Frederick Edward Weatherly's setting of Danny Boy arranged by Linda Spevacek for 3-part mixed choir (SAB or SAT).

Welcome is a work composed by Edward Gregson arranged for Upper Voices and Piano. It was originally composed for boys' voices Organ Brass and Percussion in 1996 but ten years later Gregson created a new version especially for the Kinder Children's Choir of the High Peak. This latter version appears here and lasts around 4 minutes. The text of Welcome consists of the word 'Welcome' repeated numerous times in a variety of languages from English to various European languages to Hebrew and Arabic. Gregson's idea was to provide a fitting way to welcome a new and diverse audience into a newconcert hall designed for a new Millennium. The voices are divided into as many as six parts in certain places but it's left to the conductor to decide on how to distribute these parts depending on the size and make-up of the choir. The work is suitable for performance by any mixture of upper voices from children's choirs to female voices. In the January/February 2016 issue of Choir & Organ Geoffrey Webber calls Welcome 'an ear-catching start for any concert programme.'

Edward MacDowell (1860-1908) was an American pianist and composer in the Romantic style. By far and away his most popular work today is To A Wild Rose a beautifully simple and reflective piece for solo Piano taken from his Woodland Sketches (Op. 51). It has been arranged here for SSA Upper Voice Chorus with Piano accompaniment.

Text by Edward Caswall; Tune: Festal Song by William Henry Walter Inspiring lyrics and a festive melody lend themselves to this bold majestic choral. To Christ The Prince of Peace is a triumphant hymn of praise declaring Christas Ruler and Savior with celebration pomp and grandeur.

Victor Hely-Hutchinson's setting of Edward Lear's famous verse The Owl And The Pussy-Cat is a popular piece for your choir's repertoire. This version is for Upper Voices (SSA) with Piano accompaniment as arranged by J. Michael Diack.

Singin' In The Rain was already a classic before it featured in the famous 1952 Gene Kelly film musical - Arthur Freed and Nacio Herb Brown wrote it in the 1920s when many artists recorded it, but more notably Cliff Edwards enjoyed success from his recording in 1929. Now forever associated with Kelly's puddle-splashing routine and more recently reprised in stage adaptations, Singin' In The Rain remains an all-time favourite. Here it has been arranged by Craig McLeish for mixed voice SAB choir with piano accompaniment. / Choeur Mixte (SAB) Et Piano

Singin’ In The Rain was already a classic before it featured in the famous 1952 Gene Kelly film musical — Arthur Freed and Nacio Herb Brown wrote it in the 1920s when many artists recorded it but more notably Cliff Edwards enjoyed success from his recording in 1929.Now forever associated with Kelly’s puddle-splashing routine and more recently reprised in stage adaptations Singin’ In The Rain remains an all-time favourite.Here it has been arranged by Craig McLeish for mixed voice SAB choir with piano accompaniment.

Singin' In The Rain was already a classic before it featured in the famous 1952 Gene Kelly film musical - Arthur Freed and Nacio Herb Brown wrote it in the 1920s when many artists recorded it, but more notably Cliff Edwards enjoyed success from his recording in 1929. Now forever associated with Kelly's puddle-splashing routine and more recently reprised in stage adaptations, Singin' In The Rain remains an all-time favourite. Here it has been arranged by Craig McLeish for upper voice SSA choir with piano accompaniment. / Choeur SSA Et Piano

(Choral Medley)-A contemporary styling matching the dynamic movie score! Includes: I Hope I Get It Who Am I Anyway? I Can Do That At the Ballet Let Me Dance for You What I Did for Love One. Available: SATB SAB SSA ShowTrax CD Instrumental ePak. Performance Time: Approx. 11:30.

Elgar composed this part song in 1907 at the request of the editor of the Musical Times. It sets words by hymn-writer Thomas Toke Lynch in simple Victorian style. There are no Elgarian demands and even the composer referred to the setting as ‘homely but felt’

Three-part song for female voices with accompaniments for piano and two violins. Words by C. Alice Elgar.

From the cantata King Olaf with words by Longfellow.Arranged for trio of female voices (and piano accompaniment) by the composer.