An Irish folk song from Irish Country Songs Vol. I collected by Herbert Hughes arranged by Gwyn Arch for female choir with piano accompaniment for rehearsal only. Text by Padraic Colum adapted from an old ballad.

Mozart's Laudate Dominum from Vesperae solennes de confessore K. 339 is arranged here for solo Soprano SSA choir and piano or organ accompaniment. This piece has been arranged with an English translation adapted from Psalm 117.

In style of a radio play based on a Taoist tale-Based on an ancient Taoist fable about a small village farmer whose fortune continually changes through a chain of interconnected events. Singers are divided into two character groups the narrator and the villagers and a soloist sings the role of the farmer. The moral of the story: You never know keep on going. All is not as it first appears.

One of the greatest songs of all time Hoagy Carmichael's classic romantic ballad shimmers in a rich a cappella setting highlighted by lush harmonies and gently arched phrasing in this superb arrangement. Available separately SATB SSAA and TTBB. Duration: ca. 2:40.

Mendelssohn’s A Midsummer Night’s Dream incidental music to the play by Shakespeare is best known for the famous Wedding March though the work contains an array of beautiful music. The instrumental movements are frequently performed as an Orchestral suite or as stand-alone pieces.The Overture was composed when Mendelssohn was just seventeen years old written as a concert overture. Then when King Frederick William IV of Prussia commissioned the adult Mendelssohn to create incidental music for the whole of the play in 1842 Mendelssohn incorporated the Overture and its themes repeatedly throughout the work. Mendelssohn particularly loved Shakespeare’s Midsummer Night’sDream having read it with his sister from childhood. His incidental music for the play ranks among the best of its genre skillfully generating the spirit of each of the characters establishing ambiences for the various scenes and complementing Shakespeare’s own drama.

Singers can display expressiveness and beauty of phrasing in this lovely a cappella setting of the beloved English folk ballad. It tells the story of the unrequited love between Barbara Allen and Sweet William.Availableseparately: SATB SSAA and TTBB a cappella. Performance Time: Approx. 3:15.

The Green movement seems so contemporary it comes as a shock to find the words of this music were written by Hildegard von Bingen of the 12th century. Kirke Mechem has created a round that cleverlyemploys an unending circle-of-fifths progression to capture the ?never stopping? reality of the round. Commissioned by the Peninsula Women's Chorus Martin Benvenuto Artistic Director. Duration: Ca. 4 minutes 30 seconds.

Perfect for a spring concert this bright Beatles classic in an appealing a cappella setting features rich harmonies and light arpeggiated textures resulting in a warm sound without being too complex. Available separately: SATB SSAA TTBB. Duration: ca. 2:10.

Already a success with advanced high school and college choirs in its mixed and men's versions this impressive yet romantic piece in a new treble chorus setting is well-suited for festival high school college and beyond. Beautiful and expressive! Also available for SATB and TTBB. Duration: ca. 4:00.

Sange For Pigekor 1 - A collection of the best songs from the Danish National Girls Choir's repertoire edited by Phillip Faber and Jakob Faurholt (2016). This volume contains songs by Carl Nielsen Poul Schierbeck Aske Bentzon Knud Vad Thomsen Phillip Faber Michael Bojesen and Matti Borg.

Simón Bolívar a giant figure in the history of Latin America dedicated a special place in his upbringing to Hipólita a humble slave who was Bolívar's wet nurse and mother figure. Venezuelan poet laureate Andrés Eloy Blanco captures a confrontational scene between Hipólita and Bolívar's mother. Venezuelan conductor and composer Maibel Troia translates the intensity of the moment in a highly rhythmic and dramatic composition that combines accented repeating melodies with chromatic harmonies building towards a climatic finale. Gentry Publications is pleased to present one of the jewels of the 20th century Venezuelan choral repertoire.

Originally composed for Anton Armstrong and the St. Olaf College Choir this setting was adapted for women's voices by Kathleen Rodde for the Iowa State University Women's Choir and their ACDA performance. A vibrant and accessible work!

O that we were there! is a text taken from the Christian hymn In Dulci Jubilo. It expresses a longing to be present at the Incarnation of Christ but it also conveys a longing to be out of the world oftime and space and in an eternal world.This work was written for Sherborne Girls in gratitude for having educated my daughters Theodora and Sofia. It is dedicated to the memory of Blossom Perronelle Barrow who died ofcancer aged 12.

Here is the traditional spiritual in a contemporary and dramatic setting for women's unaccompanied voices opening with a beginning unison melody performed in a slow heavy manner. When the tempo picks up the melody is supportedby the other voices and a recurring rhythmic groove that adds to the urgency of the text.

The Lamb is John Tavener's setting of a poem by William Blake arranged here for unaccompanied Upper Voices by Barry Rose. The work lasts around 3 minutes. TheLamb has long been a favourite of choirs and audiences alike and with this unique arrangement it can also be enjoyed by Upper Voices. The work was composed by Tavener in just a single afternoon and wasdedicated to his nephew's third birthday.   This arrangement received a positive review from Geoffrey Webber in the January/February 2016 edition of Choir & Organ.