Spirituals for Upper Voices: Vocal score (2010-10-26)

There's an extremely informative and encouraging preface and performance note, and the variety within the styles of the arrangements and the intelligent choice of songs is only matched by the care with which the whole has been assembled and presented. The gem of the collectin is the simplest - 'There is a balm in Gilead', arranged by the eminent Barbara W. Baker . . . Sublime. (Jeremy Summerly, Choir & Organ March 2012)

Predominantly written by American arrangers who specialise in African-American folksong, the book's scholarship is sound. The detailed preface is particularly good, contextualising the songs and texts and offering guidance for performance in a classical style without ignoring tricky decisions about delivery and pronunciation . . . Due to the intricacy of some of the harmonic writing, these arrangements will probably be of most use to slightly older choirs who read music, but any upper-voice choir of at least intermediate standard will find pieces to interest them here. (Felicity Hayward, Music Teacher, December 2011)

Most published arrangements reflect as much the style of the arranger as of the original material, but here the editors have commissioned settings from distinguished spiritual arrangers in the United States that feel authentically part of the tradition . . . The wide range of difficulty partly reflects the arrangements themselves but also how the editors have offered alternatives that can lessen the demands of the more difficult ones. The preface and performance note, covering the history, meaning of the texts and performance practice, deserve to be read widely. (Stephen Patterson, Church Music Quarterly September 2011)

This in an outstanding collection of twelve African-American spirituals arranged for upper voices. Rosephanye and William C. Powell have collaborated with some of the most talented and respected spiritual arrangers in the United States to deliver specially commissioned, authentic settings. You'll find familiar melodies, such as 'Deep River' and 'Somebody's knockin' at yo' do'', alongside lesser-known spirituals, and a range of styles and moods extending from the aspirational to the celebratory. Many of the arrangements include a 'lead voice' part, allowing the opportunity for solo singing, and idiomatic piano parts support the voices for the accompanied spirituals; piano reductions are included for the unaccompanied arrangements. This inspirational journey through the African-American spiritual tradition is sure to captivate and delight all upper-voice choirs.