Reunion Concert Music Findings!

The Battle of Jericho

Moses Hogan was a famous composer who specialized in arranging African American spirituals for choirs. His arrangements are known for being powerful, emotional, and exciting to both sing and hear. He took old traditional songs and transformed them into dramatic concert pieces that remain very popular today.
His version of "The Battle of Jericho" tells the biblical story of the walls of Jericho tumbling down. The lyrics about Joshua and the battle are used to create a feeling of building energy and ultimate victory. Hogan uses the words rhythmically, with repetitions that help drive the music forward.
The musical style is full of energy and contrast. It starts with a steady, marching pace and uses call-and-response sections between different parts of the choir. The music builds through exciting highs and quiet, tense moments, finally exploding into a fast and joyful finale that requires a skilled choir to perform. The overall effect is one of unstoppable force and triumph.

Choose Something Like a Star

Randall Thompson (1899-1984) was a leading American composer, most famous for his choral music. His style is known for being beautifully clear and accessible, often setting the English language in a way that feels both natural and powerful. "Choose Something Like a Star" is one of his most beloved works, part of a larger collection called Frostiana, which sets poems by the famous New England poet Robert Frost to music. This collaboration was a special one; Frost was still alive when Thompson composed the piece in 1959 and gave his full permission and blessing for the project. In fact, Frost attended the premiere, showing his support for Thompson's musical interpretations of his poetry.

Musically, Thompson’s arrangement is serene and majestic, reflecting the poem's subject. The piece begins with a quiet, awe-struck tone as the singer asks the star for its secret. The music then builds in intensity and complexity, mirroring the narrator's growing frustration and list of demands. A key musical moment is the strong, unison declaration on the line "And steadfast as Keats' Eremite," giving weight to this central idea. The composition ends with a calm and resolved feeling, emphasizing the poem's final, simple lesson.

The poem, by Robert Frost, is a person speaking directly to a star. The narrator is frustrated because the star, a symbol of perfection and truth, is so distant and silent. People want a simple, easy-to-understand fact from it, but the star remains mysteriously quiet. Frost is pointing out our human desire for quick, easy answers from great and timeless things, whether it's science, art, or virtue. We get impatient when the truth isn't delivered to us in a simple way.

Ultimately, the poem’s message is about finding a model for how to live. Since the star won't give a simple answer, the narrator decides to learn from its example instead. The real lesson is in the star's qualities: it is "steadfast," meaning reliable and unchanging. In a confusing world, Frost advises us to "choose something like a star"—to find a high and principled standard to guide us—and then to hold onto that truth with all your might, even if you can't fully explain it to others. It’s a poem about seeking integrity and constancy in an unreliable world.

Cindy

Mack Wilberg is a highly influential American composer, arranger, and conductor, best known as the Music Director of the world-renowned Mormon Tabernacle Choir. Born in 1955, he has built a career on creating accessible and beautifully crafted choral music, often drawing from folk songs, hymns, and spirituals. Like Moses Hogan, Wilberg has a genius for taking simple, familiar melodies and transforming them into vibrant and sophisticated concert pieces that are both enjoyable for audiences and rewarding for choirs to perform.

His arrangement of the American folk song "Cindy" is a brilliant example of his skill. The piece is a whirlwind of energy and humor, capturing the playful, affectionate tone of the original lyrics that list the comical shortcomings and charms of the narrator's beloved. Wilberg uses the choir to create a sound that is reminiscent of a full folk orchestra. He employs a wide range of techniques, including percussive vocal effects like finger snaps and tongue clicks, imitations of fiddle tunes, and rhythmic interjections that give the piece a toe-tapping, dance-like quality.

The arrangement is structured to showcase constant variety and virtuosity. It features rapid-fire passages, sudden dynamic shifts from loud shouts to delicate whispers, and complex layered rhythms that overlap and bounce between different voice parts. Soloists or small groups often trade lines with the full choir, creating a lively, call-and-response feel. Rather than simply repeating the melody, Wilberg develops and ornaments it, building the piece to an exhilarating and joyful climax that leaves both the performers and the audience breathless.

Come Thou Fount of Every Blessing

Mack Wilberg's arrangement of the beloved 18th-century hymn "Come, Thou Fount of Every Blessing" is a perfect example of his approach. He begins the piece with a straightforward, almost delicate presentation of the classic tune, allowing the beautiful melody and Robert Robinson's poignant text to stand clearly. This creates a sense of intimate devotion. However, as the piece progresses, Wilberg masterfully builds layers of sound and harmony, swelling the music into grand, sweeping crescendos that evoke feelings of overwhelming grace and majesty.
The arrangement's true power lies in its emotional contour. Wilberg uses the choir's full dynamic range, from hushed reverence to triumphant, full-throated declarations, to mirror the hymn's themes of human frailty and divine faithfulness. The final verse often serves as the climax, with the harmony becoming particularly lush and complex before resolving into a serene and peaceful conclusion. The result is not merely a performance of a hymn, but a profound musical journey that underscores the text's message of gratitude, redemption, and the soul's longing for God.

Evening Prayer

Ola Gjeilo (b. 1978) is a celebrated Norwegian composer and pianist whose music has become a cornerstone of modern choral repertoire. His style is often described as cinematic and atmospheric, blending lush, contemporary classical harmonies with elements of improvisation. Gjeilo frequently uses instrumental obbligatos, and in "Evening Prayer," he features a prominent, weaving saxophone solo that is integral to the piece's texture, creating a spacious and evocative soundscape.
"Evening Prayer" is a quintessential example of Gjeilo's signature sound. The piece is built on a simple, repeating choral motif that unfolds slowly, creating a serene foundation. Over this, a continuous tenor saxophone solo floats freely, its lyrical and improvisational lines evoking the spontaneous, personal nature of prayer. This solo part, often performed by renowned artists, is not merely an accompaniment but a equal voice. It weaves intricate, jazz-inflected melodies around the choir's sustained harmonies, creating a beautiful dialogue between the structured human plea of the chorus and the soaring, spirit-like response of the saxophone.
Performing this demanding solo for our concert is Johnny Crane, a sophomore Jazz Performance major in the BYU School of Music. An accomplished young musician, Johnny has been featured in numerous jazz concerts on and off campus and currently holds a chair in BYU's premier jazz ensemble, Synthesis. His dedicated study and performance experience ideally position him to deliver both the technical precision and the soulful, improvisatory spirit essential to this role.
While many sacred pieces are overtly dramatic, "Evening Prayer" achieves its power through tranquil, layered interaction. The music swells gently but never loses its sense of intimate calm, guided by the ebb and flow of the saxophone's phrases. There are no complex fugues or loud proclamations; instead, Gjeilo uses the combination of human voices and the saxophone's soulful timbre to create a deeply spiritual and restorative soundscape, making it a modern classic for moments of quiet contemplation.

A Gaelic Blessing

John Rutter (b. 1945) is one of the world's most performed choral composers and arrangers, particularly renowned for his Christmas carols and sacred music. His style is immediately accessible, characterized by beautiful, singable melodies and rich, consonant harmonies that often evoke a sense of warmth and serene beauty. Rutter has a unique gift for creating music that feels both timeless and freshly composed, making his works enduringly popular with choirs and audiences worldwide.
"A Gaelic Blessing," also known as "Deep Peace," perfectly exemplifies Rutter's graceful and uplifting style. The piece is a musical setting of a traditional Gaelic text, a benediction wishing peace and protection upon the listener. The music is gentle and flowing, with a simple, hymn-like structure. The piano or organ accompaniment provides a steady, undulating support, like a quiet stream, over which the voices soar with a lyrical and heartfelt melody. The harmonies are lush but never complex, creating a atmosphere of deep tranquility and heartfelt sincerity.
The text is a series of beautiful, nature-based wishes, such as "Deep peace of the running wave to you" and "Deep peace of the quiet earth to you." Rutter's musical setting mirrors this imagery, with the vocal lines flowing smoothly like water and resting as peacefully as the earth. The piece builds gently to a warm, resonant climax on the final blessing before softening into a serene and conclusive "Amen." The overall effect is one of comfort and benediction, as if bestowing a musical embrace of peace upon the listener.

I Am Bound for the Promised Land

Robert Millet is a prominent composer and arranger within the LDS (The Church of Jesus Christ of Latter-day Saints) choral tradition. While perhaps less widely known outside of that community than figures like Mack Wilberg, his work is highly respected for its robust, faith-affirming character and its skillful writing for choirs. Millet's arrangements often draw from the rich heritage of American hymns and spirituals, infusing them with a grand, declarative energy that is both celebratory and deeply conviction-driven.
His arrangement of the classic Southern hymn "I Am Bound for the Promised Land" is a powerful and triumphant proclamation of faith. Millet takes the familiar, spirited melody and elevates it with full, rich harmonies and a driving, energetic rhythm that evokes a sense of determined pilgrimage. The piece is characterized by its strong, homophonic textures, where the choir sings together in solid, chordal blocks, creating a sound of unified and unwavering belief. Dynamic contrasts are used effectively, building from sturdy, confident statements to soaring, powerful climaxes.
The text celebrates the Christian belief in a celestial afterlife, the "promised land" of Canaan as a metaphor for heaven. Millet's music perfectly captures this spirit of joyful anticipation and victory. There is no hesitation or doubt in the musical setting; instead, it is filled with bright, major-key optimism and a rhythmic momentum that feels unstoppable. The arrangement often features a stirring, triumphant conclusion, leaving the listener with a powerful impression of certainty and hope, as if the choir is marching steadfastly toward its glorious destination.

Kyrie (from Lord Nelson Mass)

Franz Joseph Haydn (1732-1809), one of the most celebrated composers of the Classical era, spent the latter part of his career as the Kapellmeister for the Esterházy family. It was for his patron, Prince Nikolaus II Esterházy, that Haydn composed a mass each year to celebrate the name day of the Prince's wife, Princess Maria Hermenegild. The Missa in Angustiis ("Mass in Time of Anxiety"), composed in 1798, is one of these six late, great masses. It later earned the nickname Lord Nelson Mass after the British admiral Horatio Nelson, who that same year had won a decisive victory over Napoleon's fleet in the Battle of the Nile. While it is unlikely Nelson attended the first performance, his fame was so great across Europe that the mass became forever linked with his triumph. The work was first performed on September 23, 1798, at the Bergkirche in Eisenstadt, the Esterházy family's seat.
The "Kyrie" from this mass immediately establishes its dramatic and urgent character. Unlike some serene settings of this text, Haydn's music reflects the "anguish" of the mass's original title. Scored for choir, soloists, organ, and an austere ensemble of three trumpets and timpani (omitting woodwinds and strings), the sound is brilliant, stark, and powerful. The movement opens with a driving, rhythmic motif in the organ and a bold declaration from the choir. The music is full of strong dynamic contrasts and vigorous counterpoint, conveying a sense of awe and solemn petition rather than gentle pleading.

The text of the "Kyrie" is a brief, tripartite plea: "Kyrie eleison" (Lord, have mercy), "Christe eleison" (Christ, have mercy), and again "Kyrie eleison." Haydn structures his music to reflect this. The outer "Kyrie" sections are forceful and majestic, while the central "Christe" provides a moment of slightly more lyrical contrast, often featuring the soloists. However, even this section retains a sense of urgency. The movement drives forward with relentless energy, culminating in a final, powerful cry for mercy that showcases Haydn's masterful ability to blend architectural clarity with profound emotional intensity.

Lacrimosa (from Mozart’s Requiem)

Wolfgang Amadeus Mozart (1756-1791) began his Requiem in D minor, K. 626, in 1791, but it was left unfinished at his death. The work was commissioned anonymously by Count Franz von Walsegg, who intended to pass it off as his own composition in memory of his late wife. The tragic circumstances of Mozart's death while writing this piece for a mysterious patron have forever shrouded the Requiem in legend. We know that Mozart completed the "Introitus" and had sketched the "Kyrie" and large sections of the "Sequence" (which includes the "Lacrimosa"), but the work was ultimately completed by his pupil, Franz Xaver Süssmayr, based on Mozart's detailed instructions and sketches.
The "Lacrimosa" is one of the most beloved and moving movements of the entire Requiem. It is the final section of the "Sequence" and, according to many sources, was the very last music Mozart ever wrote. The movement begins with a hushed, weeping string figure that gives it its name—"Lacrimosa" meaning "tearful" or "weeping." The choir enters softly with a sublime, sorrowful melody on the text "Lacrimosa dies illa" (That tearful day), building through a series of aching, poignant harmonies. The music swells with a heart-wrenching crescendo to the line "Huic ergo parce, Deus" (Therefore spare this one, O God), a powerful, collective cry for mercy.
Mozart's genius lies in the profound emotional depth he achieves with stunning economy. The "Lacrimosa" is brief, but it encapsulates a world of human sorrow and supplication. The fact that the music breaks off after only eight measures in Mozart's own hand adds to its powerful aura. Süssmayr's completion, while simple, is considered faithful to the sketch, ending the movement with a gentle "Amen" cadence. This single movement serves as a perfect, poignant symbol for the entire Requiem: a sublime expression of mourning, cut short by death but leaving an indelible mark on the soul of the listener.

Let There be Light

Gilbert M. Martin (b. 1941) is an American composer, arranger, and church musician who has made a significant contribution to the repertoire of sacred choral music, particularly for church and community choirs. His style is known for being accessible, melodically appealing, and effectively dramatic, often setting biblical or inspirational texts with a direct emotional impact. Martin's works are celebrated for their ability to sound grand and celebratory while remaining within the technical reach of many choirs, making them enduringly popular for festive occasions.
His anthem "Let There Be Light" is a powerful and jubilant setting of the creation text from Genesis. True to its title, the piece is designed to create a brilliant, radiant sound from the very beginning. Martin often employs a fanfare-like motif, using strong, declarative chords from the choir and a bold, supportive accompaniment from the organ or piano. The music is characterized by its clear, homophonic textures, where the choir sings together in solid blocks of sound, making the text easily understandable and the overall effect one of unified, powerful proclamation.
The structure of the piece is straightforward and cumulative, mirroring the biblical days of creation. It often builds through a series of dynamic swells, moving from moments of strong, confident declaration to passages of more lyrical warmth. The anthem typically builds to a grand, climactic finale on the final iterations of "Let there be light," with the harmony often expanding into its most brilliant and consonant form. The overall effect is one of unshakable faith and exultant joy, perfectly capturing the spirit of divine command and the glorious beginning of the world.

The Road Home

Stephen Paulus (1949-2014) was a prolific American composer known for his sophisticated yet deeply communicative style. With over 450 works to his name, he made a significant contribution to modern choral music, opera, and orchestral literature. His music is often characterized by its lyrical melodies, rich harmonic language, and a profound emotional directness that resonates strongly with both performers and audiences. Paulus had a particular gift for setting text, crafting musical lines that feel both natural to sing and powerfully enhance the meaning of the words.
"The Road Home" is a quintessential example of Paulus's accessible and moving choral writing. The piece is a setting of a Shaker folk hymn text, "The Wayfaring Stranger," which speaks of a longing for peace and a heavenly homecoming. The arrangement is built around a simple, haunting folk-like melody that is passed between the voice parts. This melody is supported by a gentle, often repetitive harmonic accompaniment in the piano, creating a sense of peaceful, unwavering faith and forward motion. The texture is largely homophonic, allowing the poignant text to be clearly understood.
The emotional power of the piece lies in its understated beauty and gradual build. Paulus uses dynamics and texture to shape the journey, often beginning softly and intimately. The music swells to a central climax of heartfelt yearning on the line "And the fields there are green," with the harmony briefly opening up into a more expansive, warm sound. It then recedes back to a state of quiet serenity, ending with a repeated, hushed plea to "lead me home," leaving the listener with a sense of comfort, hope, and spiritual solace.

Sing Me to Heaven

Daniel E. Gawthrop (b. 1949) is an American composer known for his highly expressive and accessible choral music, which is performed extensively by school, church, and community choirs. His style is firmly rooted in a neo-Romantic tradition, prioritizing lush harmonies, sweeping melodic lines, and a direct, heartfelt emotional appeal. Gawthrop has a particular talent for setting texts that explore deep spiritual and emotional themes, crafting music that is both beautiful and deeply moving for audiences.
His best-known work, "Sing Me to Heaven," set to a text by Jane Griner, is a masterclass in this evocative style. The piece is a poignant meditation on the power of music and memory to provide comfort and transcendence. The music is characterized by its gentle, rolling piano accompaniment, which establishes a contemplative and intimate atmosphere. Over this foundation, the choir sings long, lyrical phrases that rise and fall with a sense of profound yearning. Gawthrop employs rich, often unexpected harmonic shifts that create a feeling of both aching beauty and serene resolution, perfectly mirroring the text's blend of sorrow and solace.
The structure of the piece is through-composed, allowing the music to follow the natural arc of the poetry. It builds steadily from a place of quiet supplication to a powerful, resonant climax on the text "Then sighing, singing to rest, me and my sorrowing." This peak is not one of loud triumph, but of intense, heartfelt release. The piece then gradually recedes, ending with a final, hushed repetition of the title phrase. The overall effect is one of catharsis and peace, leaving a lasting impression of music's ability to touch the soul.

The Storm is Passing Over

Barbara W. Baker (1929-2018) was a highly influential and beloved figure in the world of gospel music, particularly known for her work with the renowned Aeolians of Oakwood University. As a composer, arranger, and educator, her style is deeply rooted in the traditional African American spiritual and gospel tradition, characterized by its emotional authenticity, rhythmic vitality, and powerful, soul-stirring harmonies. Baker's arrangements are celebrated for making the robust, improvisatory spirit of gospel accessible for organized choirs, blending traditional fervor with choral precision.
Her arrangement of the Charles Albert Tindley gospel hymn "The Storm Is Passing Over" is a quintessential example of her craft. The piece masterfully builds from a place of solemn testimony to one of triumphant, ecstatic joy. It begins with a slow, deliberate, and almost weary tempo, with the choir stating the theme in solid, homophonic blocks. This evokes the image of believers weathering a difficult trial. The piece then gradually gathers energy, introducing call-and-response patterns between sections and increasing the rhythmic drive, mimicking the gathering hope described in the text.
The true power of the arrangement is released in its up-tempo finale. The music erupts into a celebration of victory, featuring syncopated rhythms, soaring melodic lines, and complex, layered harmonies that are the hallmark of gospel music. The persistent, joyful repetition of the phrase "The storm is passing over, Hallelujah!" acts as both a declaration of faith and a musical mantra, driving the piece to an exhilarating and powerful conclusion. Baker uses the choir's full dynamic and emotional range to take the listener on a journey from struggle to unwavering faith and ultimate victory.

Witness

The arrangement of "Witness" by Jack Halloran and Dick Bolks, published in 2000, represents a collaborative effort that brought a traditional spiritual to the concert stage. Jack Halloran (1915-1995) was a renowned choral director known for his clean and rhythmic style, particularly with spirituals. This specific publication was completed after his death by his frequent collaborator, Dick Bolks, ensuring Halloran's interpretive ideas reached a new generation of choirs. Their work together is known for its energy, clarity, and effective use of the choral palette to build excitement.

Musically, this arrangement is a masterclass in cumulative energy and dramatic structure. It begins with a powerful, rhythmic foundation: the tenors and basses repeatedly pose the question "Who'll be a witness for my Lord?" in a strong, unison declaration. This creates a persistent, almost driving ostinato that establishes the piece's solemn and urgent mood. After this rhythmic groove is set, the sopranos and altos enter with the soaring, lyrical answer, "Oh, I'll be a witness for my Lord," their melodic line providing a beautiful and hopeful contrast to the insistent question below. The piece builds from this antiphonal beginning, gradually adding harmonic complexity, dynamic intensity, and potentially overlapping the parts to create a rich, textured, and triumphant climax.

The text is the heart of the piece's power. It distills the spiritual tradition into a essential dialogue of faith. The men's persistent question represents a call to the entire community, challenging everyone to step forward. The women's response is a confident, personal affirmation of faith and commitment. This call-and-response structure is central to the African American spiritual tradition, transforming the piece from a simple song into a collective, powerful testimony. The arrangement builds on this dialogue, ultimately creating a unified, overwhelming declaration of devotion, as if the entire choir is rising together to answer the initial, profound question.

Zion’s Walls

Aaron Copland (1900-1990) was a defining figure in American classical music, renowned for creating a sound that felt uniquely and evocatively American. His forays into American folk music, including the two sets of Old American Songs, are central to his legacy. "Zion's Walls" is a revivalist hymn from his second set (1952). Copland's genius lay in his ability to take such simple, sturdy folk material and reframe it with his distinctive harmonic language—using open intervals, stark textures, and bold, unexpected chords—to create a piece that feels both authentically historical and powerfully modern.

The choral arrangement of "Zion's Walls" begins not with a declaration, but with a gathering. As you noted, voices filter in one after another, creating a sense of a community assembling. This imitative, layered entrance builds anticipation before the choir unites on the inviting text, "Come fathers and mothers, come sisters and brothers, come join us in singing the praises of Zion." This structure is a musical metaphor for the text itself—a call for the community to come together in song. The rhythm is straightforward and hymn-like, but Copland's harmonies provide a unique, slightly austere beauty that elevates the folk tune into a concert piece.