Eagle Rounding Out the Morning – SSAA by Joan Szymko, text by Joy Harjo

About this piece: A member of the Muscogee Creek Nation, Joy Harjo served as the 23^rd United States Poet Laureate from 2019 to 2022, the first Native American to do so. Joan Szymko’s reverent, spacious setting of Harjo’s “Eagle Poem” is perfect for mature high school or adult treble choirs. The piece begins with a haunting trio of a cappella solo voices, leading into a meditative setting of the opening words of the poem. The intensity builds in this section with Szymko’s characteristic changing meters, arriving at a moment of storytelling, first in the soprano voice and then the alto voice over a fast-moving piano accompaniment.  The middle section begins in unison and hands the theme from voice to voice, creating a circular motion over a flowing accompaniment, reminding us to “take the utmost care and kindness in all things.” A dramatic change at the words “Breathe in” allows for an expansive sound and a pause before the motion begins again a build to a dramatic climax before ending with a quiet unison. The piece requires particular attention to tempo and mood changes to support the heartfelt text. Listen to the piece here – https://www.youtube.com/watch?v=9xzF5dhfEBQ. (Portland State University Women’s Chorus) Joan included this piece in her presentation Sacred Music for All in an Age of Anxiety at the 2021 National ACDA online conference.

Faith is the bird that feels the light – SSA by Elizabeth Alexander, text by Rabindranath Tagore from Fireflies

About this piece: This sweet, soulful setting of Tagore’s text is very accessible and can be sung by a variety of ages. The solo can be divided between two singers with the main challenge being that the second solo starts quite low but could be modified to work for a younger voice. The words are simple with the short text being repeated throughout, but there are a variety of textures, dynamics and a nice call and response with the second soloist. Elizabeth suggests that the piece can certainly be sung with a folk/blues inflection, offering a nice contrast to other potential programming. It’s great fun to sing and has an astonishing final chord “offering not resolution but possibility!” – https://vimeo.com/507682258?fl=pl&fe=vl 

There Will Come Soft Rains – SSAA with oboe – Kevin Memley from Impressions, text by Sara Teasdale from Reflections on Humanity

About the piece: This intense and evocative setting of Sara Teasdale poem written just after the start of the German spring offensive in WWI offers several challenges to the ensemble, and a chance to work on a spacious, shimmering sound. For much of the piece, the choir begins in unison and quickly adds harmony, blossoming into a 4-part chord that then needs to descend and resolve quietly into two voices. The harmonic structure is basically the same for the first two verses of poetry with some subtle differences. The composer uses lots of polyrhythms – two-against-three with an almost constant flowing 6/8 rhythm in the left hand of the accompaniment and the lines often move in thirds so that we move from two-part to three and four part frequently. After a contrasting interlude, the piece brings back the opening theme for the final verse, ending with the choir slowly snapping fingers to imitate the sound of raindrops as the oboe plays the plaintive melody with which it opened the piece. The score requires an accomplished and sensitive oboist. https://www.youtube.com/watch?v=vt5B16BRi4M (Baylor University Bella Voce Choir)