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Sergei Rachmaninov: Chorus Of Spirits (SATB)

Sergei Rachmaninov's Chorus Of Spirits for SATB choir.

For Us a Child is Born: Alleluia!

The final chorus from the Christmas Cantata, BWV 142.

Solomon: Swell the Full Chorus

Stephen Chatman: Sunset (From 'Due West') (SSAA)

Stephen Chatman's Sunset for SSAA chorus is an arrangement from his original set, Due West for SATB chorus, commissioned by the Vancouver Chamber Choir in 1997. The charming text by Tara Wohlberg rings specifically to a western theme. Chatman uses simple but exquisite harmonies and sustained, arching melodic lines. Duration: 1:40.

Joy : From I Will Sing To The Stars

Written for the Jacksonville Children's Chorus, this SSAA setting of a Sara Teasdale text opens with a sort of call and response between the voices. The music then transitions to a contrasting key and a stark contrast featuring the chorus alone. The beginning them is heard again to conclude the piece with the repeated text, "I love, I am loved." The first movement of the three-movement work, "I Will Sing to the Stars." Duration 2:50

Winter Snow

"In December, 2014, my nine-year-old granddaughter, Charlotte, showed me 'Winter Snow,' a poemthat she had written as a school assignment. I was taken by the text: by its imagery, rhythm, andassonance. Charlotte gave me permission to set her words to music. I hope this piece doesjustice to her beautiful poem." -Robert Applebaum This "winter painting" begins with unison chorus and ends with two-part chorus. The voices are supported by a gentle piano accompaniment, mostly in eighth note motion, decorated with occasional mordents.Duration: 2:42

Jingle Bell Swing! : Piano/Choral Score

Commissioned by the Jacksonville Children's Chorus. A lively, swing adaptation of the well-known and loved 19th-century song Jingle Bells. This arrangement makes use of finger snapping, choice harmonies, and a lively instrument accompaniment, either for piano or orchestra. Duration 2:10 Commissioned by the Jacksonville Children's Chorus. A lively, swing adaptation of the well-known and loved 19th-century song Jingle Bells. This arrangement makes use of finger snapping, choice harmonies, and a lively instrument accompaniment, either for piano or orchestra. Duration 2:10

Look back on Time with kindly Eyes

The work opens with a sardonic take on the title line, the first reaction being one of malice towards recollection. The piece then transitions to a nostalgic perspective, as continued pondering gives way to softer sentiment and encompasses the climax of the setting. A long, languid section provides the ending material with an open-ended close in the piano depicting the dreamy haze of memory. The varied and thoughtful reading of the text yields varied textures in both the chorus and accompaniment, with each section of the chorus given equal measure. This work may be performed in conjunction with In this short Life (1.3562) to create a multi-movement setting titled Two DickinsonPoems on Time. Duration: 3:30 The work opens with a sardonic take on the title line, the first reaction being one of malice towards recollection. The piece then transitions to a nostalgic perspective, as continued pondering gives way to softer sentiment and encompasses the climax of the setting. A long, languid section provides the ending material with an open-ended close in the piano depicting the dreamy haze of memory. The varied and thoughtful reading of the text yields varied textures in both the chorus and accompaniment, with each section of the chorus given equal measure. This work may be performed in conjunction with In this short Life (1.3562) to create a multi-movement setting titled Two DickinsonPoems on Time. Duration: 3:30

Undivided

The desire for people of different backgrounds, experiences, and ideologies to come together for the common good was the inspiration behind this folk-like piece. Composed for mixed chorus, piano, violin, and violoncello; the alto and soprano soloists are optional. Appropriate for both sacred and secular settings, Undivided speaks to ideas of peace, unity, respect, and understanding.

O Come, O Come, Emmanuel : from Christmas Joy

This setting begins with a simple, unison singing of the Veni Emmanuel plainsong melody. Jubilant choral statements of rejoice, rejoice are interjected into the serenity of the verses to create a deeply spiritual experience. The piece is part of a larger work titled Christmas Joy for SATB chorus, audience/congregation, brass quintet, organ and optional percussion.

Due South: 5. Kentucky Derby

A perfectly apt finale to this choral suite, Kentucky Derby begins with a nod to "My Old Kentucky Home," and then it's off to the races, literally. The text of the suite is declaimed rapidly in patter-song format, almost as if the chorus is calling race as it progresses. A tour de force, and truly, "..a wild ride!"

On Compassion

On Compassion received its premiere performance by the Vox Nova Chorale. The text comes from two quotes by His Holiness the Dalai Lama, and the Tibetan Buddhist mantra, “Om mani padme hum,” which is repeated by the chorus throughout. The piece begins as an introspective meditation before turning outward, encouraging us to seek fulfillment by exercising compassion toward those around us. -Stephanie K. Andrews Duration: 4:35

Hey, Diddle, Diddle

This setting of the Mother Goose nursery rhyme is dangerously close to a groovy choral vamp! The scoring is for mixed chorus and jazz trio, but it certainly could be performed with just a piano (probably best with three hands). The storytelling aspect of the text allows for some intriguing performance opportunities. The moments of unison singing, call and response singing, and a relentless rhythmic drive, make this a great option for a concert closer. -Ken Berg Duration: 3:00This setting of the Mother Goose nursery rhyme is dangerously close to a groovy choral vamp! The scoring is for mixed chorus and jazz trio, but it certainly could be performed with just a piano (probably best with three hands). The storytelling aspect of the text allows for some intriguing performance opportunities. The moments of unison singing, call and response singing, and a relentless rhythmic drive, make this a great option for a concert closer. -Ken Berg Duration: 3:00

Little Boy Blue

This setting of the Mother Goose nursery rhyme is a lullaby disguised as a ballad. The scoring is for mixed chorus and jazz trio, but it could be performed with just a piano (probably best with three hands). Primarily in four parts, the tight harmonies and relaxed rhythms make for a cool but passionate presentation. The text allows for introspection on the stages of life that can provoke a thoughtful response from singers and listeners alike. Duration: 3:15

Dusk : From I Will Sing To The Stars

Written for the Jacksonville Children's Chorus, this SSAA setting of a Sara Teasdale text begins in unison. This verse structure is followed by a refrain and a canon between the two voices on the text, "the air is blue and sweet." The contrasting middle section allows the voices to become the focal point on the text, "let me sing like birds, sing before night." The third movement of the three-movement work, "I Will Sing to the Stars." Duration 3:40

Your Hand in Mine : In manus tuas

The writers' intent is to incorporate the sacred and the secular in this adaptation of the final, or seventh, of the Last Words of Christ, "Into your hands I commend my spirit." This movement, set for SSAATTBB chorus unaccompanied, begins with the Latin text and ends with Brian Newhouse's poem in English. The English text personalizes the experience and causes the listener to reflect on death in general, both Christ's and our own. Duration: 6:30 Part of the Lee Nelson Choral Series.

I Will Walk This Way

We are constantly bombarded with language and images that challenge us to consider our world from many points of view. This is important, but perhaps even more important is what do we do with all these viewpoints. How shall we live? We all make choices as to how we respond to our world. This piece, with a strong gospel music feel, offers a positive and encouraging response to the decisions of life and how we choose to live it. For optional male voice solo, three-part male chorus, and piano. Duration: 4:00 Part of the Darren Dailey Choral Series.We are constantly bombarded with language and images that challenge us to consider our world from many points of view. This is important, but perhaps even more important is what do we do with all these viewpoints. How shall we live? We all make choices as to how we respond to our world. This piece, with a strong gospel music feel, offers a positive and encouraging response to the decisions of life and how we choose to live it. For optional male voice solo, three-part male chorus, and piano. Duration: 4:00 Part of the Darren Dailey Choral Series.

I Will Walk This Way

We are constantly bombarded with language and images that challenge us to consider our world from many points of view. This is important, but perhaps even more important is what do we do with all these viewpoints. How shall we live? We all make choices as to how we respond to our world. This piece, with a strong gospel music feel, offers a positive and encouraging response to the decisions of life and how we choose to live it. For optional solo voice, SATB chorus, and piano. Duration: 4:00 Part of the Darren Dailey Choral Series.We are constantly bombarded with language and images that challenge us to consider our world from many points of view. This is important, but perhaps even more important is what do we do with all these viewpoints. How shall we live? We all make choices as to how we respond to our world. This piece, with a strong gospel music feel, offers a positive and encouraging response to the decisions of life and how we choose to live it. For optional solo voice, SATB chorus, and piano. Duration: 4:00 Part of the Darren Dailey Choral Series.

I Will Walk This Way

We are constantly bombarded with language and images that challenge us to consider our world from many points of view. This is important, but perhaps even more important is what do we do with all these viewpoints. How shall we live? We all make choices as to how we respond to our world. This piece, with a strong gospel music feel, offers a positive and encouraging response to the decisions of life and how we choose to live it. For optional treble solo and two-part treble chorus and piano. Duration: 4:00 Part of the Darren Dailey Choral Series.We are constantly bombarded with language and images that challenge us to consider our world from many points of view. This is important, but perhaps even more important is what do we do with all these viewpoints. How shall we live? We all make choices as to how we respond to our world. This piece, with a strong gospel music feel, offers a positive and encouraging response to the decisions of life and how we choose to live it. For optional treble solo and two-part treble chorus and piano. Duration: 4:00 Part of the Darren Dailey Choral Series.

Peace : From I Will Sing To The Stars

Written for the Jacksonville Children's Chorus, this SSAA setting of a Sara Teasdale text is set completely for unaccompanied voices. The text, "Peace flows into me…," is introduced on a single note, gently expanding to a fuller sonority. The next section features a straightforward declamation of the text, followed by a rhythmic ostinato that lays a foundation for legato vocal lines in the upper voices. The piece then concludes on the single note from which it began. The second movement of the three-movement work, "I Will Sing to the Stars." Duration 4:25

Love from Two Pickthall Songs

In this first piece of a set called "Two Pickthall Songs," the poet asks the wind to be still, life to be sufficient, and time to be merciful. Each line of the poem is set to its own unique musical phrase, which directly relates to each image of the text. The music picks up emotion and energy on the word “breath,” as if the chorus is sighing. Later, the music increases its harmonic tension on the word “relentless.” The closing phrase is sung on a hum, as if to represent a memory, an echo, or perhaps a shadow in the window which reminds us of something that has passed. Duration: 2:30

In this short Life

Text painting abounds in this setting of a Dickinson poem concerning the brief time gifted to our human condition. To match the topic and brevity of the poem, the work itself isn’t long, lasting only one-and-a-half minutes. The accompaniment delicately yet persistently ticks away, slightly ahead of a second to emphasize the perception of time quickly passing by. The word “short” is always given an eighth duration followed by a rest in the chorus so that a quasi-staccato articulation is perceived with each occurrence. With its sensitive text setting, interesting harmonic palette, and atypical accompaniment, this work makes for unique concert programming. This work may be performedin conjunction with Look back on Time with kindly Eyes (1.3563) to create a multi-movement setting titled Two Dickinson Poems on Time. Duration: 1:30 Text painting abounds in this setting of a Dickinson poem concerning the brief time gifted to our human condition. To match the topic and brevity of the poem, the work itself isn’t long, lasting only one-and-a-half minutes. The accompaniment delicately yet persistently ticks away, slightly ahead of a second to emphasize the perception of time quickly passing by. The word “short” is always given an eighth duration followed by a rest in the chorus so that a quasi-staccato articulation is perceived with each occurrence. With its sensitive text setting, interesting harmonic palette, and atypical accompaniment, this work makes for unique concert programming. This work may be performedin conjunction with Look back on Time with kindly Eyes (1.3563) to create a multi-movement setting titled Two Dickinson Poems on Time. Duration: 1:30

Moonlight Sound Design

The SATB version of Moonlight Sound Design was commissioned and premiered by the youth choir Kam r conducted by M ris Sirmais in Riga, Latvia in 2012. In USA, it was performed by the Wartburg Choir conducted by Lee Nelson at the 2017 National Convention of the American Choral Directors Association in Minneapolis, Minnesota. Moonlight Sound Design is dedicated to my father who died by way of an accident. The title of the piece is inspired by the fact that the studio I have is in my father’s country house in an attic room, and the night moon shines directly into it. Moonlight Sound Design is here arranged for 3 or 4 Soprano Soli, SSAA Chorus and Hang* but can be performed withPiano or Guitar accompaniment as well. The piece should not sound sad, but rather ethereal. It is more about longing than sadness. To create a more ethereal mood, the soloists may be staggered throughout the audience, if possible. This will also provide more dimension to the sound. The Alto section should sing the pitches in bars 5–23 and bars 38–56 with a “didgeridoo” effect. *The Hang (pronunced ha in German) is a musical instrument created by Felix Rohner and Sabina Schärer in Bern, Switzerland. Its name comes from the Bernese-German word for “hand.” The instrument is constructed from two half-shells of deep-drawn, nitrided steel sheets glued together at the rim, leaving the inside hollow, and creating a distinct “UFO” shape. The top (“Ding”) side has a center “note” hammered into it, and seven “tone fields” hammered around the center. -Raimonds Tiguls Duration: 4:10 Part of the Lee Nelson Choral Series. The SATB version of Moonlight Sound Design was commissioned and premiered by the youth choir Kam r conducted by M ris Sirmais in Riga, Latvia in 2012. In USA, it was performed by the Wartburg Choir conducted by Lee Nelson at the 2017 National Convention of the American Choral Directors Association in Minneapolis, Minnesota. Moonlight Sound Design is dedicated to my father who died by way of an accident. The title of the piece is inspired by the fact that the studio I have is in my father’s country house in an attic room, and the night moon shines directly into it. Moonlight Sound Design is here arranged for 3 or 4 Soprano Soli, SSAA Chorus and Hang* but can be performed withPiano or Guitar accompaniment as well. The piece should not sound sad, but rather ethereal. It is more about longing than sadness. To create a more ethereal mood, the soloists may be staggered throughout the audience, if possible. This will also provide more dimension to the sound. The Alto section should sing the pitches in bars 5–23 and bars 38–56 with a “didgeridoo” effect. *The Hang (pronunced ha in German) is a musical instrument created by Felix Rohner and Sabina Schärer in Bern, Switzerland. Its name comes from the Bernese-German word for “hand.” The instrument is constructed from two half-shells of deep-drawn, nitrided steel sheets glued together at the rim, leaving the inside hollow, and creating a distinct “UFO” shape. The top (“Ding”) side has a center “note” hammered into it, and seven “tone fields” hammered around the center. -Raimonds Tiguls Duration: 4:10 Part of the Lee Nelson Choral Series.

Moonlight Sound Design

Moonlight Sound Design was commissioned and premiered by the youth choir Kamer conducted by Märis Sirmais in Riga, Latvia in 2012. In USA, it was performed by the Wartburg Choir conducted by Lee Nelson at the 2017 National Convention of the American Choral Directors Association in Minneapolis, Minnesota. Moonlight Sound Design is dedicated to my father who died by way of an accident. The title of the piece is inspired by the fact that the studio I have is in my father's country house in an attic room, and the night moon shines directly into it. Moonlight Sound Design iscomposed for 3 or 4 Soprano Soli, SATB Chorus and Hang but can be performed with Piano or Guitar accompaniment as well. The piece should not sound sad, but rather ethereal. It is more about longing than sadness. To create a more ethereal mood, the soloists may be staggered throughout the audience, if possible. This will also provide more dimension to the sound. The Bass section should sing the octave E-flat in bars 5-23 and bars 38-56 with a didgeridoo effect. =The Hang (pronounced han in German) is a musical instrument created by Felix Rohner and Sabina Schärer in Bern, Switzerland. Its name comes from the Bernese-German word for hand. The instrument is constructed from two half-shells of deep-drawn, nitrided steel sheets glued together at the rim, leaving the inside hollow, and creating a distinct UFO shape. The top (Ding) side has a center note hammered into it, and seven tone fields hammered around the center. -Raimonds Tiguls Duration: 4:10