Choral
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Title | View | Instrumentation | Duration | Composer | ||
|---|---|---|---|---|---|---|
for mixed chorus a cappella | 4'35" | Hildegard’s ecstatic praise of the Holy Trinity is mirrored in this expressive setting, built on an original chant inspired by Hildegard’s music. Premiere given 5/20/22 in Leipzig by Neue Kammer + Friends, conducted by Franziska Kuba. | ||||
for SATB choir with piano and optional percussion | 2' | KONIKONECO (SATB chorus) is a traditional call-and-response song of the Teso people, who live in eastern Uganda and in western Kenya. The lyrics, from the Ateso language combined with borrowings from other languages and dialects, roughly translates as “Let us celebrate our schools, our learning, and our empowerment.” The piano accompaniment suggests the arpeggios typical […] | ||||
SSA choir with piano | 3'30" | The text for How Can I Keep from Singing was written by members of the Derventio Choir of Allestree, Derbyshire, England, and Steven Paxton’s setting was composed for the competition celebrating that choir’s 30th anniversary. Moderate tempo a cappella sections alternate with fast, rhythmically driving sections mixing 6/8 and 5/8 meters. The piano accompaniment is […] | ||||
SABar choir with piano | 3'30" | The text for How Can I Keep from Singing was written by members of the Derventio Choir of Allestree, Derbyshire, England, and Steven Paxton’s setting was composed for the competition celebrating that choir’s 30th anniversary. Moderate tempo a cappella sections alternate with fast, rhythmically driving sections mixing 6/8 and 5/8 meters. The piano accompaniment is […] | ||||
SATB choir with piano | 3'30" | The text for How Can I Keep from Singing was written by members of the Derventio Choir of Allestree, Derbyshire, England, and Steven Paxton’s setting was composed for the competition celebrating that choir’s 30th anniversary. Moderate tempo a cappella sections alternate with fast, rhythmically driving sections mixing 6/8 and 5/8 meters. The piano accompaniment is […] | ||||
SSA choir with piano and optional percussion | 4' | GA-ZE (SSA) is from the northwestern part of Uganda (West Nile Region), bordering with the Democratic Republic of the Congo (DRC, formerly Zaire). It is closely associated with the traditional Gaze dance of the Lugbara people, and the lyrics are a mixture of Lugbara and Lingala. The Gaze play/dance songs encourage and inspire children, usually […] | ||||
for SATB a cappella | 1'40" | Beautiful morning song from the California Missions in a simple arrangement, from solo voice to SATB. | ||||
for SSA and organ | 3' | This setting of the Offertory for the Third Sunday of Easter (Psalm 145:2) uses the Latin form of:Praise the Lord, O my soul:I will praise the Lord throughout my life;I will sing to my God for as long as I live,alleluia | ||||
for SSA choir a cappella | 5'15" | Set in three languages (Spanish, English, and Latin), each iteration takes a slightly different style for the message of Psalm 18 (19): “The ordinances of the Lord are right…” | ||||
for mixed chorus a cappella | 7'30" | Three short poems by Sara Teasdale – 1) Grey Eyes, 2) Did You Never, 3) Nightfall – from her collection Flame and Shadow, are the basis of this set of choral songs, all bearing on a relationship, including tender, poignant, and playful emotions. |