bank from 19th-26th December 2004. Movements II and III commissioned by Portsmouth Grammar School with financial support from the PRS Foundation were premièred as And There Was a Great Calm in a contiguous version for lower strings and upper voices by thePortsmouth Grammar School Chamber Choir and the London Mozart Players in a concert at Portsmouth Anglican Cathedral on 13th November 2005 conducted by Nicolae Moldoveanu. The title of this latter section is taken from Thomas Hardy’s poem of the same name written at the signing of the Armistice on 11th November 1918; a couplet from which is set in a moment of tranquillity in the final movement.Relatively new to living in New York I am much more aware of the independent vibrant cultural plurality that exists today; it’s probably the single most dazzling facet of the City and is largely responsible for the infamous ‘edginess’ that pervades daily life there. With this in mind I set to work on Threnody (movement I here) in 2004; I wanted to write something that was relevant to the Israeli/Palestinian issue without losing that City ‘edge’. The texts in English are excerpted from a variety of sources: William Penn William Blake the Psalms of David and Muhammad Rajab Al-Bayoumi an Egyptian poet of the early twentieth-century. Fast and rhythmically influenced by the music of North Africa in its syncopations this movement was the first composition that evolved entirely from my New York perspective.From the moment that the commission for And There Was a Great Calm (movements II & III here) was offered I knew the piece I was

Combining the 'Ubi Caritas? text with two dramatically different 'Holy Thursday? texts of the same name by William Blake, James Lavino has created a work for SATB divisi choir, SATB semi-chorus and organ that is both thrilling and thought provoking. Chosen by Philip Brunelle for the Cathedral series and performed by his world renowned 'Vocal Essence? choir, this work requires both advanced singers and conductor but produces a powerful emotional impact. / Choeur Mixte (SATB) Et Piano

Joel Phillips' Cradle Song with words by William Blake for SATB choir a cappella.

POD-A Poison Tree is a work by composer Julian Marshall for Unaccompanied SATB Choir. A setting of a poem by William Blake from his 'Songs of Experience' a full performance lasts around 2 minutes.

POD-How Sweet I Roamed is a work by Julian Marshall for Unaccompanied SATB Choir. Setting two texts from poems by William Blake a full performance lasts around 5 and a half minutes.