Chœur de femmes avec piano

Clara Schumann's solo song expressing thankfulness for 'True Love' has been expertly and effectively adapted here for SATB voices by composer/scholar James McCullough.

Night Vision was commissioned by Persephone Singers, a women's choir in Whitehorse, Yukon, directed by Barbara Chamberlin. It was premiered on May 2, 2015 at the Yukon Arts Centre in Whitehorse. This...

A new musical setting of an exquisite text by Thomas Campion (1567 1620). While not overtly religious, Campion's text inspires us in its spirituality, hope, and faith to believe in a power greater tha...

A familiar American folk song is A Man of Constant Sorrow. Adaptations exist for a maid of constant sorrow as well. This is a very simple melody, placed in the key of C major. The message is a mournfu...

This new arrangement focuses on the inherent drama of the text. Each verse expresses a different reaction to its question about the crucifixion. The piano accompaniment, which plays a featured role in...

Three Pieces for Chanukah is not so much a set of arrangements of familiar words and tunes than it is a set of original compositions based on them. The first two settings feature jazz-influenced, clas...

Released in 2007, this original setting of an anonymous 19th-century text is written in verse-anthem style. The scoring for chorus, harp, and keyboard makes it an ideal companion piece for Britten's A...

The opening lines, 'Listen, I love you. Do not turn your face / Nor touch me. ', reflect the somber feelings encompassing Sara Teasdale's poem. Paired voices initially express contrapuntal melodic lin...

Sara Teasdale's poem, Oh day of fire and sun, suggests a loud, fast musical setting. The syncopated homo-phonic choral texture, with high tessituras, exudes drama and excitement: it balances the expan...

Sara Teasdale's poem, The Mystery, depicts deep lasting love - 'Your eyes drink of me' and 'We have long been lovers'. It also raises a question - 'Can I ever know you / Or you know me?' Stephen Chatm...

The opening line of Sara Teasdale's poem, After Love, 'There is no magic any more, ' establishes the theme of vanishing love. Stephen Chatman's setting of the poignant text, in the key of E flat major...

This piece is a fast, joyous outburst. The initial lines, 'I am wild, I will sing to the trees' set the jubilant tone. The perpetual motion of the syllabic step-wise vocal lines is punctuated by stacc...

The text by Edna St. Vincent Millay, speaks of a youthful all-night adventure riding the ferry back and forth with no destination in mind. There is much back-and-forth in the musical setting, to a swa...

Hesketh's work for 3-part children's choir and piano sets two texts about the start of spring by William Blake and an anonymous source. Written for conductor Simon Emery and the Liverpool Philharmonic...

Frauenchor - SSAA/Klav. (20./21. Jahrhundert)