I don't know how many times I've listened to this now. This is my all time favorite choir piece. The poem was perfectly encapsulated into a song that belongs in a classic disney movie. I love the chords, the lyrics, the echo parts. Definitely my all time favorite.
This is incredibly beautiful. I won't even try to describe it in words as I wouldn't be doing it any justice. That build-up and resolution to the major7 chord at 1:30 is superb. Honestly, this is nothing short of awe inspiring. Well done.
This is one of the most beautiful compositions I have every heard. I will definitely be using this piece when I finally gain my degree and can be a choral teacher.
Very beautiful!!! The C major 7 add 9 at around 1:30 is fantastic! The basso profundo part at around 3:00 is a great contrast to the upper voices that generally have "the spotlight". If I could suggest one thing it would be to have an optional octave lower in the bass part in the last 2 bars.
Anna Bennett thank you Anna - I really appreciate your feedback and I’m so glad to hear that my music connects with you. As a composer that’s all we can ask for. Xx
Thank you Madison. I've just returned from a wonderful evening of music making with some great friends, and to come home to find your generous and kind comment was the icing on my cake. Thank you.
Thank you for the nice complimentary comment; I'm so glad you like my harmonic pallette - it's not to everyone's taste, but thos who like what I do seem to connect with it somehow, which is, of course, why I write music. Thank you.
Great work with nice chords and interesting ideas. I think in the description it had to say "for unaccompanied SSAATTBB", because almost all the time there is more than four voices singing. I think that most of the modern american and british choral music use a lot of "divisi" because their choirs has the abilities to sing comfortably in that way (sometimes perhaps too much). In other choral traditions it is seldom seen. And the resources available condition the ideas of the composers. I call it "aesthetics of abundance". I would like to point out that this is not a criticism, or a bad criticism. It would be interesting watch a work consciously limited to only four real voices, to know how similar ideas could be handled.
Thank you Miguel. The issue for me is one of my harmonic language, which regularly uses extended triadic or modal harmony. Once can, of course, hint at extended chords by using only four voices, but then the texture can get a little bloated. The divisi, as well as giving me the harmonic palette I need, also thins the texture, so that the weight of the musical canvas is lighter. I hope this makes sense to you.
Thanks for your answer, Mike. I think your work is amazing. And I understand it needs the divisi to achieve your language needs. My observation is only "musicological", if the term is correct, and it has to do with the fact I watch that those language needs are developped better if you have the choral resources which can make it posible. And it would be a challenge (or an interesting exercise) to try to reach the same results or to express the same ideas with less choral resources. In other countries without that choral resources and tradition, composers perhaps can not mentally develop this musical thinking . (I no way it is a criticism of such an nice work and musical language) By the way, I think it offers an interesting alternative to "avant-garde" styles, which can be hard for the people. And for the music can survive, there is only one way: it has to be loved before. Thanks again for your work and exchange of ideas and happy holydays.
Politonico Hi - thank you so much for your warm words. It is available from my publisher, Edition Peters, details below: Peters LondonPeters Edition London 2-6 Baches Street London N1 6DNTel: +44 (0)20 7553 4000 Fax: +44 (0)20 7490 4921 Email: sales@editionpeters.com Web: www.editionpeters.com
