Randall Thompson's A Feast Of Praise for SATB Piano or Brass Choir and Harp.

Clarinet Part

Instrumental Parts

Four viceious Songs-What does a chorus do after they perform the Alto Rhapsody? Answer: Four Serious Songs. This arrangement includes the original piano accompaniment by Brahms. Includes Brahms's original German text and a singable English translation by Paul England (alt). Duration: 18:20 Contents: 1. Denn es gehet dem Menschen (One thing befalleth the beasts) Ecclesiastes 3:19-22 2. Ich wandte mich und sahe (So I returned and did consider) Ecclesiastes 4:1-3 3. O Tod wie bitter bist du (O death how bitter art thou) Ecclesiastes 41 4. Wenn ich mit Menschen und mit Engelszungen redete (Though I speak with the tongues of men and of the angels) I Corinthians 13:1-3 12-13What does a chorus do after they perform the Alto Rhapsody? Answer: Four Serious Songs. This arrangement includes the original piano accompaniment by Brahms. Includes Brahms's original German text and a singable English translation by Paul England (alt). Duration: 18:20 Contents: 1. Denn es gehet dem Menschen (One thing befalleth the beasts) Ecclesiastes 3:19-22 2. Ich wandte mich und sahe (So I returned and did consider) Ecclesiastes 4:1-3 3. O Tod wie bitter bist du (O death how bitter art thou) Ecclesiastes 41 4. Wenn ich mit Menschen und mit Engelszungen redete (Though I speak with the tongues of men and of the angels) I Corinthians 13:1-3 12-13

Instrumental Parts

A spirited musical retelling of a timeless Jewish folktale about the consequences of gossip. Attributed to a Hasidic scholar commonly referred to as the Baal Shem Tov (ca. 1700–1760) the parable tells of a man who circulates a false rumor about the town rabbi causing the villagers to lose faith in their trusted leader. When the man goes to beg the rabbi’s forgiveness for damaging his reputation the rabbi tells the man that he may return and ask for forgiveness only after he has released the feathers from a pillow and gathered them all up again. The impossible task serves as a powerful metaphor for the far-reaching effects of gossip and the inability to reverse its harm. This colorful setting pairs the fable sung in Yiddish with a spoken narration of the story in English to be delivered by individual choristers. The final chorale setting of a medieval Hebrew meditation on Psalm 34 delivers the moral of the story. The music draws upon evocative motifs from the Jewish musical tradition with a contemporary sensibility. Duration 17:00 A spirited musical retelling of a timeless Jewish folktale about the consequences of gossip. Attributed to a Hasidic scholar commonly referred to as the Baal Shem Tov (ca. 1700–1760) the parable tells of a man who circulates a false rumor about the town rabbi causing the villagers to lose faith in their trusted leader. When the man goes to beg the rabbi’s forgiveness for damaging his reputation the rabbi tells the man that he may return and ask for forgiveness only after he has released the feathers from a pillow and gathered them all up again. The impossible task serves as a powerful metaphor for the far-reaching effects of gossip and the inability to reverse its harm. This colorful setting pairs the fable sung in Yiddish with a spoken narration of the story in English to be delivered by individual choristers. The final chorale setting of a medieval Hebrew meditation on Psalm 34 delivers the moral of the story. The music draws upon evocative motifs from the Jewish musical tradition with a contemporary sensibility. Duration 17:00

Commissioned by the Radcliffe Choral Society and the Harvard-Radcliffe Collegium Musicum this piece was created to celebrate the awakening and life-transforming power of music as a force that enlivens and enlightens us. The original text is by the composer. Although the original was for women's chorus and mixed chorus this version is for SSAATBB chorus alone. Extensive instructions are provided for the ethereal aleatoric section addressing stage placement dynamics use of a solo group and how the piece should end. Duration 4:40Commissioned by the Radcliffe Choral Society and the Harvard-Radcliffe Collegium Musicum this piece was created to celebrate the awakening and life-transforming power of music as a force that enlivens and enlightens us. The original text is by the composer. Although the original was for women's chorus and mixed chorus this version is for SSAATBB chorus alone. Extensive instructions are provided for the ethereal aleatoric section addressing stage placement dynamics use of a solo group and how the piece should end. Duration 4:40

Songs in Celebration of Singing

From I've Known Rivers

Songs for the Journey

Christe adoramus te-This five part C major motet has a Latin text from the Antiphon from the Good Friday Liturgy. Notated on five staves the soprano 1 and 2 parts have their own staves. An optional continuo part for organ is provided. Note values of the original editions have been halved for easier reading. Durations at cadences are clearly edited for precise cut-offs. The English version by Jean Lund has been updated removing archaic words such as thee and thy. Duration: 2:45

Stephen Chatman’s setting of Sara Teasdale’s whimsical poem pertaining to a brown-thrush April love and kisses emulates the meaning strict rhythm rhyme and strophic structure of the text. The soft rolled chords of the harp-like piano accompaniment highlight the lilting 6/8-meter folk-like melody and consistent homophonic choral texture. The repetitive lines “Love me love me love me!” and “kiss me kiss me kiss me!” inspire the musical refrains. One of a set of six of Teasdale's love songs. Duration: 1:45

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 Chatman’s expressive setting begins with a unison melody supported by modulating harmonies in the piano accompaniment and evolves toward four-part voices. The middle section featuring rising vocal lines in imitative counterpoint precedes a return to the initial melody. One of a set of six of Teasdale's love songs. Duration: 2:30

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 dark key of D flat major emphasizes the natural rhythm of the words mixed meters and irregular phrase lengths. The climax of the melody embraces sustained intense vocal lines in contrary motion supported by an undulating piano accompaniment. One of a set of six of Teasdale's love songs. Duration: 1:45

Black Pierrot

Commissioned by a choral society in memory of their beloved accompanist this is an SATB divisi unaccompanied setting of a poem by Edna St. Vincent Millay. The text remembers a departed friend through the seasons of the year. All of nature's elements are in mourning. A sweet tender piece not difficult for an ensemble used to singing a cappella. Duration: 3:00

Praise Now the Risen Christ

From Love Shall Live Forever-Part of the collection Love Shall Live Forever. She Walks in Beauty begins with a piano introduction allowing time to enter the poetic world of Lord Byron. A simple melody is accompanied by steady walking rhythms. Although the original poem speaks only of the woman (beloved)- reverently objectively- this new interpretation inserts a verse to include the man (lover) thus creating a love song for a couple. He walks in courage...they walk in beauty O love! The piece concludes with a quote from the Song of Solomon (Set Me As A Seal). Duration: 3:00

Praise Now the Risen Christ

Mikhail Ippolitov-Ivanov's Bless Thou The Lord My Soul for SATB choir.