Franz Schubert's The Shepherd On The Rock (Der Hirt auf dem Felsen) with English version by J. S. Shedlock. This song Op.129 is written for Voice Clarinet (or Cello) and Piano. The clarinet and alternative Cello parts are also included along with a separate insert for the vocal part with text in English and German.

12 Poems by Judith G. Wolf for Countertenor, Cello, and Orchestra. Par FUCHS KENNETH. This piece, along with three others, earned the composer a Grammy for the 2018 Best Classical Compendium. Composer's program note excerpt: Judith G. Wolf's expressive poems take us on a memorable journey through everyday life, the support of family and friends, the joy of love, and the pain of grief and loss. I was moved by her work to compose Poems of Life, an orchestral song cycle that sets to music twelve poems from Wolf's most recent volume of poetry, Otherwise. The poems weave a narrative of eternal love, the pain of loss through death, emotional transformation through grief, and spiritual enlightenment. CONTENTS: Prologue 1. Ethereal 2. Time Slips Away Movement 1 3. Gary Died 4. Just Like That 5. Watching for Death 6. Face Movement 2 7. Sisters 8. Forever Gone 9. The Retreat Movement 3 10. The Dream Epilogue 11. Conversation 12. Epiphany. Orchestra accompaniment rental item is available separately from the publisher./ Répertoire / Chant et Piano

Ed. critica M. Talbot - Riduzione per canto e pianoforte di A. Frigé-The Dixit Dominus RV 595 shares a key and some further characteristics with the better-known setting of the same psalm RV 594 but differs from it markedly: first in being scored for an undivided ensemble (i.e. not ?in due cori?): second in belonging to Vivaldi?s first period of sacred music composition around 1715 rather than to a later period. There are stylistic parallels too with Vivaldi?s two Gloria settings RV 588 and RV 589. Three of the eleven movements making up RV 595 use borrowed material which in two instances is taken from movements by unknown composers in Vivaldi?s own collection and in one instance (heavily disguised) from a published madrigal(1705) by Antonio Lotti. The borrowings are absorbed extremely well into the fabric of the setting and do not disrupt its well-unified character. Among the high points of RV 595 are its opening pair of moments ? the first bustling and the second poignantly reflective ? and the fourth movement ?Tecum principium? where two obbligato cellos enter into dialogue with two sopranos. This Dixit Dominus preserved uniquely in Prague ranks among Vivaldi?s finest large-scale sacred vocal compositions. The Introduction and Critical Commentary for this vocal score are based on the Critical Edition by Michael Talbot published in 1993.