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William Bolcom composed both words and music for these urban madrigals, written for The Western Wind a cappella group in 1970. Each madrigal depicts a slice of New York City life in the early 1970s, by turns comic, theatrical, bittersweet, haunting, and satirical. Movements: The Movie Queue, The
Commissioned by the New York Virtuoso Singers and its conductor Harold Rosenbaum for the Singers' 25th Anniversary. Why Was Cupid a Boy? is a short William Blake poem untied to one of the larger works, though it reprises a common theme in Blake: the bewilderment of Man faced with Love contrasted
Why Was Cupid a Boy?
Zanaida Robles has created a marvelous new festival arrangement of Lift Ev'ry Voice and Sing that brings new shades of meaning and drama to James Weldon Johnson's indelible words, while honoring J. Rosamond Johnson's original musical setting and melody.
Lift Ev'ry Voice and Sing
Stephen Chatman's a cappella setting of Sara Teasdale's beautiful poem is highly suitable for many types of programming. Vivid images, such as stars poised on the peak of midnight inspire gently flowing melodic vocal lines in imitative contrapuntal textures. Following the climactic line, Will rea
There Will Be Stars
William Bolcom's oratorio, premiered in 1984, is based on writings of William Blake. The piece is enormous in its scale, requiring hundreds of performers, and was recorded for a Naxos release, conducted by Leonard Slatkin.
Songs of Innocence and of Experience
The pieces in Warren Benson's one-of-a-kind liturgical, choral activity book (for lack of a better term) are meant to be sung, used, enjoyed, admired, and drawn from as a well. This never-before-published collection is filled with the joy of singing and communion, with selections that range from
Three Dozen Delights, Dedications, Aphorisms, Alleluias, Amens, Exhortations and Benedictions
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