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

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

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

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

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 unaccompanied piece contrasts a simple unison motif with quick ostinato in the lower voices. The homophonic refrain clearly declaims, "All forces have been steadily employed to complete

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 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

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

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

The Salve Regina, also known as the Hail Holy Queen, is a Marian hymn and one of four Marian antiphons sung at different seasons within the liturgical calendar of the Catholic Church. The

With a text by Louis de Montfort, this is a hymn of devotion and total surrender to a power greater than ourselves. The lush extended harmonies proceed from a pedal point and continue in straightforward