Mixed Voices
Showing 1–40 of 273 resultsSorted by latest
Title | View | Voicing | Duration | Language | Composer | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| SATB | 3' | English | “Winds of May” took First Place in the Morningside College Choral Competition. It is one of two settings by Madelyn Byrne of poems from James Joyce’s Chamber Music. The other setting, “Rain Has Fallen“, is also available from Swirly Music. The composer writes: Chamber Music, is an early work by James Joyce. It is a […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| “Winds of May” took First Place in the Morningside College Choral Competition. It is one of two settings by Madelyn Byrne of poems from James Joyce’s Chamber Music. The other setting, “Rain Has Fallen“, is also available from Swirly Music. The composer writes: Chamber Music, is an early work by James Joyce. It is a […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 12'30" | Latin | These Biblical texts are often associated with the Advent season of the Christian calendar. It is also sung anytime of the year at “Evensong” in Episcopal and Anglican traditions. The accompaniment is a traditional Woodwind Quintet. The composer knows of no other choral piece that uses this instrumental combination to accompany a choral work. If there are none, then, […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| These Biblical texts are often associated with the Advent season of the Christian calendar. It is also sung anytime of the year at “Evensong” in Episcopal and Anglican traditions. The accompaniment is a traditional Woodwind Quintet. The composer knows of no other choral piece that uses this instrumental combination to accompany a choral work. If there are none, then, […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 2'45" | English | “Snowflakes” is a short, peaceful, wintry song for a cappella SATB chorus, with lyrics by Linda A. Copp. The piece was commissioned by Cantabile Chamber Chorale, directed by Rebecca Scott, for performance in their 2003-04 season. This piece is a great choice for high school and college, and the “Quartet Pack” option makes it ideal for a […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| “Snowflakes” is a short, peaceful, wintry song for a cappella SATB chorus, with lyrics by Linda A. Copp. The piece was commissioned by Cantabile Chamber Chorale, directed by Rebecca Scott, for performance in their 2003-04 season. This piece is a great choice for high school and college, and the “Quartet Pack” option makes it ideal for a […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 2'45" | Japanese | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| SSAATTBB | 5'45" | English | Joy and pleasure, pleasure and joy! Spring is alive with blossoming apple orchards, happy bees, and darting hummingbirds—and our choir, perhaps a bit touched with spring fever, can’t help but tease out the humor just below the surface of Frost’s seasonal celebration. A rousing, Billings-esque interplay of voices ultimately comes together to reflect as one: […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Joy and pleasure, pleasure and joy! Spring is alive with blossoming apple orchards, happy bees, and darting hummingbirds—and our choir, perhaps a bit touched with spring fever, can’t help but tease out the humor just below the surface of Frost’s seasonal celebration. A rousing, Billings-esque interplay of voices ultimately comes together to reflect as one: […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Equal Voices ⋅ SSAA | Each round 1′30″ to 2′ (in performance) | English | The round is the first tool of any music teacher wishing to develop in children an ability to listen to others while holding an independent line. Rounds also build cohesion among singers, providing opportunities to improve ensemble, sight-reading, articulation and breathing. Here are thirteen original rounds of varying difficulty for Youth Choir: while intended for […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| The round is the first tool of any music teacher wishing to develop in children an ability to listen to others while holding an independent line. Rounds also build cohesion among singers, providing opportunities to improve ensemble, sight-reading, articulation and breathing. Here are thirteen original rounds of varying difficulty for Youth Choir: while intended for […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3' 25" | English | This heartfelt folksong was written by Newfoundlander Jim Payne (b. 1955) in 1994, and appeared as the title song for the Album “Wave Over Wave: Old and New Songs of Atlantic Canada,” with Fergus O’Byrne (1996). The song was also very successfully recorded by the Newfoundland folk rock band Great Big Sea, which released it […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This heartfelt folksong was written by Newfoundlander Jim Payne (b. 1955) in 1994, and appeared as the title song for the Album “Wave Over Wave: Old and New Songs of Atlantic Canada,” with Fergus O’Byrne (1996). The song was also very successfully recorded by the Newfoundland folk rock band Great Big Sea, which released it […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | – | English | This hauntingly, simple tune is one of the finest melodies ever written- to spring forth from such pain and sorrow. The immense power of faith and determination are imbued in every line of this gorgeous hymn, promising a better tomorrow. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This hauntingly, simple tune is one of the finest melodies ever written- to spring forth from such pain and sorrow. The immense power of faith and determination are imbued in every line of this gorgeous hymn, promising a better tomorrow. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SAB | 3' | French | This traditional folk song from Haiti originated as a work song, sung by boatmen in order keep their rowing strokes in sync. The language is Haitian Creole, similar in pronunciation to French, but easier (no silent letters!). Piano accompaniment with simple optional drum. Also available in a version for TTB chorus. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This traditional folk song from Haiti originated as a work song, sung by boatmen in order keep their rowing strokes in sync. The language is Haitian Creole, similar in pronunciation to French, but easier (no silent letters!). Piano accompaniment with simple optional drum. Also available in a version for TTB chorus. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Equal Voices ⋅ SSAA | Each round 1′30″ to 2′ (in performance) | English ⋅ Latin | All vocal groups need short, portable items in their repertoire. A round is a melody which can unfold into harmony, the prime tool of choral directors who wish to develop in singers an ability to listen to others while holding an independent line. Rounds build cohesion among singers and provide opportunities for improving ensemble, sight-reading, […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| All vocal groups need short, portable items in their repertoire. A round is a melody which can unfold into harmony, the prime tool of choral directors who wish to develop in singers an ability to listen to others while holding an independent line. Rounds build cohesion among singers and provide opportunities for improving ensemble, sight-reading, […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 3'50" | The author of the text of this composition, Norbert Čapek (1870-1942) was the founder of the Unitarian movement in what is now the Czech Republic. Originally destined for the Catholic priesthood, he converted to the Baptist faith; however, his views gradually became more liberal, and he was forced to emigrate to the United States. After […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| The author of the text of this composition, Norbert Čapek (1870-1942) was the founder of the Unitarian movement in what is now the Czech Republic. Originally destined for the Catholic priesthood, he converted to the Baptist faith; however, his views gradually became more liberal, and he was forced to emigrate to the United States. After […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SSAATB | 3'28" | English | (Choral SATB with S,A divisi) Written for a choral composition competition in 2024 (I didn’t win), this piece uses the text of Psalm 13 to demonstrate David’s dispair and doubt turning into faith and joy. Text in English is from the 1928 US Books of Common Prayer vv. 1-3, 5-6. ISMN 979-0-9025253-5-0 ISWC T3250054634 If […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| (Choral SATB with S,A divisi) Written for a choral composition competition in 2024 (I didn’t win), this piece uses the text of Psalm 13 to demonstrate David’s dispair and doubt turning into faith and joy. Text in English is from the 1928 US Books of Common Prayer vv. 1-3, 5-6. ISMN 979-0-9025253-5-0 ISWC T3250054634 If […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3' 32" | English | This anthem is a setting of words from Psalm 5. It is particularly suited to church performance during devotional or penitential seasons such as Lent, or in prayer or dedication services. The anthem was also incorporated as the middle piece of the contrasting set of “Three Anthems“, commissioned by the Purbeck Arts Choir in the […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This anthem is a setting of words from Psalm 5. It is particularly suited to church performance during devotional or penitential seasons such as Lent, or in prayer or dedication services. The anthem was also incorporated as the middle piece of the contrasting set of “Three Anthems“, commissioned by the Purbeck Arts Choir in the […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB ⋅ SSATB | 3'30" | Latin | Rorate Caeli was written for Grace Lutheran Church in Hockessin, DE and premiered during the Advent season on December 7th, 2013. The text comes from the book of Isaiah and speaks of the yearning of the Jewish people for the coming of Messiah. Originally set to plainchant, several composers throughout history have set the text […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Rorate Caeli was written for Grace Lutheran Church in Hockessin, DE and premiered during the Advent season on December 7th, 2013. The text comes from the book of Isaiah and speaks of the yearning of the Jewish people for the coming of Messiah. Originally set to plainchant, several composers throughout history have set the text […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 2'50" | English | As is often the case with my work, this music seemed to naturally grow out of the text—a haunting medieval poem about the death of Jesus Christ. The poem’s enigmatic symbolism and otherworldly affect resulted in what was for me an unusually mysterious and ethereal composition. Some of the inspiration for the work came from […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| As is often the case with my work, this music seemed to naturally grow out of the text—a haunting medieval poem about the death of Jesus Christ. The poem’s enigmatic symbolism and otherworldly affect resulted in what was for me an unusually mysterious and ethereal composition. Some of the inspiration for the work came from […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3'30" | English | A lyrical carol for SATB choir, this Christmas piece imagines sunrise on the first Christmas morning. “O Gift of Glorious Sunrise” was premiered in Buffalo, NY in December 2015 by the Vocalis Chamber Choir (James Burritt conducting). | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| A lyrical carol for SATB choir, this Christmas piece imagines sunrise on the first Christmas morning. “O Gift of Glorious Sunrise” was premiered in Buffalo, NY in December 2015 by the Vocalis Chamber Choir (James Burritt conducting). | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3'00" | English | Based on a traditional text and a melody I learned from Skate Stone, which he learned from James Harding, which he learned from an unknown source. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Based on a traditional text and a melody I learned from Skate Stone, which he learned from James Harding, which he learned from an unknown source. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 4'20" | English | A setting of the brief yet powerful poem by Walt Whitman (from “Leaves of Grass”). The score takes its cue from the meditative nature of the text. There is a contemplative tone throughout, laced with subtle harmonies and perhaps inspired by the works of Randall Thompson. The score quietly expresses the expansive feeling one gets […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| A setting of the brief yet powerful poem by Walt Whitman (from “Leaves of Grass”). The score takes its cue from the meditative nature of the text. There is a contemplative tone throughout, laced with subtle harmonies and perhaps inspired by the works of Randall Thompson. The score quietly expresses the expansive feeling one gets […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | – | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| SATB | 6'30" | English | The impetus for this anthem was the Music in Worship event at the 2016 ACDA Southern Division conference in Chattanooga, Tennessee. Conductor Gerald Peel asked me if I would write something that his choir could sing for the event, which was to consist entirely of works featuring the word “alleluia.” In my search for texts, […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| The impetus for this anthem was the Music in Worship event at the 2016 ACDA Southern Division conference in Chattanooga, Tennessee. Conductor Gerald Peel asked me if I would write something that his choir could sing for the event, which was to consist entirely of works featuring the word “alleluia.” In my search for texts, […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB ⋅ SSAATTBB | 7'20" | Latin | “Cantemus in omni die” is a setting of a hymn to the Virgin Mary written by Cú Chuimne Sapiens, an Irish monk active at Iona by the early 8th century (died 747). It is the earliest known Latin hymn to Mary originally composed in the Western Christian Church rather than translated into Latin from earlier […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| “Cantemus in omni die” is a setting of a hymn to the Virgin Mary written by Cú Chuimne Sapiens, an Irish monk active at Iona by the early 8th century (died 747). It is the earliest known Latin hymn to Mary originally composed in the Western Christian Church rather than translated into Latin from earlier […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| SATBB | 3' | English | “Without listening, there is no song…” The text by Matt Boresi emphasizes the importance of listening in music and in life, a timely message for our world. A flowing piano part, lush harmonies and a soaring melody will make this a satisfying and meaningful addition to your library. “Listen” was written to celebrate the 70th […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| “Without listening, there is no song…” The text by Matt Boresi emphasizes the importance of listening in music and in life, a timely message for our world. A flowing piano part, lush harmonies and a soaring melody will make this a satisfying and meaningful addition to your library. “Listen” was written to celebrate the 70th […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 2'40" | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| SATB | 1'30" | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| SATB | 3'15" | English | This anthem is a setting of an early 20th Century hymn text. It utilizes metaphors in nature to describe a life of good character and is suitable for worship. It is free of gender specific language, and therefore speaks to all people of good will. The music is somewhat reminiscent of early 20th Century church […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This anthem is a setting of an early 20th Century hymn text. It utilizes metaphors in nature to describe a life of good character and is suitable for worship. It is free of gender specific language, and therefore speaks to all people of good will. The music is somewhat reminiscent of early 20th Century church […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 7' | English | A poignant set of modern-day madrigals is crafted from three exquisite poems by Christina Rossetti that pay homage to the moon. SSAA version also available » | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| A poignant set of modern-day madrigals is crafted from three exquisite poems by Christina Rossetti that pay homage to the moon. SSAA version also available » | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 3' 19" | Choral elegy in memory of friend and fellow musician Haskell Fitz-Simons. The text speaks of lost opportunities to tell those in our lives how dear they are to us while they are still here. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Choral elegy in memory of friend and fellow musician Haskell Fitz-Simons. The text speaks of lost opportunities to tell those in our lives how dear they are to us while they are still here. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 4' | English | “Coney Island,” was written by Pulitzer prize winning American poet Sara Teasdale (1884-1933) and was first published in 1911 in the collection “Helen of Troy and Other Poems.”. Born in St. Louis, Missouri, she lived for many years in New York City. My immigrant great-grandparents settled in Brooklyn, New York, in the 1890’s, and lived […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| “Coney Island,” was written by Pulitzer prize winning American poet Sara Teasdale (1884-1933) and was first published in 1911 in the collection “Helen of Troy and Other Poems.”. Born in St. Louis, Missouri, she lived for many years in New York City. My immigrant great-grandparents settled in Brooklyn, New York, in the 1890’s, and lived […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 7'25" | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| SAB | 2'55" | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| SATB | 6'30" | English | A Teasdale Triptych is a set of three miniatures. Each aims to crystallize the meaning of Sara Teasdale’s exquisite words and trace the journey on which the poems take the reader. The piece was commissioned by the San Francisco Choral Artists. It is dedicated to the singers of the group, and to their director, Magen Solomon. […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| A Teasdale Triptych is a set of three miniatures. Each aims to crystallize the meaning of Sara Teasdale’s exquisite words and trace the journey on which the poems take the reader. The piece was commissioned by the San Francisco Choral Artists. It is dedicated to the singers of the group, and to their director, Magen Solomon. […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3' | English | “Shout For Joy” was composed for the undergraduate commencement exercises of Saint Mary’s University of Minnesota in May, 2003, and is dedicated to the graduating class of that year. The text, from Psalm 33, is suitable for a range of liturgical occasions, and the work is also effective as a concert piece. The energetic opening […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| “Shout For Joy” was composed for the undergraduate commencement exercises of Saint Mary’s University of Minnesota in May, 2003, and is dedicated to the graduating class of that year. The text, from Psalm 33, is suitable for a range of liturgical occasions, and the work is also effective as a concert piece. The energetic opening […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 2'15" | English | Short choral blessing (text from the Old Testament) written as part of 2001-2003 Composer Residency at San Francisco’s National Shrine of Saint Francis of Assisi. Premiered by resident ensemble, Schola Cantorum SF | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Short choral blessing (text from the Old Testament) written as part of 2001-2003 Composer Residency at San Francisco’s National Shrine of Saint Francis of Assisi. Premiered by resident ensemble, Schola Cantorum SF | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB ⋅ SSATBB | 4'30" | English | This work was commissioned by the Jane Froman Singers of Columbia College, Columbia, Missouri, under the direction of Nollie Moore. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This work was commissioned by the Jane Froman Singers of Columbia College, Columbia, Missouri, under the direction of Nollie Moore. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 7'30" | English | 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. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 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. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SSATB | 6' | English | An English translation of the poem “Friede auf Erden” by Conrad Ferdinand Meyer (1825-1898) is set for SSATB choir unaccompanied. Referencing the Christmas story, this setting brings to life the text with lush harmonies freely changing key centers as the story progresses. Each of the four stanzas ends with a variation on the musical material […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| An English translation of the poem “Friede auf Erden” by Conrad Ferdinand Meyer (1825-1898) is set for SSATB choir unaccompanied. Referencing the Christmas story, this setting brings to life the text with lush harmonies freely changing key centers as the story progresses. Each of the four stanzas ends with a variation on the musical material […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 5' | English | A setting of William Blake’s poem “The Garden of Love”, from Songs of Experience. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| A setting of William Blake’s poem “The Garden of Love”, from Songs of Experience. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | – | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| SATB ⋅ SSATBB | 7' | English | This setting of Charles Baudelaire’s iconic poem captures the “luxury” and “voluptuousness” of Edna St. Vincent Millay’s radiant translation. The six-part texture allows for thick, evocative chords in Dole’s jazz-influenced harmonic world. Slowly evolving chord progressions paint a picture of a person truly in love with another, asking that they go on a long journey […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This setting of Charles Baudelaire’s iconic poem captures the “luxury” and “voluptuousness” of Edna St. Vincent Millay’s radiant translation. The six-part texture allows for thick, evocative chords in Dole’s jazz-influenced harmonic world. Slowly evolving chord progressions paint a picture of a person truly in love with another, asking that they go on a long journey […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3'30" | Wordless | Sometimes, our joys (and sorrows!) are so intense that they seem to transcend words. This idea forms the basis of Luminous Joy, whose text is only phonemes which have no meaning. Or rather, the “meaning” is left up to each individual singer, and, indeed, each individual listener. What is perhaps more concrete is the character […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Sometimes, our joys (and sorrows!) are so intense that they seem to transcend words. This idea forms the basis of Luminous Joy, whose text is only phonemes which have no meaning. Or rather, the “meaning” is left up to each individual singer, and, indeed, each individual listener. What is perhaps more concrete is the character […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB ⋅ SATBB | 4' | English | This work received second place in the 2015 Ithaca College Choral Composition Competition. It sets a poem by A. E. Housman which was not published until after his death. In 1895 Oscar Wilde was imprisoned for two years for being a practicing homosexual, a crime in England at that time. Housman’s poem, while seemingly tongue-in-cheek, […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This work received second place in the 2015 Ithaca College Choral Composition Competition. It sets a poem by A. E. Housman which was not published until after his death. In 1895 Oscar Wilde was imprisoned for two years for being a practicing homosexual, a crime in England at that time. Housman’s poem, while seemingly tongue-in-cheek, […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 4:08 | Latin | ROC-010 Confitemini Domino The Latin text “Confitemini Domino” – “Give thanks to the Lord” — appears in several Psalms and has been set to music across centuries – from early composers like Giovanni Gabrieli, Heinrich Schütz, and Jean-Baptiste Lully to modern masters like Knut Nystedt. This setting for SATB chorus (with brief soprano/bass divisi) is […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| ROC-010 Confitemini Domino The Latin text “Confitemini Domino” – “Give thanks to the Lord” — appears in several Psalms and has been set to music across centuries – from early composers like Giovanni Gabrieli, Heinrich Schütz, and Jean-Baptiste Lully to modern masters like Knut Nystedt. This setting for SATB chorus (with brief soprano/bass divisi) is […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 5' | English | This carol was first published in 1833 in a collection entitled “Christmas Carols Ancient and Modern”. William Sandys, a solicitor by day and music & manuscript collector by night, purportedly came across the tune in Devonshire, England. In this gentle setting from 1991 many colors of choral writing appear with sections for SATB, 3-part men, […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This carol was first published in 1833 in a collection entitled “Christmas Carols Ancient and Modern”. William Sandys, a solicitor by day and music & manuscript collector by night, purportedly came across the tune in Devonshire, England. In this gentle setting from 1991 many colors of choral writing appear with sections for SATB, 3-part men, […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | Each round 1′30″ to 2′ (in performance) | English ⋅ Latin | Most rounds in popular collections are either sober or light-hearted. Where are the truly chucklesome examples? They do exist, of course: one thinks of classics such as “Thy Jolly Red Nose” or “The Old Man from Calcutta”; even, perhaps, of the bawdy catches of Henry Purcell and John Blow. But they are rarely found between […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Most rounds in popular collections are either sober or light-hearted. Where are the truly chucklesome examples? They do exist, of course: one thinks of classics such as “Thy Jolly Red Nose” or “The Old Man from Calcutta”; even, perhaps, of the bawdy catches of Henry Purcell and John Blow. But they are rarely found between […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 2'20" | English | I have loved this poem for as long as I can remember. It’s crisp, fresh imagery, it’s success in conveying, with a magnificent economy, what a poem is all about, is indeed a small miracle. I could not resist the temptation to set it for chorus. Because the poem had “gestated” for many years, I […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| I have loved this poem for as long as I can remember. It’s crisp, fresh imagery, it’s success in conveying, with a magnificent economy, what a poem is all about, is indeed a small miracle. I could not resist the temptation to set it for chorus. Because the poem had “gestated” for many years, I […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3' | Hebrew | This upbeat mixed-meter setting of Psalm 100 in Hebrew was inspired by Bernstein’s Chichester Psalms. The difficulty level is moderate, suitable for high school, college, and community choirs. It was premiered by Triad: Boston’s Choral Collective. The English translation is as follows: 1 Shout for joy to the Lord, all the earth. 2 Worship the […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This upbeat mixed-meter setting of Psalm 100 in Hebrew was inspired by Bernstein’s Chichester Psalms. The difficulty level is moderate, suitable for high school, college, and community choirs. It was premiered by Triad: Boston’s Choral Collective. The English translation is as follows: 1 Shout for joy to the Lord, all the earth. 2 Worship the […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3'30" | English | A beautiful re-imagination of this classic Irish Hymn, setting in a lilting 4/4 time with contemporary harmony – A joy for all choirs to sing! | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| A beautiful re-imagination of this classic Irish Hymn, setting in a lilting 4/4 time with contemporary harmony – A joy for all choirs to sing! | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 4'30" | English | “O Child” is written from the perspective of Joseph and Mary, imagining what they might have been thinking and feeling when they first beheld the newborn baby Jesus. Composer Michael T. Roberts also penned the words, inspired by his experience as a father of two. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| “O Child” is written from the perspective of Joseph and Mary, imagining what they might have been thinking and feeling when they first beheld the newborn baby Jesus. Composer Michael T. Roberts also penned the words, inspired by his experience as a father of two. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 1' 35" | Click here to follow the score: https://youtu.be/kSR8gohqJVY This setting of ‘Jesus, friend of little children’ was written about 30 years ago, for the baptism of our younger daughter. It was written as a soprano solo with piano accompaniment. In this current version, it may still be performed as a solo, if desired, but I have added […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Click here to follow the score: https://youtu.be/kSR8gohqJVY This setting of ‘Jesus, friend of little children’ was written about 30 years ago, for the baptism of our younger daughter. It was written as a soprano solo with piano accompaniment. In this current version, it may still be performed as a solo, if desired, but I have added […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||