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 School of 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. Mvt. 1) Baruch Haba (Psalm 118)- Mvt. 2) Adonai Maon (Psalm 90)- Mvt. 3) Ivdu Adonai (Psalm 100). / Choeur Mixte (SATB), Clarinette Et Piano

Josquin des Pres is the master of polyphony for singers. Conductor, composer, editor Jameson Marvin is the standard bearer for polyphony in todays choral classroom. This movement from Missa Mater Patris allows your mens chorus to explore both polyphony and several beautiful homophonic moments in this Renaissance masterpiece. / Choeur TTBB A Cappella

This is a bold reimagining of Hildegard's chant, both tune and text. Actively quoting the source material, DiOrio's setting takes Hildegard's music as a launching point from which to imagine new sonic possibilities. This piece is meant to be experienced in the round, as the voices surround the audience and attempt to create an enactment of Hildegard's visions. Duration: ca. 5 minutes. / Choeur Mixte (SATB) A Cappella

This beautiful piece by Tobin Stokes is loosely based on the five stages of grieving by Elisabeth Kubler-Ross. The first section of the music, set for 6-part treble choir on the text Hear my prayer, Oh Lord, is polyphonic at a subdued dynamic level. The second phrase of the verse, and let my crying come unto thee, is homophonic and builds to a full climax before diminishing to a very soft and passionate ending. ScorePlay - click to view score with recording. / Choeur SSA

Sélection des chants sacrés et spirituels qui sont appropriés pour les chanteurs classiques. Convient pour les spectacles à l'église ou récital. Avec un CD d'accompagnement compagnon. / Voix Haute Et Piano

High Voice in E-flat Major-Arranged for high voice in E flat. Malotte's choral work The Lord's Prayer is presented here with a freshly engraved score and a companion CD. The score contains two versions of the song in the designated key: voice withpiano accompaniment and voice with organ accompaniment. The CD features the orchestral accompaniment as well as a full performance with a professional singer. Also included is the history of Malotte's song and its publication.

Judith Clurman Choral Series-Here Broadway arranger and composer David Chase demonstrates his considerable musical talents with an exciting and wonderfully creative arrangement of the traditional French carol Angels We Have Heard OnHigh. This arrangement for SATB choir with Piano accompaniment was created for Judith Clurman's Essential Voices USA recording Holiday Harmonies: Songs of Christmas on the Sono Luminous label.

A setting of the Beatitudes text this stately work may be performed by treble voices of all ages. May be performed with Piano or Organ. Performance Time: Approx. 4:00

A Short Madrigal Cycle for Mixed Chorus-A Short Madrigal Cycle for Mixed Chorus. Five very short pieces serve as a fine example of Mechem's ability to weave separate poems into a connected story. The texts about the joy and despair of love are by one of America'sgreat masters of the short lyric Sara Teasdale.

With a text adapted from a traditional hymn this setting has an expansive and thoughtful feel about it never bombastic but instead rather grand. Recorded by Wellesley College Choir; Lisa Graham director.

Hallelujah Praise Ye The Lord (Halalujoh halalu el b'kod'sho) for SATB choir with Organ accompaniment by Louis Lewandowski.

(in C with Orchestra)-Malotte's setting of The Lord's Prayer has been lovingly adapted for SATB chorus in the key of C by Janet Klevberg Day.This heart-warming version is the perfect choice whatever the service or occasion.

Rollo Dilworth Choral Series-Kevin A. Memley's The Time Of Roses for SSAA choir a cappella. This buoyant madrigal-like setting of the Thomas Hood text offers a wonderful opportunity for choirs to practice light andarticulate singing. There is wonderful contrast between the lively passages and lyrical legato sections.