Planet Earth Lullaby
A request by Artistic Director Susan Glass for a new choral work addressing climate change resulted in the creation of “Planet Earth Lullaby.” Composer Rich Campbell contemplated and determined the piece would be both an alarm for help and a call to action. For over a century the internationally recognized distress signal has been the Morse Code sequence for SOS: 3 short, 3 long, 3 short ( . . . – – – . . . ). This became the rhythmic framework of note durations (heard in various ways) throughout this work, though it collapses when the chorus sings of “catastrophic climate collapse.” The SOS pattern then returns, transformed into longer durations, calling for renewed attention and devotion to our environment. Commissioned by the Glass Menagerie Chorus, NYC.
| Descriptive Tags: | American, Animals, Ballad, Benediction, Birds, Blessing, Cantata, Celebratory, Comfort, Community, Death, Devotion, Dream, Earth Week, Ethereal, Exhilaration, Flowers, Food, Forest, Freedom, Friendship, Fruitful Earth, Heaven, Human dignity, Inspiration, Invitation, Justice, Light, Love, Lullaby, Mountain, Nature, Ocean, Ocean Sea, Patriotic, Peace, Poetry, Praise, Prayer, Reverence, River, Sea, Snow, Social Justice, Spring, Stream, Struggle, Sun, trees, Unity, Water |
| Difficulty: | Advanced |
| Duration: | 1-5 Minutes |
| Instrumentation: | Piano |
| Language: | English |
| Sacred or Secular: | Secular |
| Season or Event: | Autumn, Concert, Earth Day, General, Spring, Winter |
| Voicing: | SATB |
$3.00
This title is available in print or for immediate download. For both options, there is a minimum required quantity of 8 copies for choral titles. Please support self-publishing composers by ordering the quantity according to the number of singers in the ensemble that will perform the work.
Print orders are printed on demand and shipped by our printing partner, and can be expected to be processed within a few days of the order. Please do not hesitate to contact [email protected] to follow up.
Explore More Music…
Title | View | Voicing | Duration | Language | Composer | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 2' 37" | This new setting of the traditional Latin prayer features traditional harmonies and a simple unhurried rhythm, providing ample space for prayer and contemplation of the one blessed among women. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This new setting of the traditional Latin prayer features traditional harmonies and a simple unhurried rhythm, providing ample space for prayer and contemplation of the one blessed among women. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 5' | This composition won first prize in the Longfellow Choral Composition Competition in 2011. I have enjoyed Longfellow’s poetry for many years–“Excelsior” in particular. However, I’ve never managed to develop a huge amount of sympathy for the poem’s protagonist. Here we have a youth who ignores the advice of everyone around him that his journey was […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This composition won first prize in the Longfellow Choral Composition Competition in 2011. I have enjoyed Longfellow’s poetry for many years–“Excelsior” in particular. However, I’ve never managed to develop a huge amount of sympathy for the poem’s protagonist. Here we have a youth who ignores the advice of everyone around him that his journey was […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SSA | 4' | Other | GA-ZE (SSA) is from the northwestern part of Uganda (West Nile Region), bordering with the Democratic Republic of the Congo (DRC, formerly Zaire). It is closely associated with the traditional Gaze dance of the Lugbara people, and the lyrics are a mixture of Lugbara and Lingala. The Gaze play/dance songs encourage and inspire children, usually […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| GA-ZE (SSA) is from the northwestern part of Uganda (West Nile Region), bordering with the Democratic Republic of the Congo (DRC, formerly Zaire). It is closely associated with the traditional Gaze dance of the Lugbara people, and the lyrics are a mixture of Lugbara and Lingala. The Gaze play/dance songs encourage and inspire children, usually […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SAB | 2'30" | Japanese | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3'35" | English | The text of “In Those Years, No One Slept” is a scene from a time of conflict/war, by Romanian-American immigrant Claudia Serea. The score is at once rhythmic and exciting, haunting and unsettling. It was a winner of the 2018 Uncommon Music Festival Composition Competition. It is accessible for all fine high school, collegiate and […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| The text of “In Those Years, No One Slept” is a scene from a time of conflict/war, by Romanian-American immigrant Claudia Serea. The score is at once rhythmic and exciting, haunting and unsettling. It was a winner of the 2018 Uncommon Music Festival Composition Competition. It is accessible for all fine high school, collegiate and […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| TTB | 2' | Other | KONIKONECO (TTB) is a traditional call-and-response song of the Teso people, who live in eastern Uganda and in western Kenya. The lyrics, from the Atesolanguage combined with borrowings from other languages and dialects, roughly translates as “Let us celebrate our schools, our learning, and our empowerment.” The piano accompaniment suggests the arpeggios typical of Ugandan hand-held harps (a’dungu). Other […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| KONIKONECO (TTB) is a traditional call-and-response song of the Teso people, who live in eastern Uganda and in western Kenya. The lyrics, from the Atesolanguage combined with borrowings from other languages and dialects, roughly translates as “Let us celebrate our schools, our learning, and our empowerment.” The piano accompaniment suggests the arpeggios typical of Ugandan hand-held harps (a’dungu). Other […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 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. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB ⋅ SSAATTB | 4' | English | “O Pray for the Peace of Jerusalem” was written for John Patrick Cardinal Foley, the Grand Master of the Equestrian Order of the Holy Sepulchre of Jerusalem. It received its first performance on February 11th, 2011 in St. Peter’s Basilica at the Vatican by the Saint Mary’s University Chamber Singers, with the composer conducting. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| “O Pray for the Peace of Jerusalem” was written for John Patrick Cardinal Foley, the Grand Master of the Equestrian Order of the Holy Sepulchre of Jerusalem. It received its first performance on February 11th, 2011 in St. Peter’s Basilica at the Vatican by the Saint Mary’s University Chamber Singers, with the composer conducting. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 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 […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 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, […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||