John.18

This work is a fresh setting of the Requiem Mass. The work, for soloists, chorus, and orchestra, takes its name from the poem by Elaine Goodale Eastman, incorporated as the fourth movement. Compositionally,

 This Benedictus for a cappella choir is the eleventh movement from Jocelyn Hagen's mass setting: amass, which was completed in early 2011. This movement, composed in 2007, has been one of

Here is an elegant and joyful welcoming to the season of Christmas. The text invites the warmth of the season to permeate our hearts and the distance we create between ourselves by inviting in the fire of

Bittersweet harmonies evolve into a powerful climax in this piece for treble voices. Sara Teasdale's famous poem comes alive in this setting, and extensive unison gives the treble voices a chance to

This gorgeous setting of an incredible text by Marisha Chamberlain emphasizes the importance of community and strength in difficult times.

Ophelia was a finalist for the Sorel Medallion in 2016, and this recording from the performance is by Voices of Ascension in New York City, under the direction of Dennis Keene. Complex and rich

Meticulously crafted to a stirring text, this piece opens with a powerful statement, angular and pointed. Body percussion transitions the music into a developed groove, offset by syncopated rhythms and

This extended single-movement work is an evocative composition inspired by the impact of isolation and tragedy on society and individuals. The third movement of Beethoven's F Major String Quartet, Op. 135,

This uplifting work draws inspiration from the composer's home state of North Dakota and grounds itself in possibility, tranquility, and peace. The music features beautiful effects built on ascending lines

This empowering piece for treble voices is rhythmic and full of color. Sometimes we need reassurances that it's okay to be who we are, and this challenging work will invigorate your singers with confidence

A thoughtful setting of Freya Manfred's text Who We Are When We Don't Know Who We Are, this through-composed piece effectively uses open spaces and silence to contrast thicker choral textures to