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Showing 1–40 of 85 resultsSorted by latest
Title | View | Voicing | Duration | Language | Composer | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| SATB | 3'30" | English | The words of Job are paired with the style of the American work song or chain gang song for this a cappella SATB setting. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| The words of Job are paired with the style of the American work song or chain gang song for this a cappella SATB setting. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3'50" | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| SATB | 6'30" | English | An exuberant Magnificat is paired with an appropriately reflective Nunc dimittis that together have subtle musical connections. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| An exuberant Magnificat is paired with an appropriately reflective Nunc dimittis that together have subtle musical connections. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 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, […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SSA | 3'40" | English | “Shenandoah” is a new, rich arrangement for women’s voices. The piano accompaniment is optional but does provide support and some additional harmonies. Your women’s choir or trio will find “Shenandoah” to be well worth the effort. This piece is an excellent concert choice and would also be very appropriate for contests, festivals, and literary events. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| “Shenandoah” is a new, rich arrangement for women’s voices. The piano accompaniment is optional but does provide support and some additional harmonies. Your women’s choir or trio will find “Shenandoah” to be well worth the effort. This piece is an excellent concert choice and would also be very appropriate for contests, festivals, and literary events. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3'30" | English | Anselm of Canterbury (c. 1033 – 21 April 1109), a benedictine abbot and philosopher and theologian, left significant writings, some of great complexity. Others, like this simple prayer, convey a deep longing for a closeness to God. This setting was composed for joint performance by the Caritas Chamber Choir (Canterbury, UK) and the Saint Mary’s […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Anselm of Canterbury (c. 1033 – 21 April 1109), a benedictine abbot and philosopher and theologian, left significant writings, some of great complexity. Others, like this simple prayer, convey a deep longing for a closeness to God. This setting was composed for joint performance by the Caritas Chamber Choir (Canterbury, UK) and the Saint Mary’s […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Equal Voices ⋅ SSAA | Each round 1′30″ to 2′ (in performance) | English ⋅ Latin | The modern Chapel is a meeting-place for diverse musical expression, a place where choral polyphony has long had a home. The term “a cappella” (“in the style of the chapel”) evokes the sound of a Renaissance chorus unaided by any church organ. This original collection of 14 sacred and biblical rounds (a “poor man’s polyphony”) […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| The modern Chapel is a meeting-place for diverse musical expression, a place where choral polyphony has long had a home. The term “a cappella” (“in the style of the chapel”) evokes the sound of a Renaissance chorus unaided by any church organ. This original collection of 14 sacred and biblical rounds (a “poor man’s polyphony”) […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SA | 2'20" | English | Using a text by Karen (Hallal) Ricks that captures the yearning feelings of a young person, this exuberant setting seeks to match word and tone. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Using a text by Karen (Hallal) Ricks that captures the yearning feelings of a young person, this exuberant setting seeks to match word and tone. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SSAATTBB | 5' 15" | Finnish ⋅ Vocables | In Runo XIV of the Kalevala, Lemminkäinen hunts the black swan that lives on the river of Tuoni in the underworld in order to win a daughter of Louhi as his wife. While searching for the swan, he is killed and his body is dumped into the river. In Runo XV, Lemminkäinen’s mother searches all […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| In Runo XIV of the Kalevala, Lemminkäinen hunts the black swan that lives on the river of Tuoni in the underworld in order to win a daughter of Louhi as his wife. While searching for the swan, he is killed and his body is dumped into the river. In Runo XV, Lemminkäinen’s mother searches all […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 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 […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Equal Voices ⋅ SSAA | Each round 1′30″ to 2′ (in performance) | English | The sixteenth, seventeenth and eighteenth centuries in Britain form a golden age of round-singing; even the nineteenth provided some fine examples. These twelve rounds, set to texts by Shakespeare, Skelton, Swift, Dryden, Johnson, Carroll and Synge, are of varying difficulty and may require rehearsal. Keeping as they do to the style of the period, they […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| The sixteenth, seventeenth and eighteenth centuries in Britain form a golden age of round-singing; even the nineteenth provided some fine examples. These twelve rounds, set to texts by Shakespeare, Skelton, Swift, Dryden, Johnson, Carroll and Synge, are of varying difficulty and may require rehearsal. Keeping as they do to the style of the period, they […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 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 […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 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' | English | 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 […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 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 […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SAB | 3:30 | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| Equal Voices ⋅ SSAA | Each round 1′30″ to 2′ (in performance) | English | Without doubt, children of all ages enjoy singing rounds. The rounds they learn are likely to be the old worthies of past centuries: “Sumer is icumen in”, “Fie, Nay, Prithee, John” or “Well Rung, Tom!” This original collection balances the standard repertoire with a variety of easy, feel-good rounds: the sweet, the comic and the […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Without doubt, children of all ages enjoy singing rounds. The rounds they learn are likely to be the old worthies of past centuries: “Sumer is icumen in”, “Fie, Nay, Prithee, John” or “Well Rung, Tom!” This original collection balances the standard repertoire with a variety of easy, feel-good rounds: the sweet, the comic and the […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 2' 50" | English | This modern English version of a 9th Century Old Irish benediction lends itself well to both concert and liturgical performance. Liturgically, it fits well as a call to worship or as a communion meditation. The text recalls the doxology given in Revelation 7:12. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This modern English version of a 9th Century Old Irish benediction lends itself well to both concert and liturgical performance. Liturgically, it fits well as a call to worship or as a communion meditation. The text recalls the doxology given in Revelation 7:12. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 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 | 5'45" | English | This delightful piece sets a whimsical poem by the American poet, Susan Kinsolving, about steps taken internationally to make the world a better place. Sanford Dole’s Dance Steps has artistic merit…no one can doubt the artistic merit of Dole’s entertaining piece. I was not looking forward to enduring Susan Kinsolving’s absurdist text, printed in the […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This delightful piece sets a whimsical poem by the American poet, Susan Kinsolving, about steps taken internationally to make the world a better place. Sanford Dole’s Dance Steps has artistic merit…no one can doubt the artistic merit of Dole’s entertaining piece. I was not looking forward to enduring Susan Kinsolving’s absurdist text, printed in the […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SA | 2'20" | English ⋅ French | “L’amour de moy” (English title: The Garden and the Nightingale) was commissioned for the Intermediate Choir of the L.A. Children’s Chorus, and premiered by them in June 2008 at Ambassador Auditorium in Pasadena, with Mandy Brigham conducting. Its character is light and lively. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| “L’amour de moy” (English title: The Garden and the Nightingale) was commissioned for the Intermediate Choir of the L.A. Children’s Chorus, and premiered by them in June 2008 at Ambassador Auditorium in Pasadena, with Mandy Brigham conducting. Its character is light and lively. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 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. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 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 | 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 […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| TTB | 2'40" | English | “Voices Taking Flight” is an uptempo and energetic piece written for youthful male voices. It is rhythmic, dynamic, and contains accessible harmonies throughout. It’s a lively concert opener, appropriate for civic & community events and ideal for adding movement & choreography. The lyrics are empowering and inspiring. The ranges of each part are limited, making […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| “Voices Taking Flight” is an uptempo and energetic piece written for youthful male voices. It is rhythmic, dynamic, and contains accessible harmonies throughout. It’s a lively concert opener, appropriate for civic & community events and ideal for adding movement & choreography. The lyrics are empowering and inspiring. The ranges of each part are limited, making […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3'30" | English | Golden Apples Of The Sun (SATB, unaccompanied) is a joyful, rhythmic piece with lyrics inspired by a Yeats poem. Accessible, uptempo and exhilarating, it is ideal for civic events and celebrations. It is a dynamic work that is exciting for both performers and listeners. Winner of the Celebration Singers 80th Anniversary Composition Competition. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Golden Apples Of The Sun (SATB, unaccompanied) is a joyful, rhythmic piece with lyrics inspired by a Yeats poem. Accessible, uptempo and exhilarating, it is ideal for civic events and celebrations. It is a dynamic work that is exciting for both performers and listeners. Winner of the Celebration Singers 80th Anniversary Composition Competition. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 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 […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SSA | 3' | Latin | This setting of the Offertory for the Third Sunday of Easter (Psalm 145:2) uses the Latin form of:Praise the Lord, O my soul:I will praise the Lord throughout my life;I will sing to my God for as long as I live,alleluia | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This setting of the Offertory for the Third Sunday of Easter (Psalm 145:2) uses the Latin form of:Praise the Lord, O my soul:I will praise the Lord throughout my life;I will sing to my God for as long as I live,alleluia | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 6' | English | This setting of the traditional Harvest hymn, “We plough the fields and scatter”, is written in popular style, a little syncopated. The choir parts are mainly in Unison, with short passages in harmony (SATB). There is also a simple Unison part for the audience/congregation to join in (“All good gifts around us”), and simple percussion […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This setting of the traditional Harvest hymn, “We plough the fields and scatter”, is written in popular style, a little syncopated. The choir parts are mainly in Unison, with short passages in harmony (SATB). There is also a simple Unison part for the audience/congregation to join in (“All good gifts around us”), and simple percussion […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SA ⋅ SAA ⋅ SSA ⋅ SSAA | 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 […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SAB | 3' | English | “We Will Shine Like The Sun” is an uptempo piece; this arrangement is for combined SA treble choir & SATB choir with piano accompaniment.. The empowering text inspires imagination with optimistic lyrics that are ideal for young singers. The score includes a driving piano accompaniment, a clapping section, and an optional tambourine part. The rousing […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| “We Will Shine Like The Sun” is an uptempo piece; this arrangement is for combined SA treble choir & SATB choir with piano accompaniment.. The empowering text inspires imagination with optimistic lyrics that are ideal for young singers. The score includes a driving piano accompaniment, a clapping section, and an optional tambourine part. The rousing […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 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 ⋅ 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 […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SSAA | 3' | English | This inspirational piece for treble voices begins and ends with a canon. Originally written for a high school girl’s choir, it is appropriate for younger singers as well as professionals. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This inspirational piece for treble voices begins and ends with a canon. Originally written for a high school girl’s choir, it is appropriate for younger singers as well as professionals. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 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 | 2'30" | English | This popular spiritual has been arranged for SATB and piano duet (4 hands, one piano). Uplifting AND fun to sing, with a very exciting accompaniment. There are multiple optional, short solos. A great time will be had by all! | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This popular spiritual has been arranged for SATB and piano duet (4 hands, one piano). Uplifting AND fun to sing, with a very exciting accompaniment. There are multiple optional, short solos. A great time will be had by all! | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 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 […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SA | 3' | English | “We Will Shine Like The Sun” is an uptempo, 2 part piece for treble voices. The empowering text inspires imagination with optimistic lyrics that are ideal for young singers. The score includes a driving piano accompaniment, a clapping section, and an optional tambourine part. The rousing ending makes it especially suitable as a program opener […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| “We Will Shine Like The Sun” is an uptempo, 2 part piece for treble voices. The empowering text inspires imagination with optimistic lyrics that are ideal for young singers. The score includes a driving piano accompaniment, a clapping section, and an optional tambourine part. The rousing ending makes it especially suitable as a program opener […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SSA | 5'15" | English ⋅ Latin ⋅ Other | Set in three languages (Spanish, English, and Latin), each iteration takes a slightly different style for the message of Psalm 18 (19): “The ordinances of the Lord are right…” | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Set in three languages (Spanish, English, and Latin), each iteration takes a slightly different style for the message of Psalm 18 (19): “The ordinances of the Lord are right…” | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 4'50" | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| TBB ⋅ TTBB | 3' | English | TTB American folksong arrangement | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| TTB American folksong arrangement | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 2' 30" | Latin | A short call to worship for SATB choir with optional organ accompaniment. Composed for the installation of The Reverend Kenneth Crawford at the Parish of St. James the Great, Darlington, England, July, 2014. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| A short call to worship for SATB choir with optional organ accompaniment. Composed for the installation of The Reverend Kenneth Crawford at the Parish of St. James the Great, Darlington, England, July, 2014. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 10' 15" | English ⋅ Latin | Gloria in D was premièred in December 2014 by the Bel Canto Chorus, Milwaukee in their ‘Christmas in the Basilica’ concerts. It is written for a large chorus, soprano soloist, brass ensemble, consisting of three trumpets and three trombones, timpani and organ. Richard Hynson, who conducted the première in Milwaukee, writes: “As music Director of […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Gloria in D was premièred in December 2014 by the Bel Canto Chorus, Milwaukee in their ‘Christmas in the Basilica’ concerts. It is written for a large chorus, soprano soloist, brass ensemble, consisting of three trumpets and three trombones, timpani and organ. Richard Hynson, who conducted the première in Milwaukee, writes: “As music Director of […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 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 […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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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 […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SSA | 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 3 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 3 part harmony. A driving, rhythmic piano accompaniment propels the piece throughout. There is a 4 measure a cappella section near the end, and two […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 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 […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 2' | “It’s a beautiful, wonderful world, A world of wonder for all to share; Let us walk together, hand in hand, Spreading peace and friendship throughout the land…” Inspired by a visit to botanical gardens in California, this song is intended to reflect the beauty of nature around us, and to suggest that we should live […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| “It’s a beautiful, wonderful world, A world of wonder for all to share; Let us walk together, hand in hand, Spreading peace and friendship throughout the land…” Inspired by a visit to botanical gardens in California, this song is intended to reflect the beauty of nature around us, and to suggest that we should live […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 5' 40" | English | “Prelude and Cherubic Hymn” was commissioned by the John F. Kennedy School in Berlin, to mark the 25th anniversary of their annual Advent services held in Berlin Cathedral. It was performed by joint choirs, drawn from students, parents and faculty, and choir members of the American Church in Berlin on 29 November 2017. The piece […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| “Prelude and Cherubic Hymn” was commissioned by the John F. Kennedy School in Berlin, to mark the 25th anniversary of their annual Advent services held in Berlin Cathedral. It was performed by joint choirs, drawn from students, parents and faculty, and choir members of the American Church in Berlin on 29 November 2017. The piece […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SSA | 2'30" | English | “Winter Stars” was written by Pulitzer Prize winning American poet Sara Teasdale (1884-1933) and was first published in 1920 in the collection “Flame & Shadow.” She grew up in St. Louis, Missouri, found acclaim while living in New York City, and became disillusioned in her later years. Perhaps she was writing this poem with World […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| “Winter Stars” was written by Pulitzer Prize winning American poet Sara Teasdale (1884-1933) and was first published in 1920 in the collection “Flame & Shadow.” She grew up in St. Louis, Missouri, found acclaim while living in New York City, and became disillusioned in her later years. Perhaps she was writing this poem with World […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||