Brooks Daniel-Hoste

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Eprint Folders

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Large Print Edition

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Prop65

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Video Available

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Voice Category

Samuel Crossman's cherished text, which narrates the Passion story through exquisite, contemplative poetry, is beautifully paired with John Ireland's haunting hymn tune, LOVE UNKNOWN. Arranged for a three-part mixed chorus with piano, this setting treats each verse uniquely, creating a dynamic ebb and flow as the story progresses. The vocal lines are both elegant and singable, featuring simple yet captivating harmonies. The piano accompaniment enriches the narrative with rhythmic variations and a vibrant interplay of dissonance and consonance.

My song is love unknown

SAB Octavo

Taking its text from the thirteenth-century mystic poet Rumi, this piece
  speaks to the importance of accepting and being present with all aspects of
  life, whether the circumstance is pleasant or challenging, dark or joyous.
  With thick, lush textures and a piano part that serves more as a duet partner
  than accompaniment, "The Guest House" is prime for the concert
  stage.

The Guest House

SATB Octavo

This evocative and moving text, often attributed to St. Francis of
  Assisi, is sensitively set for solo voice and piano. Beginning softly and
  growing to a resplendent climax, this piece is equally at home on the concert
  stage or in worship contexts.

Lord, make me an instrument of your peace

Medium Vocal Score

Ensemble

Taking its text from the thirteenth-century mystic poet Rumi, this piece speaks to the importance of accepting and being present with all aspects of life, whether the circumstance is pleasant or challenging, dark or joyous. With thick, lush textures and a piano part that serves more as a trio partner than accompaniment, "The Guest House" is prime for the concert stage. This scoring for soprano and tenor duet captures the character of the choral setting while brining its own unique sensibility to the text. It also provides very satisfying and expressive vocal lines for the solo singers.

Soprano/Tenor Duet

Based on a traditional English folk tune, this charming piece explores
  the ways in which we, today, might model the virtues of storybook knights a
  against the "dragons of anger, the ogres of greed."
    
    
    
    Scored for medium voice, flute, and piano, the music has a sense of
  antiquity and is appropriate for solo singers of any age or a unison choir.

When a knight won his spurs

Each verse of this charming Christmas carol is focused on the various
  names given to Jesus a Counselor, Prince of Peace,  and Everlasting, for instance a building
  to a resplendent proclamation of Jesus as Mighty God. After this climactic
  central verse, the music softens to a lullaby and we see the tiny newborn
  Christ.

Call him

With a melody derived from the plainsong Divinum mysterium, this quiet
  and reflective musical meditation draws on an ancient Christmas text by the
  Roman poet Aurelius Clemens Prudentius.
    
    
    
    This arrangement maintains a simple, chantlike quality, while also allowing
  the voice and piano to act as duet partners. Though it is generally quiet,
  modest, and introspective in structure, certain moments demonstrate this
  dyadic quality, with overlapping sonorities perhaps bringing to mind the
  reverberant, echoey acoustic of large cathedrals.

Of the Father's love begotten

This ancient text, originally an embellishment added onto an existing
  liturgical chant, tells the story of the discovery of Jesus's empty tomb
  after his resurrection. The upper voices represent the women who traveled to
  the tomb, and the lower voices perform the part of the angels who announced
  the resurrection.
    
    
    
    This work may be performed in a worship setting or as a concert selection.
  It can even be used as a brief liturgical drama staged with actors or choir
  members.

Quem Quaeritis (Whom do you seek?)

This evocative and moving text, often attributed to St. Francis of
  Assisi, is sensitively set for unaccompanied mixed chorus. Beginning softly
  and growing to a resplendent climax, this piece is equally at home on the
  concert stage or in worship contexts.

With its gentle and descriptive lyrics, this piece puts one in mind of candlelight, falling snow, sparkling Christmas trees, and the overall wonder, mystery, and joy of the holiday season. The e-flat minor key and slow yet dance-like meter help to evoke these images and feelings beautifully. Throughout all four verses, the singer and pianist collaborate as duet partners, each contributing color, countermelodies, and nuance to the performance. "Christmas Praise" is perfect for holiday concerts and recitals or as a meaningful offertory during Christmas Eve worship.

Christmas Praise

High Solo

While the exact beginnings of the "O Antiphons" are untraceable, we have adequate evidence of their existence from the late 400s CE. Originally a series of recitations or chants, the antiphons have traditionally played a part in the Advent vespers, preceding the Magnificat during the time known as the Octave Before Christmas: December 17 through 23. Each of the antiphons has ties to the prophecies of Isaiah concerning the coming of Christ; likewise, each focuses on a different title for the MessiahWisdom; Lord; Root of Jesse; Key of David; Dayspring; King of Nations; and Emmanuel. These texts would ultimately transform into the now common hymn, "O Come, O Come Emmanuel." There is an enticing argument that the first letters of each antiphon, in their original Latin, form an acrostic. Taking the first letter of each text, last to first, the Latin phrase "Ero Cras" is formed, translating to "Tomorrow, I will be."

This setting for medium voice and pianodrawing on jazz, blues, Broadway, and classical idiomsis equally effective as a recital piece or when performed as individual selections during Advent worship services.

O Antiphons of Advent

This setting of Mary's canticle, with its themes of praise, mercy, and social justice, alternates between expressive solo verses and a choral refrain that's perfect for assembly participation. The music is filled with calm, contented joy, making it a fitting choice for the Advent season and evening prayer rites.

Responsorial Magnificat (Mary's Canticle)

SATB Choir with Worship Leader Octavo

Instrument

Instrument Family

With melodic lines that feel pulled from antiquity and tonalities that shift as light passing through clouds, this meditative piece offers ample opportunity for expression. The flute and oboe act as duet partners, singing atop an always-flowing foundation provided by the piano. Sophisticated enough for the professional concert stage yet accessible for growing musicians, "Shadows on Clouds," is a flexible piece of contemporary classical literature. The full score and parts are included in the single publication.

Shadows on Clouds

Flute/Oboe Duet

Global Sections - CORE [DO NOT TOUCH]*

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