Choral Music
Showing 1–40 of 357 resultsSorted by latest
Title | View | Voicing | Duration | Language | Composer | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| 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 […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Equal Voices | 2' 55" | Latin | Corde natus ex parentis is a 4th century hymn by the Roman poet Aurelius Prudentius Clemens (348 – c. 413). This piece sets the first, fourth, and fifth stanzas of the nine-stanza poem (the ninth of which is a paraphrase of the Lesser Doxology), paired with the traditional chant associated with the text, “Divinum mysterium,” […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Corde natus ex parentis is a 4th century hymn by the Roman poet Aurelius Prudentius Clemens (348 – c. 413). This piece sets the first, fourth, and fifth stanzas of the nine-stanza poem (the ninth of which is a paraphrase of the Lesser Doxology), paired with the traditional chant associated with the text, “Divinum mysterium,” […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB+SATB | 1' 45" | English | “Are Friends Delight or Pain?” is a brief a cappella double-choir movement (SATB + SATB, ~1’45”) excerpted from Cycle of Friends, setting Emily Dickinson’s epigram with concentrated intensity. The entire piece rests on a single sustained E—a pedal point whose meaning keeps shifting as the harmony moves through changing modes and colors. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| “Are Friends Delight or Pain?” is a brief a cappella double-choir movement (SATB + SATB, ~1’45”) excerpted from Cycle of Friends, setting Emily Dickinson’s epigram with concentrated intensity. The entire piece rests on a single sustained E—a pedal point whose meaning keeps shifting as the harmony moves through changing modes and colors. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 4' 40" | The familiar words, “It came upon a midnight clear”, are set to a lively tune, with piano accompaniment, and a simple refrain is added, with the words “Deo, Deo, Gloria in excelsis Deo” (“Glory to God in the highest”). Written with women’s voices in mind, it could also be tackled by a good children’s choir. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| The familiar words, “It came upon a midnight clear”, are set to a lively tune, with piano accompaniment, and a simple refrain is added, with the words “Deo, Deo, Gloria in excelsis Deo” (“Glory to God in the highest”). Written with women’s voices in mind, it could also be tackled by a good children’s choir. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 4' | English | “Thou God” is the title of a text by Dag Hammarskjöld, Secretary-general of the United Nations from 1953 to 1961. A deeply moving and personal faith statement, it is set here as an anthem for mixed choir and organ. Hammarskjöld’s book Markings, from which this text comes, is an enduring spiritual classic still widely read […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| “Thou God” is the title of a text by Dag Hammarskjöld, Secretary-general of the United Nations from 1953 to 1961. A deeply moving and personal faith statement, it is set here as an anthem for mixed choir and organ. Hammarskjöld’s book Markings, from which this text comes, is an enduring spiritual classic still widely read […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 2'30" | Latin | A very rhythmic drive characterizes this exuberant setting of the traditional Christmas text, “Christ is born today” set in Latin. Choirs love to sing the jazzy rhythms and harmonies that require care in tuning, but once mastered create a contemporary sound world that will energize any Christmas concert or service. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| A very rhythmic drive characterizes this exuberant setting of the traditional Christmas text, “Christ is born today” set in Latin. Choirs love to sing the jazzy rhythms and harmonies that require care in tuning, but once mastered create a contemporary sound world that will energize any Christmas concert or service. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 33' | Latin | Mr. Ramsey’s Requiem sets the traditional Latin mass for the dead. It is intended to be a liturgical work, but is also at home in a sacred concert setting. The music stands in the traditions of Duruflé and Fauré, but is different from both. Two performances prove it to be within reach of non-professional, church […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Mr. Ramsey’s Requiem sets the traditional Latin mass for the dead. It is intended to be a liturgical work, but is also at home in a sacred concert setting. The music stands in the traditions of Duruflé and Fauré, but is different from both. Two performances prove it to be within reach of non-professional, church […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB ⋅ SSATB | 2'30" | Latin | “Tu Lumen” was written for Grace Lutheran Church in Hockessin, Delaware and premiered as a short, contemplative prelude for the Service of Light on March 30th, 2014. The text is an excerpt from the 6th century hymn Christe Redemptor Omnium. Although the hymn is typically used during the advent season, this portion of the text […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| “Tu Lumen” was written for Grace Lutheran Church in Hockessin, Delaware and premiered as a short, contemplative prelude for the Service of Light on March 30th, 2014. The text is an excerpt from the 6th century hymn Christe Redemptor Omnium. Although the hymn is typically used during the advent season, this portion of the text […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SA ⋅ Unison | 2'50" | English | Christmas Time in the Eyes of a Child is a light-hearted secular Christmas song for children, although it could be performed by adults. This version is specifically arranged for children’s choir with piano accompaniment, and can either be sung in unison or in two parts (SA). There is also a solo version and a mixed choir (SATB) version available, the […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Christmas Time in the Eyes of a Child is a light-hearted secular Christmas song for children, although it could be performed by adults. This version is specifically arranged for children’s choir with piano accompaniment, and can either be sung in unison or in two parts (SA). There is also a solo version and a mixed choir (SATB) version available, the […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 2'40" | English | This a cappella arrangement of the well-known Christmas carol, “Away in a Manger” is set for SATB, and also features a soprano soloist in the introduction to each verse, at the end and (optionally) in the first verse. The tune is the one most closely associated with these words in the UK, Cradle Song, by […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This a cappella arrangement of the well-known Christmas carol, “Away in a Manger” is set for SATB, and also features a soprano soloist in the introduction to each verse, at the end and (optionally) in the first verse. The tune is the one most closely associated with these words in the UK, Cradle Song, by […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 4' 25" | English | One of Newfoundland’s best known folksongs, “She’s Like The Swallow” was first collected by Maud Karpeles in 1930, but certainly dates from well before that, as evidenced by the appearance of several verses in various British laments. The subject of the unfaithful lover is perhaps as old as song itself. “She’s Like the Swallow” is […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| One of Newfoundland’s best known folksongs, “She’s Like The Swallow” was first collected by Maud Karpeles in 1930, but certainly dates from well before that, as evidenced by the appearance of several verses in various British laments. The subject of the unfaithful lover is perhaps as old as song itself. “She’s Like the Swallow” is […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SSA | 4' | English | The birds sing an evening hymn to the trees in which they make their home in this setting of poetry by E. Pauline Johnson. Their sweet song is expressed in simple harmonies and soft lyricism. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| The birds sing an evening hymn to the trees in which they make their home in this setting of poetry by E. Pauline Johnson. Their sweet song is expressed in simple harmonies and soft lyricism. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 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, […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3' 54" | English | A setting of words by Eric Gosney, When Love came to the world is an original carol suitable for use in either services or concerts. Its four verses talk of the response to Christ’s Nativity of the sleeping, unprepared world, the shepherds, the Magi and ourselves today. It is set for SATB choir with Tenor […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| A setting of words by Eric Gosney, When Love came to the world is an original carol suitable for use in either services or concerts. Its four verses talk of the response to Christ’s Nativity of the sleeping, unprepared world, the shepherds, the Magi and ourselves today. It is set for SATB choir with Tenor […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 8'30" | English | “The Day of Light” was commissioned by Mark Ludwig, Director of the Terezin Music Foundation in 2014 as part of a larger project to commemorate the 70th anniversary of the liberation of the concentration camps and the end of World War II in 1945. The text is a setting of the poem “The Day of […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| “The Day of Light” was commissioned by Mark Ludwig, Director of the Terezin Music Foundation in 2014 as part of a larger project to commemorate the 70th anniversary of the liberation of the concentration camps and the end of World War II in 1945. The text is a setting of the poem “The Day of […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3'15" | English | Light Through Windows was written in 2016. Meant to evoke the wonder one feels when a darkened window reveals its glory, the a cappella choral piece draws a parallel between a stained-glass window and an illuminated manuscript. The piece was recently recorded by Vox16, conducted by Markdavin Obenza. TEXT Hushed, grey, a tall cathedral, washed […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Light Through Windows was written in 2016. Meant to evoke the wonder one feels when a darkened window reveals its glory, the a cappella choral piece draws a parallel between a stained-glass window and an illuminated manuscript. The piece was recently recorded by Vox16, conducted by Markdavin Obenza. TEXT Hushed, grey, a tall cathedral, washed […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| TTBB | – | English | An indomitable sense of hope, and unvarnished sorrow, permeate each line and melody of these unforgettable songs- forged in the anvil of abject misery and despair, aching for freedom’s light. Humiliated beyond all human reckoning, and given no respite from the daily drudgery of endless toil- these fiercely resilient souls somehow persevered, despite the harshest […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| An indomitable sense of hope, and unvarnished sorrow, permeate each line and melody of these unforgettable songs- forged in the anvil of abject misery and despair, aching for freedom’s light. Humiliated beyond all human reckoning, and given no respite from the daily drudgery of endless toil- these fiercely resilient souls somehow persevered, despite the harshest […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3'30" | English | A short setting of Teasdale’s poem for eight voices. TEXT I saw a star slide down the sky,Blinding the north as it went by,Too burning and too quick to hold,Too lovely to be bought or sold,Good only to make wishes onAnd then forever to be gone—Sara Teasdale | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| A short setting of Teasdale’s poem for eight voices. TEXT I saw a star slide down the sky,Blinding the north as it went by,Too burning and too quick to hold,Too lovely to be bought or sold,Good only to make wishes onAnd then forever to be gone—Sara Teasdale | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 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 | 4' | English | When I Am Dead, My Dearest was conceived as a partner piece to Dido’s Lament from Henry Purcell’s opera, Dido and Aeneas. Purcell’s aria begins, “When I am laid in earth”; Rossetti’s poem begins, “When I am dead.” Purcell ends with “Remember me, but ah, forget my fate”; Rossetti’s poem ends, “Haply I may remember […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| When I Am Dead, My Dearest was conceived as a partner piece to Dido’s Lament from Henry Purcell’s opera, Dido and Aeneas. Purcell’s aria begins, “When I am laid in earth”; Rossetti’s poem begins, “When I am dead.” Purcell ends with “Remember me, but ah, forget my fate”; Rossetti’s poem ends, “Haply I may remember […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 4' 23" | English | A setting for unaccompanied SATB choir (with divisi) of words by Eric Gosney, a poet from England’s Isle of Purbeck. A wistful and nostalgic love song, in which the poet wishes to “thwart old Time’s irrevocable plan and live again those two short hours with you”. These evocative words are set with suitably tender harmonies […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| A setting for unaccompanied SATB choir (with divisi) of words by Eric Gosney, a poet from England’s Isle of Purbeck. A wistful and nostalgic love song, in which the poet wishes to “thwart old Time’s irrevocable plan and live again those two short hours with you”. These evocative words are set with suitably tender harmonies […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | – | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| TB | approx. 2' | English ⋅ Hebrew | They Shall Not Hurt, a short Jewish hymn with a flowing melody, expresses clear-eyed but heart-felt devotion. Sung in Hebrew and English and relatively easy to perform, it is an ideal work for Friday night Sabbath service or concert setting. Arthur Lazarus (1925-1993) was music director for Temple Beth Sholom in New City, New York, […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| They Shall Not Hurt, a short Jewish hymn with a flowing melody, expresses clear-eyed but heart-felt devotion. Sung in Hebrew and English and relatively easy to perform, it is an ideal work for Friday night Sabbath service or concert setting. Arthur Lazarus (1925-1993) was music director for Temple Beth Sholom in New City, New York, […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 2'40" | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| SATB | – | English | This joyous Spiritual proclaims a fervent belief in “Freedom’s Song”, and its infectious, jaunty, rhythm- coupled with a simple, yet unforgettable melody make this a perennial favorite in the canon of slave songs. Absolutely appropriate in the context of a religious service, or festival choir performance in a secular setting. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This joyous Spiritual proclaims a fervent belief in “Freedom’s Song”, and its infectious, jaunty, rhythm- coupled with a simple, yet unforgettable melody make this a perennial favorite in the canon of slave songs. Absolutely appropriate in the context of a religious service, or festival choir performance in a secular setting. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SSA | 2'45" | English | This setting of a poem by Linda Marcus is entirely pentatonic (i.e. uses only 5 notes – C, D, F, G and A) apart from the very last measure. The pentatonic setting is intended to create a naive effect, recalling childhood. (The very opening is based on a universal 3-note ‘song of childhood’.) The points […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This setting of a poem by Linda Marcus is entirely pentatonic (i.e. uses only 5 notes – C, D, F, G and A) apart from the very last measure. The pentatonic setting is intended to create a naive effect, recalling childhood. (The very opening is based on a universal 3-note ‘song of childhood’.) The points […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SAB | 3' | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| SATB | 2'40" | English | This composition is dedicated to my grandmother Dorothy Jane Farrar. Memory, my fickle friend I’ve never known you well The faded scenes you recommend They ring a distant bell The blemishes the blooms The laughter and perfume My children’s children have children of their own Memory, my weathered friend Don’t leave me here alone Apples […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This composition is dedicated to my grandmother Dorothy Jane Farrar. Memory, my fickle friend I’ve never known you well The faded scenes you recommend They ring a distant bell The blemishes the blooms The laughter and perfume My children’s children have children of their own Memory, my weathered friend Don’t leave me here alone Apples […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 4'50" | Latin | “Nocte fletuum angelis” is a choral setting of a brief poem written on the evening of December 14, 2012, as the terrible dimensions of the shooting at Sandy Hook Elementary School in Newtown, Connecticut became apparent. The poem and this musical setting are dedicated to the twenty children and six adult victims. In paradisum deducant […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| “Nocte fletuum angelis” is a choral setting of a brief poem written on the evening of December 14, 2012, as the terrible dimensions of the shooting at Sandy Hook Elementary School in Newtown, Connecticut became apparent. The poem and this musical setting are dedicated to the twenty children and six adult victims. In paradisum deducant […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 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 | 7' | English | A poignant set of modern-day madrigals is crafted from three exquisite poems by Christina Rossetti that pay homage to the moon. SATB 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. SATB version also available » | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| TB ⋅ TBB ⋅ TTB ⋅ TTBB | 5' | English ⋅ Hebrew | In the poem “Psalm of the Sky,” Rabbi Rachel Barenblat reimagines “The Lord is My Shepherd” (Psalm 23) in a contemporary context. Performers may highlight the many instances of text painting and create contrast between moments of gentleness, boldness, and carefree movement. The last verse of Psalm 23 is included in Hebrew as a coda […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| In the poem “Psalm of the Sky,” Rabbi Rachel Barenblat reimagines “The Lord is My Shepherd” (Psalm 23) in a contemporary context. Performers may highlight the many instances of text painting and create contrast between moments of gentleness, boldness, and carefree movement. The last verse of Psalm 23 is included in Hebrew as a coda […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 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 ⋅ SSAATTBB | 3'15" | This composition was composed for the New Haven Chorale in Connecticut. It was premiered at the Connecticut Chorus Conferences at Yale University.The poem begins with the question, “Little Lamb, who made thee?” The speaker, a child, asks the lamb about its origins: how it came into being, how it acquired its particular manner of feeding, […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This composition was composed for the New Haven Chorale in Connecticut. It was premiered at the Connecticut Chorus Conferences at Yale University.The poem begins with the question, “Little Lamb, who made thee?” The speaker, a child, asks the lamb about its origins: how it came into being, how it acquired its particular manner of feeding, […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SSA | 3'30" | English | SSA settings, with piano accompaniment, of texts by e. e. cummings (in Just), Thomas Dekker (The Merry Month of May), and from Genesis 1:11-12 (First Spring). The style is rhythmically intricate, includes spoken passages, and is rooted in an expanded tonality; the piano accompaniment is virtuosic. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SSA settings, with piano accompaniment, of texts by e. e. cummings (in Just), Thomas Dekker (The Merry Month of May), and from Genesis 1:11-12 (First Spring). The style is rhythmically intricate, includes spoken passages, and is rooted in an expanded tonality; the piano accompaniment is virtuosic. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 2' 45" | This very simple Christmas song is aimed at younger children. It is in unison throughout, apart from a brief optional descant part near the end. Accompaniment is for piano, and a few simple percussion instruments may be added if desired. This is the original version (GTT-025a), which refers directly to Christ’s Nativity, and is suitable […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This very simple Christmas song is aimed at younger children. It is in unison throughout, apart from a brief optional descant part near the end. Accompaniment is for piano, and a few simple percussion instruments may be added if desired. This is the original version (GTT-025a), which refers directly to Christ’s Nativity, and is suitable […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 4'24" | English | Premiered in June 2018 by San Francisco Choral Artists, “Fare Ye Well My Darlin'” is a tender, dramatic arrangement of an American folksong, perhaps dating from the Civil War. A soldier bids farewell to his beloved as he leaves for war. Will he ever return? At a glance Difficulty: moderate For strong univiersity, community, or […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Premiered in June 2018 by San Francisco Choral Artists, “Fare Ye Well My Darlin'” is a tender, dramatic arrangement of an American folksong, perhaps dating from the Civil War. A soldier bids farewell to his beloved as he leaves for war. Will he ever return? At a glance Difficulty: moderate For strong univiersity, community, or […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SA | 3' | English | “Community of Unity” is an exciting and uplifting piece written specifically for civic and municipal events. Beginning with a lyrical, unison verse, the soundscape opens up to a chorus in 2 part harmony. A driving, rhythmic piano accompaniment propels the piece throughout. There is a 4 measure a cappella section near the end, and two […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| “Community of Unity” is an exciting and uplifting piece written specifically for civic and municipal events. Beginning with a lyrical, unison verse, the soundscape opens up to a chorus in 2 part harmony. A driving, rhythmic piano accompaniment propels the piece throughout. There is a 4 measure a cappella section near the end, and two […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SSA | 2' | English | This short SSA piece was written for the University of Michigan Women’s Glee Club. It is an unaccompanied 3-part setting of the poem by the English poet, Robert Herrick. Jaclyn Johnson, Interim Director of the Glee Club said, “This is a WONDERFUL piece! I love that you have composed in an older polyphonic style to match […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This short SSA piece was written for the University of Michigan Women’s Glee Club. It is an unaccompanied 3-part setting of the poem by the English poet, Robert Herrick. Jaclyn Johnson, Interim Director of the Glee Club said, “This is a WONDERFUL piece! I love that you have composed in an older polyphonic style to match […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3' | English | This new setting of the Christmas/Epiphany words, “As with gladness, men of old did the guiding star behold” seeks to emphasize the joyful nature of the visit of the Magi to the Christ child. Set in a lively 7/8 time, it is mainly in four parts (SATB), although the 3rd verse, “As they offered gifts most rare” […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This new setting of the Christmas/Epiphany words, “As with gladness, men of old did the guiding star behold” seeks to emphasize the joyful nature of the visit of the Magi to the Christ child. Set in a lively 7/8 time, it is mainly in four parts (SATB), although the 3rd verse, “As they offered gifts most rare” […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3' | English | Composer’s Note: “The Red Wheelbarrow,” an innovative environmental/imagist poem I first read as a teenager, struck me as an alluring and joyful means to immerse in a commission by Austin’s Inversion Ensemble for their Planet Home project. The score blossomed during a fellowship at the Virginia Center for the Creative Arts, a pastoral setting that […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Composer’s Note: “The Red Wheelbarrow,” an innovative environmental/imagist poem I first read as a teenager, struck me as an alluring and joyful means to immerse in a commission by Austin’s Inversion Ensemble for their Planet Home project. The score blossomed during a fellowship at the Virginia Center for the Creative Arts, a pastoral setting that […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 4' | English | This simple Christmas setting resulted from an international collaboration between Brian Holmes of California and Gordon Thornett from the UK. Brian’s poem has been set for mixed voices (SATB) and piano (or organ). The piece describes how the cold of winter is turned into spring by the coming of the Christ Child. Bright was the […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This simple Christmas setting resulted from an international collaboration between Brian Holmes of California and Gordon Thornett from the UK. Brian’s poem has been set for mixed voices (SATB) and piano (or organ). The piece describes how the cold of winter is turned into spring by the coming of the Christ Child. Bright was the […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SSATBB | 6' | 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 | – | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| SATB | 3'20" | English | This award winning setting of “Psalm 150” uses an inclusive language version of this beloved Psalm. Many congregations prefer not to use male pronoun references to God, and in this instance, “his” and “him” as well as the word “Lord” are replaced simply with “God”. The organ part is of particular interest, as it was […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This award winning setting of “Psalm 150” uses an inclusive language version of this beloved Psalm. Many congregations prefer not to use male pronoun references to God, and in this instance, “his” and “him” as well as the word “Lord” are replaced simply with “God”. The organ part is of particular interest, as it was […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Equal Voices ⋅ SSAA | 1′30-2′ each | English ⋅ Latin | Are you a square? Can you easily retrieve a gas bill from 1979? Do you pine for the return of spats? Do you chew each mouthful forty times while letting the bottle “breathe”? And when you watch TV, do you recoil from all murders except those committed on the village green? If so, these rounds […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Are you a square? Can you easily retrieve a gas bill from 1979? Do you pine for the return of spats? Do you chew each mouthful forty times while letting the bottle “breathe”? And when you watch TV, do you recoil from all murders except those committed on the village green? If so, these rounds […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB ⋅ SSAATB | 4' | Latin | “Misericordias Domini” was written for Grace Lutheran Church in Hockessin, DE and premiered during the Advent season on December 7th, 2014. The text comes from Psalm 89 and has been set by several composers including Orlando di Lasso and Wolfgang Amadeus Mozart. Although settings of this text are usually used during Advent, this setting is […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| “Misericordias Domini” was written for Grace Lutheran Church in Hockessin, DE and premiered during the Advent season on December 7th, 2014. The text comes from Psalm 89 and has been set by several composers including Orlando di Lasso and Wolfgang Amadeus Mozart. Although settings of this text are usually used during Advent, this setting is […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SA ⋅ SSA | 2'20" | Latin | Originally written for a Portuguese children’s choir, this simple a cappella setting could equally be performed by an adult women’s choir. It is mostly in two parts (SA), but there is an optional 3rd part towards the end of the piece. The first few measures may be sung as a solo. Translation: “Not unto us, […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Originally written for a Portuguese children’s choir, this simple a cappella setting could equally be performed by an adult women’s choir. It is mostly in two parts (SA), but there is an optional 3rd part towards the end of the piece. The first few measures may be sung as a solo. Translation: “Not unto us, […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 2'50" | English | Roll the Tide is a short, a cappella setting in a quasi-spiritual style of Elisabeth T. Eliassen’s poem of peace and longing. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Roll the Tide is a short, a cappella setting in a quasi-spiritual style of Elisabeth T. Eliassen’s poem of peace and longing. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 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 […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||