Judith Weir's a blue true dream of sky engages the singers in three separate parts ? solo Soprano unaccompanied Chorus and the pivotal pair of Alto soloists who act as a hinge to the others? to create an intricate yet clear setting for this ecstatic poem by e. e. cummings. Judith Weir is one of Britain?s most prolific and successful composers widely known for her operas like TheVanishing Bridgegroom and A Night At The Chinese Opera and her many Choral works as well as her pieces for Strings and Piano. She was Artistic Director of the Spitalfields Festival and is a professor at Cardiff University.

Love's Promise from Song of Songs by Patrick Hawes. For solo soprano SATB chorus and strings. Text by Andrew Hawes. Vocal Score.

Mealor divides his setting of this religious Latin text into four sections the first of which is unaccompanied. For SATB chorus with soprano solo and piano. Also available with harp (or piano) and string accompaniment.

Britten's Te Deum In C is arranged for Treble (Soprano) solo SATB choir and Organ accompaniment.In preparing for publication the 1935 orchestral version of Britten's Te Deum in C it became clearthat there were a number of discrepancies between the manuscript and the original 193 vocal score. Some of these were minor: different articulation and dynamic markings something Britten was later very fussy about but perhapsleft unchanged on proof because of his relative inexperience at this stage of his career with the processes of music publishing. Others were more important: wrong pedal notes for example which Britten failed to notice on proof and which have been perpetuated in performances and recordings for nearly seventy years. These have been corrected in the new edition of the vocal score and in the orchestral score (Britten clearly used the published vocal scoreto prepare his orchestral version).The two versions have been made consistent in other details - rehearsal cues and bar numbers for example - since Britten intended choristers to use the vocal score to perform theorchestral version. This would have been an easy task for these is little discrepancy in essential details between versions (a rare departure occurs in bars 53 to 56 where the works 'Lord God of Sabaoth' are unaccompanied in theorchestral version but doubled by Organ in the original). Sustained Organ chords are often filled out with arpeggiated string writing while the spacing of chords is frequently much wider in the string version with melodiestransposed into different octaves.Although harmony in both versions is identical voice leading is sometimes altered in the latter to make it better suited to the idioms of the instruments concerned. So although inessence the two versions are the same the soundworld explored in each is quite distinct. Britten's orchestral version should neither be viewed as an occasional piece nor considered solely a liturgical work like many of his

Réduction pour chant & piano-The vocal score of Francis Poulenc's Stabat Mater setting originally composed in 1950 for soprano solo mixed chorus and orchestra. This edition features a Piano reduction of the orchestral material.

This rendition of Ave Maria the sacred text from the Gospel of Luke set for SATB divisi chorus and Mezzo Soprano soloist was expertly arranged by Imand Raminsh. This work has been recorded by the Vancouver Chamber Choir Jon Washburn conducting.

Symphony No. 3-Symphony No. 3 - KaddishVocal/piano score for voice speakers mixed choir (SATB) boys' choir and piano reduction. Hebrew and English.

Described by Ola Gjeilo as perhaps his most personal piece Contrition sets a line of English text from George Herbert's poem Perseverance and excerpts from Psalm 101 in Latin.Contrition is here performed by the Central Washington University Chamber Choir: