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

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

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 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

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

Based on text by Robert Louis Stevenson, this work has a rousing melody set in compound duple meter. The music depicts the imagery of streams gushing and the many sounds of rejoicing nature that accompany

Cast in three sections, this piece opens with the chorus singing a triumphant call to action. The second section introduces a simple theme which is sung by the upper and the lower voices

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

A majestic opening unfolds to a rhythmic ostinato that acts as the underpinning for the text of this work. A plaintive middle section contrasts with legato vocal lines for the text "thee fully forth

Flowing, smooth, melodic writing creates an understated elegance which reflects the simplicity of the text. The legato unison line introduced originally is treated in canon in the middle section, and