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
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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 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
Michael Trotta has adapted a 19th century hymn text to create a powerful plea for hope in times of loss or uncertainty. Occasionally referencing Sibelius's Be Still My Soul, it is scored for SATB a
This beautiful setting of Silent Night employs the original text with new music scored for SATB a cappella voices and optional descant. Color reigns supreme as the text is almost treated in a
"May the roads rise up to meet you, may the winds be always at your back... until we meet again." This is a lovely a cappella choral texture with straightforward rhythms and close harmonies. Whether chosen
The exciting rhythmic underpinning of the choir lays a energetic foundation for a enchanting melody that breathes life into a timeless text. The piece highlights the text "when all hate is turned to love,
A rhythmic ostinato on "Veni, veni" and optional percussion (triangle, tambourine and drum) infuse the traditional Advent carol with such unrelenting energy, the effect on the listener is mesmerizing!
Henry Wadsworth Longfellow's time-honored text is paired with original music, repeated bell ostinati, and rhythmic fun in this up-beat, festive setting. Short, optionally a cappella sections are
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