The Drei Sonette (Three Sonnets) were among the last works of Germany's leading post-war composer Hans Werner Henze (1926 2012) settings of words by theologian and poet Christian Lehnert (b. 1926). The set wasan adaptation by the composer of choruses heard originally in his music theatre piece Gisela! first performed in Dresden in 2010.

Non-liturgical setting of the Kyrie Sanctus and Agnus Dei from the Latin Mass scored for 4-part children?s choir and full orchestra. The composer states that ?each movement is reasonably substantial with much space for the orchestral music to grow and develop [?] a lot of the vocal writing was imagined as an extension and enhancement of the orchestral palette where the young voices are ?smudged? into the orchestral sound in an impressionistic manner.?Little Mass (2014) was commissioned by the Royal Liverpool Philharmonic Society for its 175th Anniversary the Royal Scottish National Orchestra and the Bournemouth Symphony Orchestra. Supported by Sally Mary andJonathan Groves to mark the centenary of Sir Charles Groves in the month he would have celebrated his 100th birthday.Suitable for intermediate standard voices and advanced standard orchestra.

Ron Kean's Kyrie and Agnus Dei have led the way for this Sanctus setting. Dr. Kean has cleverly intertwined a new Sanctus melody (that is beautifully lamenting) with the African American Spiritual Swing Low Sweet Chariot. Selected for the ACDA NY reading session this stirring rendering contains the well-crafted vocal lines for which Dr. Kean has become famous. Excellent for church or school.

SATB-One of Berlioz's greatest works the Grand Messe des Morts is written for Tenor Solo SSTTBB Chorus and Orchestra. The scale of this work should not be underestimated: it runs at an hour and a quarter and the orginal scoring included no fewer than 16 timpani and four extra brass choirs! However not all of its music is massive (the extra forces explode onto the scene in the Tuba mirum portion of the Dies irae sequence in No. 2 and then disappear). Indeed much of it is quite intimate -- for example the slender No. 3 Quid sum miser which immediately follows the outburst in No. 2 or the opening of No. 9 Sanctus which features the solo tenor. Andthe Requiem ends in absolute tenderness the Lamb of God (No. 10 Agnus Dei) having taken away the sins of the world and accepted the dead into a new world of which we mortals can hear only vague echoes -- timpani strokes left over from the explosive Last Judgment held earlier in the mass now distant and gentle. This the Schirmer Edition of the vocal score contains a piano accompaniment arranged by Leopold Damrosch.

A stunning original setting by Allan Robert Petker. Lovely flowing vocal lines caress this time-honored text with gentle accompaniment. The 2-part setting is designed for treble voices but succeeds well with any combination of parts. Available: SATB 2-Part.

Introduce your younger students to classic choral forms with this new composition written expressly for young voices. Simple vocal lines basic Latin and familiar classical harmonies make this a teaching gem.

This SATB setting of Hildegard von Bingen's Ave Generosa text uses a hauntingly joyful tonality paying homage to the mysterious story of Mary. A beautiful middle section is surrounded by contrasting modal beginning and ending sections. The juxtaposition of sustained and moving moments holds true to the composer's style while the harmonic structure and vocal construction offer something very fresh.

This setting of Hildegard von Bingen's Ave Generosa text uses a hauntingly joyful tonality paying homage to the mysterious story of Mary. A beautiful middle section is surrounded by contrasting modal beginning and ending sections. The juxtaposition of sustained and moving moments holds true to the composer's style while the harmonic structure and vocal construction offer something very fresh.