Mixed Voices
Showing 201–240 of 273 resultsSorted by latest
Title | View | Voicing | Duration | Language | Composer | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| SATB | 3'00" | English | I was composer-in-residence with International Orange Chorale in San Francisco in 2020, when the world shut down and all of life, it seemed, moved online to this video conferencing thingy called Zoom. Like everyone else, I was trying to figure out how this platform worked, how life was going to go from now on, and […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| I was composer-in-residence with International Orange Chorale in San Francisco in 2020, when the world shut down and all of life, it seemed, moved online to this video conferencing thingy called Zoom. Like everyone else, I was trying to figure out how this platform worked, how life was going to go from now on, and […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB ⋅ Unison | 6'30" | English | An attractive and accessible setting of the Rite Two Holy Communion Liturgy from the 1979 Book of Common Prayer of the Episcopal Church. Intended primarily for use in churches where congregation and choir sing the service together, it could be used by congregation alone, as the melody line does not rise high. Ideally, though, an […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| An attractive and accessible setting of the Rite Two Holy Communion Liturgy from the 1979 Book of Common Prayer of the Episcopal Church. Intended primarily for use in churches where congregation and choir sing the service together, it could be used by congregation alone, as the melody line does not rise high. Ideally, though, an […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 4'20" | Latin | BENEDICTION was written in February-March of 2013 for my friend Keith Haan upon his retirement as Director of Choral Activities St. Ambrose University. The “threefold blessing” seemed perfect for the occasion as we gathered to wish our colleague well on his way. I used the latin text because I wanted that elevated sound those open […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| BENEDICTION was written in February-March of 2013 for my friend Keith Haan upon his retirement as Director of Choral Activities St. Ambrose University. The “threefold blessing” seemed perfect for the occasion as we gathered to wish our colleague well on his way. I used the latin text because I wanted that elevated sound those open […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 1'30" | English | In this fresh, sparkling take on a beloved hymn tune, a perpetual motion accompaniment drives a whirlwind celebration of beauty in the world around us and our ability to perceive it. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| In this fresh, sparkling take on a beloved hymn tune, a perpetual motion accompaniment drives a whirlwind celebration of beauty in the world around us and our ability to perceive it. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 4'50" | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| SATB | 5' | English | Word painting of a raw, intense poem by Paul Cummings is the essence of this homage to the miracle of music, which begins: Your harmony invades my being; / my body is captured by the embrace / of a melody that leads me out of dark places. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Word painting of a raw, intense poem by Paul Cummings is the essence of this homage to the miracle of music, which begins: Your harmony invades my being; / my body is captured by the embrace / of a melody that leads me out of dark places. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 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 | 1'30" | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| SATB | 4' | English | A charming setting of a Carl Sandburg poem for a cappella chorus (SATB) laden with evocative images of shooting stars and seahorses. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| A charming setting of a Carl Sandburg poem for a cappella chorus (SATB) laden with evocative images of shooting stars and seahorses. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 2'40" | English ⋅ Yiddish | This beloved lullaby is presented with an evocative piano accompaniment and vocal solo, bringing out a melancholy beauty that will entrance your audience. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This beloved lullaby is presented with an evocative piano accompaniment and vocal solo, bringing out a melancholy beauty that will entrance your audience. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3' 55" | English | Also popularly known as “The Ryans and the Pittmans,” this song recounts the romantic entanglements of a sailor named Robert “Bob” Pittman. It is based on the English sea shanty “Spanish Ladies,” which has a number of variants known to sailors from New England to Australia. Most of the verses in this version may be […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Also popularly known as “The Ryans and the Pittmans,” this song recounts the romantic entanglements of a sailor named Robert “Bob” Pittman. It is based on the English sea shanty “Spanish Ladies,” which has a number of variants known to sailors from New England to Australia. Most of the verses in this version may be […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 4' | English ⋅ Latin | Hodie/Today on Earth was commissioned by Garrison Keillor and “A Prairie Home Companion” in 2012. Based on the 15th century antiphon Hodie Christus Natus Est, the piece is a joyful Christmas song. It was written for the DiGiallonardo Sisters and the All-Star Shoe Band, and received its premiere on ” A Prairie Home Companion” on […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Hodie/Today on Earth was commissioned by Garrison Keillor and “A Prairie Home Companion” in 2012. Based on the 15th century antiphon Hodie Christus Natus Est, the piece is a joyful Christmas song. It was written for the DiGiallonardo Sisters and the All-Star Shoe Band, and received its premiere on ” A Prairie Home Companion” on […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 8' | English | I. Curiosity (Why are…?) II. Desperation (How do I? How do you?) III. Contemplation (I Wonder Why) PROGRAM NOTE Search was commissioned by the Young People’s Chorus of New York City for the Radio Radiance program. The text was assembled by the composer from the suggestions Google makes when one types a question word into […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| I. Curiosity (Why are…?) II. Desperation (How do I? How do you?) III. Contemplation (I Wonder Why) PROGRAM NOTE Search was commissioned by the Young People’s Chorus of New York City for the Radio Radiance program. The text was assembled by the composer from the suggestions Google makes when one types a question word into […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3'14" | English | A lively and playful piece featuring SATB chorus, B♭trumpet and piano. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| A lively and playful piece featuring SATB chorus, B♭trumpet and piano. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 4'25" | Twenty-Four Hallelujahs is a simple song of praise with a single word of text: “Hallelujah.” Suitable for college or advanced high school choirs. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Twenty-Four Hallelujahs is a simple song of praise with a single word of text: “Hallelujah.” Suitable for college or advanced high school choirs. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 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 | 5'20" | Latin | The text comprises a solitary verse, St. John 3:8, taken from Nicodemus’ well-known nocturnal conversation with Jesus. The anthem is intended for use in a generous acoustic, such as a Cathedral, where during the many bar rests, the fragmented and overlapping phrases can be given opportunity to resound and reflect until the reverberation dissipates. The […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| The text comprises a solitary verse, St. John 3:8, taken from Nicodemus’ well-known nocturnal conversation with Jesus. The anthem is intended for use in a generous acoustic, such as a Cathedral, where during the many bar rests, the fragmented and overlapping phrases can be given opportunity to resound and reflect until the reverberation dissipates. The […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3'01" | English | (Choral SATB, divisi) When Shiloh Came is a Christmas poem by Marie Radcliffe Butler, published in 1877, associating the coming of the baby Jesus with initiating the hope of the Gospels. The birth of this work started with notes of E, F and A. Starting as a minimalist, dissonant piece, it turned out to be […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| (Choral SATB, divisi) When Shiloh Came is a Christmas poem by Marie Radcliffe Butler, published in 1877, associating the coming of the baby Jesus with initiating the hope of the Gospels. The birth of this work started with notes of E, F and A. Starting as a minimalist, dissonant piece, it turned out to be […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 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 ⋅ SSATBB | 5'10" | English | Inspired by the imagery of my home Island of Guernsey in the Channel Islands, this is an evocative piece which celebrates the sea, using driving rhythms, a soaring high soprano solo, and an iconic ‘fog-horn’ motif. After it’s premiere by the Guernsey Glee Singers in 2007, this piece has been routinely performed by various choirs […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Inspired by the imagery of my home Island of Guernsey in the Channel Islands, this is an evocative piece which celebrates the sea, using driving rhythms, a soaring high soprano solo, and an iconic ‘fog-horn’ motif. After it’s premiere by the Guernsey Glee Singers in 2007, this piece has been routinely performed by various choirs […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 4'35" | Latin | 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. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 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. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SSAB | 2'30" | Latin | Personent Hodie is a Christmas carol originally published in the 1582 Finnish song book Piae Cantiones. A melody found in a 1360 German manuscript is highly similar, and it is from this manuscript that the music is usually dated. The carol became more prominent in England after being arranged for unison voices and orchestra in […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Personent Hodie is a Christmas carol originally published in the 1582 Finnish song book Piae Cantiones. A melody found in a 1360 German manuscript is highly similar, and it is from this manuscript that the music is usually dated. The carol became more prominent in England after being arranged for unison voices and orchestra in […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 4' | English | I Lift Up Mine Eyes (Psalm 121) is part of the section (Psalms 120-134) of psalms called the ‘Songs of Ascents’, meaning “to sing while going up.” It is a song of thanksgiving sung by the psalm singer, possibly on the way to Jerusalem with the hills of Jerusalem in view. The psalm contains two […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| I Lift Up Mine Eyes (Psalm 121) is part of the section (Psalms 120-134) of psalms called the ‘Songs of Ascents’, meaning “to sing while going up.” It is a song of thanksgiving sung by the psalm singer, possibly on the way to Jerusalem with the hills of Jerusalem in view. The psalm contains two […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||