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Featuring alternating English, Basque and Latin text, this thrilling setting proclaims the joy of singing to God. Already much-loved around the world due to performances at the 2011 World Choral Symposium
Playful and rhythmic, the nonsensical and happy-go-lucky narrative of this fourth movement of Chimes is enhanced by onomatopoeic text and thick chordal texture.
Soul Rejoicing opens with the stormy image of a band of horsemen riding fiercely in the darkness of a moonless night. Thus, with the sounds of pounding hooves and riders' shouts, begins
The tenor solo and narrator are pivotal in this dark, story-telling second movement of Chimes, while the chorus repeatedly responds with tolling bells and ticking clocks.
Ti-Ri-Ri, the wordless fifth movement of Gavrilin's Choral Symphony, paints a colorful and theatrical scene. One can almost see young men and women gathering (for a dance, perhaps) and as
In this seventh movement of Gavrilin's Choral Symphony, a solo oboe introduces a dreamy, richly textured expression of the approaching end of a man's - or a nation's - journey of enlightenment and
The lamenting narrative about all that "can't" be during the winter is enhanced by tenor solo and varied choral textures in this plaintive movement.
Chua-ay is based on a popular folk song from the Philippines that depicts the Igorot tribes at work, pounding the rice by means of a huge mortar and heavily weighted posts to separate the rice
From Philippine composer Nilo Alcala, Kaisa isa Niyan is based on a popular children's counting chant from Maguindanao in the southern Philippines. This challenging but playful work employs quick
Morena Faceira is based on two different folk songs from the state of Sao Paulo in southeastern Brazil. The first song simply describes a beautiful and charming brunette woman; in the second
The word "samba" comes from a Brazilian rhythm and dance, and the word "lele" is an expression of excitement. Vocal percussion, exciting dynamics, snappy rhythmic figures and a fun Portuguese text combine
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