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
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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
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 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
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
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
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
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
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
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
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