For the girls, a medley of four great nostalia tunes: A Teenager in Love, Lollipop, Earth Angel, Sh-boom. / Choeur (Unisson), Voix Hautes Et Voix Egales

A setting of a nativity poem from 'Her Maker?s Maker' by Michael Symmons Roberts 'New-made for a king' was commissioned by Andreas Klatt for Farnham Youth Choir. Scored mainly in four parts the choral texture is homophonic the harmony rich yet approachable by young performers with a decorative piano accompaniment. In the mould of a lullaby the piece?s over-riding calm is troubled towards the close by indistinct pp lontano interjections from the piano in response to the poem?s portentous closing words.

From Cole Porter's landmark 1934 musical Anything Goes comes this rousing showstopper brilliantly arranged by Philip Kern. Features an opening female solo outstanding choral scoring and a classic Porter-style piano accompaniment.

30 Sacred Masterworks presents a wealth of invaluable original repertoire for Upper Voice choirs selected and edited by Judith Blezzard.Part of Faber Music's acclaimed Choral Programme series this practical resource features many new performance editions from Medieval to Modern Renaissance to Romantic.A vibrant and versatile collection that will cater for services concerts and events throughout the year.

From the King's Singers Edition Series this beautiful arrangement is one of the King's Singers favourite American folksong settings. Arranged by Bob Chilcott for SAA (or SSAA) with Piano accompaniment in a simple pop song style. Peformance Time: Approx. 2:20.

No. 5 Ching-a-Ring Chaw-A lively folk song by Aaron Copland taken from the collection American Folk Songs 2 arranged for SSAA with Piano Accompaniment.

Il Est Bel Et Bon (SSAA) English/French-Renaissance French composer Pierre Passereau was a popular creator of chanson rustiques in Paris and at court the early 1500’s. The songs that survive are almost all of a hearty style with plenty of onomatopoeia double entendres puns and occasional indelicacies employing graceful melody polyphony and sometimes chordal passages.Il es bel et bon has retained popularity almost since it was written. There is evidence that this song was sung as far away as Venice in the 1500's. Here composer Helen Cockburn makes the most of the delightful clucking cuckooing passages and the English words have retained most of the original’s consonants to good effect.

Blow Ye The Trumpet was originally composed as a chorus for as part of Kirke Mechem's Opera John Brown based on the life of the abolitionist campaigner of the same name. It was later popularised inSongs of the Slave a suite of works from the same opera. The text is adapted from a traditional hymn said to be Brown’s favourite with a new tune composed in the early American folk style. KirkeMechem (b. 1925) is an American composer who has found worldwide popularity with his collection of over 250 compositions in almost every form. Blow Ye The Trumpet has been arranged here for SSAA chorus andPiano with optional orchestral accompaniment.

Following the outstanding success of Feel the Spirit! this second Ken Burton collection will doubtless prove another sensation. Good News! is a superb introduction for all upper-voice choirs to the Gospel genre.

This SSAA arrangement by Ryan Brandau of Triptych based closely on the original SATB version by Tarik O’Regan was specially commissioned by Dr. Amanda Quist and the Westminster Choir College Symphonic Choir Women.

Nicola Porpora (1686-1768) was a Neopolitan composer and singing teacher. A rival of Handel he formed an opera company which performed his own compositions all over Europe. He was widely acclaimed during his lifetime both as a composer and also as a pedagogue counting Haydn among his students. Regrettably most of his compositions have largely fallen into obscurity since his death. Credidi Propter is a setting of Psalm 116 originally for SSAA Upper Voice Choir Strings and Organ Continuo with optional Viola part. It has been edited by D. E. Hyde and arranged with Piano accompaniment.

Schubert's setting of a text by Franz Grillparzer for Contralto soloist with a chorus of high voices and Piano.