Isaiah 42

Extracted from the five-movement work "A Vision Unfolding," this third movement stands alone as a strong, socially responsive statement of identity and unity. Optional solos and a lyrical violin part add to

This is the sixth movement of For a Breath of Ectasy and is scored for SATB chorus, oboe, and string quartet or piano. Using a lush accompaniment and homophonic choral writing, the music

Extracted from the five-movement work "A Vision Unfolding," this movement stands alone as a call to justice. With the drive of the snare drum, the blow of the bugle, and the declamatory choral writing, the

Carols of the Nativity is a collection of Christmas songs scored for voices and brass choir. Each of the seven pieces by Canadian composer Stephen Chatman can be performed individually or as a set.

An ethereal, deeply moving piece about the conscious decision to choose love. This has an ancient-modern feel, made even more prominent with the interplay between the Latin and English text, and chant-like

"Where compassion reigns, only love remains." An original text that calls for slowing down, centering our thoughts, and showing compassion is paired with beautiful part-writing and an optional part for

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

A "fantasia" in the truest sense, this choral tapestry of English carols was composed in 1912 after Vaughan Williams had completed the scores for his first symphony ("The Sea") and the Tallis fantasia. In

A setting of a poem by Nikki Giovanni that focuses on a young person's desire to play first chair. Part of a larger work entitled "Shoe Jazz," this youthful, exuberant, and individualistic piece with a text

Each of the movements in this work chronicles Teasdale's search for solace amid life's many storms. The tapestry of different vocal forces set against the backdrop of oboe and strings reveals moments of

This first movement from For a Breath of Ecstasy has accessible choral parts and a very active accompaniment to open, representing the "my thoughts" part of the text. A contrasting middle section

This second movement from For a Breath of Ecstasy is a cappella except for a short introduction and coda. The texture includes a soprano descant in the first and last sections. The middle section

A lovely piece for women's choir with oboe obbligato. The text is taken from Barter, the first in a set of Pulitzer Prize-winning poems from American poet Sara Teasdale. Despite the poet's history

After a calm start in this fourth movement from For a Breath of Ecstasy, a rhythmic motive begins in the bass clef of the accompaniment and intensifies as the singers enter with the first statement

In this fourth movement from For a Breath of Ecstasy, the instrumental introduction leads to a completely a cappella setting of this Sara Teasdale text. This movement is slow, lyrical and hymn

This final movement from For a Breath of Ecstasy begins rhythmically as the first movement did. In fact, the writing touches on moods and motives in many of the other six movements, although the

A hauntingly beautiful poem by Bliss Carman about the beauty that surrounds us is set with a lovely and substantial French horn solo intertwined with the choral treatment. A very moving composition.

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 can certainly be performed with just piano. The

The fifth and final movement of "A Vision Unfolding," this piece stands alone as a strong statement for social justice. The oft-set poem by Langston Hughes is given new light with soaring melodic lines,

Commissioned by the Jacksonville Children's Chorus, this is a lively swing adaptation of the well-known and loved 19th-century song Jingle Bells. This arrangement makes use of finger snapping,