Memorial/Funeral
Showing all 10 resultsSorted by latest
Title | View | Voicing | Duration | Language | Composer | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| 3' 19" | Choral elegy in memory of friend and fellow musician Haskell Fitz-Simons. The text speaks of lost opportunities to tell those in our lives how dear they are to us while they are still here. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Choral elegy in memory of friend and fellow musician Haskell Fitz-Simons. The text speaks of lost opportunities to tell those in our lives how dear they are to us while they are still here. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 12'30" | Latin | These Biblical texts are often associated with the Advent season of the Christian calendar. It is also sung anytime of the year at “Evensong” in Episcopal and Anglican traditions. The accompaniment is a traditional Woodwind Quintet. The composer knows of no other choral piece that uses this instrumental combination to accompany a choral work. If there are none, then, […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| These Biblical texts are often associated with the Advent season of the Christian calendar. It is also sung anytime of the year at “Evensong” in Episcopal and Anglican traditions. The accompaniment is a traditional Woodwind Quintet. The composer knows of no other choral piece that uses this instrumental combination to accompany a choral work. If there are none, then, […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 4' | English | This beloved folk tune has been arranged with optional, muted trumpet (the timbre adds to the mood of the piece). The piano accompaniment expands the 4-part harmony of the choir to suggest more contemporary harmony with a few jazz chords. It’s not overdone, however; “Poor Wayfarin’ Stranger” is still a traditional, compelling portrait of a […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This beloved folk tune has been arranged with optional, muted trumpet (the timbre adds to the mood of the piece). The piano accompaniment expands the 4-part harmony of the choir to suggest more contemporary harmony with a few jazz chords. It’s not overdone, however; “Poor Wayfarin’ Stranger” is still a traditional, compelling portrait of a […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SSATB | 6' | English | An English translation of the poem “Friede auf Erden” by Conrad Ferdinand Meyer (1825-1898) is set for SSATB choir unaccompanied. Referencing the Christmas story, this setting brings to life the text with lush harmonies freely changing key centers as the story progresses. Each of the four stanzas ends with a variation on the musical material […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| An English translation of the poem “Friede auf Erden” by Conrad Ferdinand Meyer (1825-1898) is set for SSATB choir unaccompanied. Referencing the Christmas story, this setting brings to life the text with lush harmonies freely changing key centers as the story progresses. Each of the four stanzas ends with a variation on the musical material […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB ⋅ SSATB | 2' | English | “Love is strong as death” This moving sentiment from the Song of Solomon is appropriate for many occasions, and the subtle counterpoint of this setting will delight singers and audience alike. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| “Love is strong as death” This moving sentiment from the Song of Solomon is appropriate for many occasions, and the subtle counterpoint of this setting will delight singers and audience alike. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3'50" | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| SATB | 4'30" | English | The Metropolitan Transit Authority in New York has a “Poetry in Motion” series that puts posters of poetry in subway cars. I was on the 1 train on Manhattan’s West Side one day when I saw the poem “Heaven,” by Patrick Phillips. I was immediately captured by the simple beauty of Patrick’s poem, and the […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| The Metropolitan Transit Authority in New York has a “Poetry in Motion” series that puts posters of poetry in subway cars. I was on the 1 train on Manhattan’s West Side one day when I saw the poem “Heaven,” by Patrick Phillips. I was immediately captured by the simple beauty of Patrick’s poem, and the […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 1'30" | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| SATB ⋅ SSAATTBB | 3' | Latin | O Lux is at once reminiscent of Renaissance motets and at home in the contemporary canon. The lyrical and ultimately transcendent piece features a cascading theme that is layered canonically. The piece has been performed by both high school and professional choirs. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| O Lux is at once reminiscent of Renaissance motets and at home in the contemporary canon. The lyrical and ultimately transcendent piece features a cascading theme that is layered canonically. The piece has been performed by both high school and professional choirs. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SSA | 5'30" | Latin | This setting of the traditional “Hail Mary” prayer takes a new approach, employing a lullaby rhythm in F minor. The voices become a haunting plea for forgiveness and intercession. The piano accompaniment provides support for the singers while still maintaining its own voice. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This setting of the traditional “Hail Mary” prayer takes a new approach, employing a lullaby rhythm in F minor. The voices become a haunting plea for forgiveness and intercession. The piano accompaniment provides support for the singers while still maintaining its own voice. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||