The Latin text of the Gloria is a magnificent hymn of praise which dates from the earliest centuries of the church. French composer Francis Poulenc (1899-1963) has set these words to music in a rich, incandescent manner which seems to portray a cosmic dance before the throne of heaven itself. These two excerpts from the complete piano/vocal score mark the first time separate octavos from the Gloria have been made available. Translations for study are included.

Composer: Francis Poulenc

From his setting of the Gloria, French composer Francis Poulenc (1899-1963) has set this text in a rich, incandescent manner which seems to portray a cosmic dance before the throne of heaven itself. Available for the first time as a single exerpted movement in octavo form.

Composer: Francis Poulenc

Maurice Duruflè (1902-1986) dedicated this hauntingly beautiful setting of the Lord's Prayer to his wife. Simple and direct, it is almost chantlike in its melodic purity. Originally written for unison voices (or solo voice) with organ accompaniment, Duruflé later scored it for four-part chorus. These new editions include an English text for singing, the original French text, and a keyboard reduction of the unaccompanied version.

Arranger: Mark Baker | Composer: Maurice Durufle

Maurice Duruflè (1902-1986) dedicated this hauntingly beautiful setting of the Lord's Prayer to his wife. Simple and direct, it is almost chantlike in its melodic purity. Originally written for unison voices (or solo voice) with organ accompaniment, Duruflé later scored it for four-part chorus. These new editions include an English text for singing, the original French text, and a keyboard reduction of the unaccompanied version.

Composer: Maurice Durufle

Composed in 1914, these works are now published as a collection for the first time in an affordable octavo edition featuring new engravings, translations and an IPA pronunciation guide. 1. Nicolette; 2. Trois beaux oiseaux du paradis; 3. Ronde.

Composer: Maurice Ravel

Maurice Duruflé based this famous motet on an ancient plainchant melody. This new adaptation makes the motet more accessible by an intelligent redistribution of parts: in its opening and closing sections, the first tenor line is reassigned to the altos, and the alto line is given to the tacet sopranos. All of Duruflé's sumptuous harmonies are retained. For the first time, a piano reduction for rehearsal is included.

Composer: Maurice Durufle