Concert Choir Repertoire, Spring 2019

Unclouded Day, Arr. Shawn Kirchner: a gospel song written in 1879 by preacher Josiah K. Alwood (1828 - 1909) after witnessing a rainbow against a single black nimbus cloud on an otherwise clear day. Arr. by Shaw Kirchner. 

O schöne nact, Johannes Brahms: One of Brahms's best known choral works, the choral texture of this piece balances lightness and richness above an arpeggiated piano accompaniment

Afternoon on a Hill, Colin Britt: Text from a Edna St. Vincent Millay poem of the same name, this piece is by composer, conductor, and friend of the choir, Colin Britt. 

Gala del Día, Carlos Guastavino: Translated as Finery of the Day, Gala del Día is the first movement from Guastavino’s Indianas suite, a cycle of six songs for mixed chorus and piano evocative of traditional folk dance structures.

Shenandoah, Arr. James Erb: This is one of the best known arrangements of the American folk song, “Shenandoah,” an ode to the principal tributary of the Potomac River.

Es gulu gulu, Arr. Ārijs Škepasts: Translates to “I lie asleep”, this piece is a Latvian folk song telling of a young woman’s sorrow in being separated from her love.

I am the great sun, Jussi Chydenius: This Finnish piece was inspiried by its text which was found on a Norman crucifix from 1632. The choral piece uses overtones as well as eerie whispers to create a thrilling effect. 

Ecco mormorar l'onde, Claudio Monteverdi: This is Italian madrigal is known for its use of text painting, a common device used in madrigals in which the text is set to a musical line that illustrates the meaning of the text.

Because I could not stop for Death*, Eric Sawyer: With text from the Emily Dickinson poem of the same name, this piece by Eric Sawyer is a composer, pianist, and professor of music here at Amherst, is another great example of text painting. 

We are the night ocean, Arianne Abela: Composed by our very own director, Dr. Abela, this piece sets the a text by Persian poet Rumi. The piece features two soloists, Evan Young '19 and Patrick Spoor '22.

Os justi, Anton Bruckner: A sacred motet in the Lydian mode with Latin text from Psalm 36:30-31 (Vulgate)

Long Road, Ēriks Ešenvalds: This piece uses one of Ešenvalds’ signature compositional devices--the choir sing ethereal chords while other instruments (in this case, ocarinas and a few other voices) float over the harmonies. Text from the Latvian poem Tāls Ceļš by Paulīne Bārda.

Way ovuh' in Beulah, Arr. Stacey V. Gibbs: A traditional spiritual arranged for mixed voices, Beulah land refers to a place from which Heaven is believed to be visible. Concert Choir was lucky to workshop this piece with the arranger himself!

 

*World premiere