Sonnet LV
Sonnet LV was commissioned by the San Francisco Choral Artists. It is dedicated to the singers of the group, and to their director, Magen Solomon. It is a sonnet addressing a lover, professing that they will live in the poem far longer than any monument or statue will exist on earth.
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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.
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Title | View | Voicing | Duration | Language | Composer | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| SSA | 2' | English | A brief, delightful and whimsical setting of a text by American poet Gertrude Stein. It may be learned quickly. It is almost entirely built on a round, which underscores the poem’s wordplay. For 3-part treble choir, with piano accompaniment. Secular. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| A brief, delightful and whimsical setting of a text by American poet Gertrude Stein. It may be learned quickly. It is almost entirely built on a round, which underscores the poem’s wordplay. For 3-part treble choir, with piano accompaniment. Secular. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 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. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 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 | 2' 3" | English | This setting is ideally suited for a good chamber choir with a high soprano soloist. Julie Myers’ beautiful poem suggests to the composer a journey from darkness to light, from despair to hope, and this is reflected in the music, which should be performed simply, but with expressiveness and conviction. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This setting is ideally suited for a good chamber choir with a high soprano soloist. Julie Myers’ beautiful poem suggests to the composer a journey from darkness to light, from despair to hope, and this is reflected in the music, which should be performed simply, but with expressiveness and conviction. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3'40" | English | A traditional text for Psalm Sunday in the Christian Calendar. However, since it is also found in the Psalms, it is appropriate for uses at other times, especially for festive, celebrative occasions. Church choruses love this exuberant setting as do congregations. Organists will appreciate opportunities to shine as well. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| A traditional text for Psalm Sunday in the Christian Calendar. However, since it is also found in the Psalms, it is appropriate for uses at other times, especially for festive, celebrative occasions. Church choruses love this exuberant setting as do congregations. Organists will appreciate opportunities to shine as well. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SSA | 3'30" | English | The text for How Can I Keep from Singing was written by members of the Derventio Choir of Allestree, Derbyshire, England, and Steven Paxton’s setting was composed for the competition celebrating that choir’s 30th anniversary. Moderate tempo a cappella sections alternate with fast, rhythmically driving sections mixing 6/8 and 5/8 meters. The piano accompaniment is […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| The text for How Can I Keep from Singing was written by members of the Derventio Choir of Allestree, Derbyshire, England, and Steven Paxton’s setting was composed for the competition celebrating that choir’s 30th anniversary. Moderate tempo a cappella sections alternate with fast, rhythmically driving sections mixing 6/8 and 5/8 meters. The piano accompaniment is […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 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 […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 12' | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| SATB | 2' 45" | English | This is an a cappella setting of William Blake’s poem ‘The Tyger’ for mixed choir (SATB) with some divisions. It may be performed on its own, or preferably as a companion piece to ‘Little Lamb, who made thee?’, also obtainable through Swirly Music. It is suggested that ‘Little Lamb’ be performed first, as there is […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This is an a cappella setting of William Blake’s poem ‘The Tyger’ for mixed choir (SATB) with some divisions. It may be performed on its own, or preferably as a companion piece to ‘Little Lamb, who made thee?’, also obtainable through Swirly Music. It is suggested that ‘Little Lamb’ be performed first, as there is […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 3'30" | Nearly every December, Christmas sneaks up on me far too quickly, busy as I am with end-of-semester grading and final exams. I’m an admittedly nostalgic guy who unabashedly loves Christmas music, and every year I think to myself ‘I really should have written a Christmas piece this year’. Christmas 2015 followed a similar pattern, except […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Nearly every December, Christmas sneaks up on me far too quickly, busy as I am with end-of-semester grading and final exams. I’m an admittedly nostalgic guy who unabashedly loves Christmas music, and every year I think to myself ‘I really should have written a Christmas piece this year’. Christmas 2015 followed a similar pattern, except […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||