Opening with a reverent a cappella setting of a favorite spiritual, this anthem then transitions to a flowing setting of a beloved text set to new tune by the always creative Ken Medema. The spiritual and new tune eventually come together, complementing each other perfectly. / Choeur (SATB)

Recueil de 14 compositions ou arrangements pour voix mixtes a cappella ou avec piano / Choeur Mixte Et Piano / 112 pages / Partition

This is a wonderfully emotive arrangement from Moses Hogan of a traditional spiritual for SATB Chorus a cappella.

Contemporary gospel song arranged by Moses Hogan for soprano alto tenor and bass singing a capella.

The King's Singers Gold-Always known for their stylistic interpretation of standard a cappella repertoire here is a collection of 14 songs edited and realized by one of the greatest a cappella ensembles of all time. An IPA pronunciation guide along with translations and insightful performance tips are included. Songs include: Sing Joyfully William Byrd; Sicut cervus Palestrina; In manus tuas Tallis; Musica Dei Donum Lassus; Abendlied Rheinberger; Das ist je gewislich wahr Schutz; Dessus le Marche d'Arras Di Lasso' Alle meine Harzgedanken Brahms; Die Nacht Schubert; Baisez-moi Des Prez; Rest Vaughan Williams; Das Glaut zu Soeterm Senfl.

I Couldn't Hear Nobody Pray a traditional spiritual arranged for SATB a cappella by Moses Hogan. Performance time approx. 3.00.

This a cappella setting of a traditional South African praise song just bursts with joyful energy. Dynamic contrast percussion and a wide range of layered vocal textures make this an appealing concert choice. Available: SATB a cappella. Performance Time: Approx. 2:15.

A superb contemporary gospel song based on a traditional Spiritual favourite. Beautifully arranged by Moses Hogan for Soprano Alto Tenor and Bass voices a cappella this uplifting and joyful song is an effective and pleasing setting.

Novello New Choral Series-Craig McLeish writes of The Negro Speaks of Rivers; Langston Hughes (1902-1967) was the first black American to earn his living from writing. He was an innovator of jazz poetry becoming part of the Harlem Renaissance in the 1920s and 1930s. He wrote plays short stories novels and his poetry was widely read. He was also a journalist columnist and lecturer. The Negro Speaks of Rivers was perhaps his earliest published work written when only 17 and while travelling by train to Mexico to visit his father. As the train crossed the Mississippi he suddenly began thinking about how rivers had impacted on Negro history particularly in the fight against slavery.The four rivers mentioned in the poem lent themselves to using musical influences from those particular regions. However I have tried to keep these links fairly tenuous to avoid overt pastiche. A few years ago I was fortunate enough to work with Congolese musicians. These sessions led to the intricate rhythms in The Congo. The Mississippi mentions New Orleans so a jazz fugue seemed the most appropriate compositional device to weave into the texture. The spirit of The Nile was gauged from many hours listening avidly to Egyptian music.Craig McLeish began his musical life as a chorister at St Paul’s Cathedral. As a bass guitarist conductor musical arranger and composer he has worked with a wide variety of groups in several genres and scored a hit with the cult pop band ‘Fat & Frantic’. He is musical director of Young Voices UK and conducts several youth and community choirs in and around Milton Keynes. Listen to an excerpt from Craig McLeish's The Negro Speaks Of Rivers: