First performed under the composer's direction on Easter Sunday of 1779 in Salzburg Cathedral, the 'Coronation' Mass has become a staple of the choral repertoire. This newly engraved score, completely compatible with the widely available orchestra parts originally issued by Breitkopf und Hartel and reissued by Kalmus and others, employs Otto Taubmann's piano reduction in an easy-to-read A4 size.

This newly engraved vocal score for Mozart's popular youthful Mass has been carefully edited, complete with measure numbers, using Trexler's classic keyboard arrangement as a starting point. It is compatible with the orchestral material issued by both Kalmus and Breitkopf and with that of the Neue Mozart Ausgabe. The large A4 format is especially helpful for choruses, vocalists and accompanists.

Commissioned by Price Esterhazy, the patron of his teacher Joseph Haydn, Beethoven's first major choral mass with orchestral accompaniment was generally dismissed as an inferior work by both patron and audience at the first performance in Eisenstadt on 13 September 1807. Later audiences nevertheless came to appreciate Beethoven's masterful contrapuntal writing, which are a precursor to his towering Missa Solemnis composed 15 years later. This newly engraved vocal score features a superb piano reduction by Carl Reinecke and has been thoroughly edited and reviewed by Karel Torvik. The A4 size is ideal for vocalists, choruses and rehearsal pianists alike.

Though it was composed in 1852, the Requiem wasn't published until a decade after the composer's death in 1856. This newly engraved vocal score is based upon the one prepared by Schumann himself that was first issued in conjunction with the Schumann complete works in the 1880s, supervised by his widow Clara and good friend Johannes Brahms. Includes contents page with instrumentation, measure numbers, rehearsal system.

Newly engraved and revised edition of Gleichauf's classic vocal score. Composed in in Salzburg in 1769, Mozart modeled this youthful work closely on a similar one by Michael Haydn (for which reason its authenticity had long been questioned). Mozart's piece divides the lengthy liturgical text into three contrasting sections, including a final rousing double fugue. Musicologist Alfred Einstein described the work as "sure in construction, thrilling in its choral declamation, and having a certain rustic South-German grandeur."

Composed in 1892 as he he was working on his Ninth Symphony, Psalm 150 is Bruckner's final sacred work. The composer had set various psalms over the course of his career before finally turning to the very last of the Book of Psalms, No. 150. It is one of the most musical of all, invoking a veritable orchestra of percussion, wind, and string instruments to join the people's voices in praise of God with music and dance.