Featured in a new musical of the same name starring Matthew Broderick and Kelli OHara this charming song by George and Ira Gershwin is filled to the brim with whimsy and carefree charm!

The George Gershwin and Ira Gershwin song that appears in the Broadway show Crazy for You was also featured in My One And Only. This work is a super addition to any concert or you can add some choreography and use it as a showy feature number!

Made popular by Billy Graham's evangelistic movement this tune was written by George Beverly Shea after reading the lyrics left by his mother on his piano. This medium easy arrangement will please the crowd.

From British pop artist George Ezra this hummable folk rock style song is irresistible in its simplicity and reached a wide audience in 2015 with its strong chart performance.

The Spring of the Water of Life. The Spring of the Water of Life is Howard Goodall?s jubilant anthem for SATB voices and organ. The music sets the poetry of Gerard Manley Hopkins and George Herbert (God?s Grandeur and The Flower respectively), as well as words from Revelation, culminating in a triumphant finale. A trumpet part is also available for download from fabermusicstore.com. The piece was commissioned by Wilshire Baptist Church in Dallas, Texas, to mark the 30th anniversary of Senior Pastor George A. Mason. The Choral Signature Series introduces a wealth of new or recently written choral music to choirs in search of fresh repertoire. The series draws in a rich diversity of contemporary composers and includes both lighter and more challenging works, offering a thrilling array of varied styles.

Following the publication of Francis Jackson's organ reduction of Finzi's Requiem da Camera in 2014, Robert Gower, chairman of the Finzi Trust, recitalist and organist of Nottingham Cathedral, has created reductions of the full orchestra accompaniments to two more of Finzi's choral works. These reductions broaden the reach of these works to choirs which do not wish to present the works with orchestra, as with other standards from the sacred repertoire such the Requiems of Fauré and Duruflé. The reductions sympathetically recreate the orchestra scoring for a three-manual organ. Ingeniously, the manual couplings (II to III, II and III to I) are unaltered throughout, with pedal coupled to manuals as appropriate. Detailed registrations are not indicated as these are best left to the performer, taking into account the unique circumstances of the particular instrument, size of choir and acoustic setting at each performance. The scores are user-friendly, in landscape format and with at least one principal vocal line cued throughout, and a cappella choral passages are reproduced in full. The reductions are fully compatible with the published piano vocal scores of the respective works which the singers will use. For St Cecilia, Ceremonial Ode for tenor solo, chorus and orchestra - words by Edmund Blunden. The original work was commissioned by the St Cecilia's Day Festival Committee for the 1947 celebration of music's patron saint. The ceremonial mood is established with fanfares, and the sonorous sweep of the choral writing reflects Finzi's admiration for Parry and Elgar. The 'catalogue' of saints, shared between the soloist and chorus, are deftly delineated: St Valentine, St George, St Dunstan, St Swithin and St Cecilia herself. In rapt stillness, the English composers of the past - Merbecke, Byrd, Dowland and Purcell - are summoned. To close, Finzi creates a festal summation with exultant counterpoint and the saint's name pealing around the chorus. / Choeur Mixte (SATB) Et Orchestre

In Flanders Fields is a series of poignant and evocative choral works with a theme of reconciliation and remembrance set to iconic texts by John McCrae and Rupert Brooke.Alan Smith was born in London in 1962 and spent his childhood in Croydon. He sang with various local choirs and attended the nearby Royal School of Church Music where he began organ lessons with Michael Fleming at the age of ten. He was appointed as Organist and Choirmaster of a local church at the age of 16 and later became Organ Scholar at Kings' College London where he studied from 1981 to 1984. As part of his music degree he specialized in composition studying with Nicola LeFanu David Lumsdaine and George Nicholson.Following postgraduate training at the London Institute of Education Alan began his teaching career. After working in various schools he became Head of Music at Hazelwick School Crawley in 1990 a post he continues to hold. In the same year he came to some prominence by winning the RSCM's annual composing competition. His successful entry Let the Peoples Praise You became his first published piece and continues to be widely performed. Since then his choral compositions have won several awards most recently the Thornesian Prize in 2003 and an honorable mention in the 2004 Vanguard Premieres Competition.Alan's output is predominantly of choral and vocal music much of it written for specific choirs or occasions and his catalogue runs to over 150 works. In the UK his music is published by Animus Curiad Cantiones Press Escorial Edition Fagus Music and RSCM while in America he is published by Abingdon Press CanticaNOVA OUP Pavane and Roger Dean.Since 1998 Alan has been Director of Music at St Andrew's church in Burgess Hill West Sussex where he lives with his wife and three children.

Peter Maxwell Davies' 1994 work for unaccompanied SATB choir using text from George Mackay Brown's 1971 poem A Hoy Calendar.A girdle round the year in five minutes. In twelve clear simple images George Mackay Brown'spoem turns through the months of Orkney life and as it turns so the modal music for a modestly able school or amateur choir moves it on its way with images of matching lucidity.Vocal score with piano accompaniment forrehearsal purposes.

The 'Hallelujah' Chorus, arguably the most famous choral work of the western classical tradition, is the closing number of the second part of Handel's Messiah. Such is the strength of Handel's word setting that this empathic, triumphal paean retains its appeal in spite of the cultural overexposure and controversy to which it has been subjected, remaining a firm favourite with choirs. The premiere of Messiah was in Dublin in 1742 as the high point of a full season of Handel's work. It was a charity event, held in aid of local causes, and in order to get the maximum attendance at Neale's new music hall in Fishamble Street, men were asked to remove their swords, and ladies the hoops in their dresses. The tradition of standing during performances of the 'Hallelujah' Chorus, still indulged at some performances in Britains, is said to have been started by King George II at the work's opening run in London in 1743. / SATB Et Orgue

However often Bennett may have employed serial techniques or introduced jazz and modern elements into his work his Choral compositions are always tonal and melodic. In A Farewell To Arms he displays an exquisite sensitivity to the poetry of Ralph Knevet (17th century) and George Peele (16th century) and their mediations on the homely life after years spent soldiering. The Cello can be heard to serve as the ‘Voice’ of the old soldier. The music combines the jaggedly Romantic Cello line with Choral writing that suggests early music motifs and harmonies.Composer performer and arranger Richard Rodney Bennett was internationally respected for his serious music and manyaward-winning film scores (Murder on the Orient Express Nicholas and Alexandra) as well as his works for children and his religious pieces. In addition this markedly versatile musician frequently performed as a jazz pianist.

The Gloria in Excelsis was written by Sir Charles Villiers Stanford for the coronation of HM King George V on 22 June 1911. It was an occasion of some note in the annals of British music for Elgar?s Coronation March and Parry?s grand festival Te Deum were also heard for the first time that day. In addition there was music by Thomas Tallis Orlando Gibbons and Sir John Stainer as well as by the Master of the King?s Music and organist of St George?s Chapel Windsor Sir Walter Parratt. It was published the following year as part of Stanford?s Opus 128 the Festal Communion Service for voices and orchestra which was also made available withthe accompaniment arranged by the composer for organ. However such was the popularity of the Gloria a magnificent and wholly representative example of Stanford?s genius for church music that it soon became popular as a separate piece either with organ or orchestral accompaniment and it was included in the orders of service for the coronations of HM King George VI on 12 May 1937 and HM Queen Elizabeth II on 2 June 1953.

For unaccompanied SATB chorus to words by George Mackay Brown.Composer Note:In setting George Mackay Brown’s acrostic lines for the birth of Lucy Randall (the first child borne in Rackwick Hoy for 32 years) I set myself the uncharacteristic problem of banishing all ‘black’ notes – that is the work used only the ‘white’ notes on the piano – a symbolic ‘conceit’ I had not tried before. The music has the gentle rocking rhythm suitable for its purpose and I enjoyed writing the tune so much I repeated all of the text in order to hear it twice. -Peter Maxwell Davies