SKU: OU.9780193359673
ISBN 9780193359673. 12 x 8 inches.
For unaccompanied SSA chorus This slightly sombre setting of five poems is homophonic, giving the impression of a single vocal line. The very close harmony throughout conveys a sense of restraint and a longing to escape from the conflicts Mary Webb experiences as a woman.
SKU: CF.CM9704
ISBN 9781491160114. UPC: 680160918713. Key: F# minor. English. Sir Rabindranath Tagore.
Richard Hageman (1881-1966) was a born into a family of musicians. As a pianist, he performed concerts from the age of six, and his mastery of this instrument is evident in the intricate accompaniment of this piece. After coming to America, (originally as accompanist to touring French singer Yvette Guilbert), he worked for a period of years as a conductor and pianist for the Metropolitan Opera in New York. It was during this period of time that he composed Do Not Go, My Love for solo voice, originally dedicating it to the operatic tenor, George Hamlin. Hageman's later career included work in Hollywood, first as a conductor, but later as a film-score composer and actor. Do Not Go, My Love is well-known among classical soloists, and many recordings exist. The SSA version of this American standard brings a vocal classic to younger singers who might not yet possess the dexterity to perform the original solo. Rabindranath Tagore (1861-1941) was an Indian polymath; someone who possesses deep knowledge and understanding of many disparate subjects. Tagore's expertise included the visual arts, music, and poetry. Tagore won the Nobel Prize in Literature in 1913, contributing to his receiving knighthood from King George V in 1915, but Tagore renounced his knighthood after the 1919 Jallianwala Bagh massacre. There are five Tagore museums in Bangladesh and three in India; at least three universities bear his name. Do Not Go, My Love is taken from The Gardener, a collection of poems translated from Bengali by Tagore and published in 1915. Number 34 in the collection, and taken by itself, the poem might be interpreted as someone watching over the deathbed of a lover or child; however, the larger narrative woven through The Gardener suggests a romantic relationship being clung to by the speaker. .Richard Hageman (1881–1966) was a born into a family of musicians. As a pianist, he performed concerts from the age of six, and his mastery of this instrument is evident in the intricate accompaniment of this piece. After coming to America, (originally as accompanist to touring French singer Yvette Guilbert), he worked for a period of years as a conductor and pianist for the Metropolitan Opera in New York. It was during this period of time that he composed Do Not Go, My Love for solo voice, originally dedicating it to the operatic tenor, George Hamlin. Hageman’s later career included work in Hollywood, first as a conductor, but later as a film-score composer and actor. Do Not Go, My Love is well-known among classical soloists, and many recordings exist. The SSA version of this American standard brings a vocal “classic†to younger singers who might not yet possess the dexterity to perform the original solo.Rabindranath Tagore (1861–1941) was an Indian polymath; someone who possesses deep knowledge and understanding of many disparate subjects. Tagore’s expertise included the visual arts, music, and poetry. Tagore won the Nobel Prize in Literature in 1913, contributing to his receiving knighthood from King George V in 1915, but Tagore renounced his knighthood after the 1919 Jallianwala Bagh massacre. There are five Tagore museums in Bangladesh and three in India; at least three universities bear his name.Do Not Go, My Love is taken from The Gardener, a collection of poems translated from Bengali by Tagore and published in 1915. Number 34 in the collection, and taken by itself, the poem might be interpreted as someone watching over the deathbed of a lover or child; however, the larger narrative woven through The Gardener suggests a romantic relationship being clung to by the speaker. .
SKU: CF.CM9580
ISBN 9781491154021. UPC: 680160912520. 6.875 x 10.5 inches. Key: D mixolydian. English, Latin. 15th Century Medieval Carol.
The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherds response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compassthe distance between the highest and lowest noteis at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherdas response in the gospel of Luke 2:15, Transeamus. Latin phraseA translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compassathe distance between the highest and lowest noteais at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd's response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass--the distance between the highest and lowest note--is at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd's response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pares forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass--the distance between the highest and lowest note--is at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written.The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd’s response in the gospel of Luke 2:15, Transeamus.Latin phrase translation sourceAlleluia Alleluia LaetabundusRes miranda A thing to be wondered at LaetabundusPares forma of equal form LaetabundusGaudeamus Let us rejoice! GaudeamusTranseamus Let us go Luke 2:15The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty.The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists.Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass—the distance between the highest and lowest note—is at its widest.The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.
SKU: AP.48853
UPC: 038081561776. English. Andy Beck.
Andy Beck brings his gift for vivid text painting, evocative piano motives, and tuneful melodies to a favorite wintertime poem. Though not a word-for-word setting, the themes of the Elinor Wylie's words are evident from the snow-covered introduction, winding melody, and expressive andante, to the silken harmonic palette and lacy choral layers. Choose this piece with the confidence that it has been carefully constructed to encourage musicality and artistry from any ensemble. Program the eloquent concert and contest work from fall to spring, anytime there might be snow on the ground. We shall walk in velvet shoes . . . under a veil of lace. This title is available in MakeMusic Cloud.
About Alfred Choral Designs
The Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.
SKU: CF.CM9706
ISBN 9781491160022. UPC: 680160918621. Key: D minor. English. Sara Teasdale, adapted by Meredith Tompkins.
Sara Teasdale was a celebrated American poet who lived at the turn of the twentieth century, known for her classical style and pure, openhearted writing. At the young age of twenty-three, she became a published author and went on to release a total of eight award-winning collections of poetry in her lifetime. Love-Free is a reflective poem that appears in Part I of Rivers to the Sea, published in 1915. In the text, the narrator experiences a range of emotions centering around lost love and the desire to either separate from or rekindle it. Reminiscent of an antique music box, the text is paired with a waltz-like accompaniment in a lilting 3/4 pattern. Melodic exploration of the natural minor scale is achieved through mostly step-wise motion and some carefully placed, text-painted leaps ranging from a minor third to a sixth. With some unison, SA, and SSA sections, this piece can show off the wide array of colors and textures available to treble choirs.Sara Teasdale was a celebrated American poet who lived at the turn of the twentieth century, known for her classical style and pure, openhearted writing. At the young age of twenty-three, she became a published author and went on to release a total of eight award-winning collections of poetry in her lifetime. Love-Free is a reflective poem that appears in Part I of Rivers to the Sea, published in 1915. In the text, the narrator experiences a range of emotions centering around lost love and the desire to either separate from or rekindle it. Reminiscent of an antique music box, the text is paired with a waltz-like accompaniment in a lilting 3/4 pattern. Melodic exploration of the natural minor scale is achieved through mostly step-wise motion and some carefully placed, text-painted leaps ranging from a minor third to a sixth. With some unison, SA, and SSA sections, this piece can show off the wide array of colors and textures available to treble choirs.
SKU: FG.55011-569-9
ISBN 9790550115699.
Alex Freeman's I Feel the Same Way, Three songs of Lilian Moore (2015) for children's chorus (SSA) captures little moments of childhood wonder. Lilian Moore (1909-2004) was a poet and editor, who helped make children's books more affordable and worked to combat racial stereotypes in children's literature. In the printed collection, the ambiance of each poem is enhanced by the artwork of Robert Quackenbush. His illustrations for each of the poems that Freeman has set to music here are reproduced within this score with the aim of transporting young singers into the micro universes of Moore's poems. Alex Freeman (b. 1972) grew up in Raleigh, North Carolina. Around the age of 13 he became interested in composing. In 1998 he moved to New York to begin his Doctoral studies at the Juilliard School, studying with Christopher Rouse. The focus of his doctoral document led him to Finland. The recipient of a Fulbright Full Fellowship, he moved to Helsinki in 2001 to research Sibelius's sketches and study composition with Eero Hameenniemi at the Sibelius Academy. Dr. Freeman is currently composing full-time and lives with his wife and children in Finland.
SKU: CF.CM9773
ISBN 9781491164440. UPC: 680160923342. Key: C# minor. English. Christina Rossetti.
In the bleak midwinter, frosty wind made moan,                            Earth stood hard as iron, water like a stone;                                Snow had fallen, snow on snow, snow on snow,                               In the bleak midwinter, long ago.What can I give Him, poor as I am?                                            If I were a shepherd, I would bring a lamb;                                     If I were a Wise Man, I would do my part;                                    Yet what I can I give Him: give my heart.The text from this beloved poem of Christina Rossetti (1830–1894) was originally published in an 1872 issue of Scribner’s Monthly, under the title A Christmas Carol. In the first of its five stanzas, the speaker describes in great detail a bitingly cold winter scene, void of both warmth and light. By the final stanza, the speaker's thoughts turn inward, asking what gift they may offer the infant Jesus, meek though they believe themselves to be.The poem was later set by English composer Gustav Holst (1874–1934) as a contribution to the English Hymnal in 1906 and remains the most popular setting today.London-born Rossetti came to be regarded not only as one of the greatest female poets of her time, but as an outspoken advocate on several societal issues, including slavery and cruelty towards animals.In this setting, word painting is of the utmost importance. Careful attention to word stress throughout the course of the piece will make the performance all the more captivating. Descriptive lines such as “frosty wind made moan†should be conveyed with swelling crescendos, like frigid gusts of frozen air.While this piece features an original tune, the beloved Holst melody is also featured briefly, beginning in m. 28. Take care to bring this out.There are plenty of other allusions to wintry scenes scattered throughout the choral parts as well as the accompaniment. I encourage you to put your sleuthing “hats†on and find them all. It will make the learning experience much more memorable and fun.
SKU: HL.1424334
UPC: 196288200598.
Embark on an emotional journey with Edna St. Vincent Millay's evocative words from her acclaimed 'Collected Poems' (HarperCollins). This poignant text beautifully unveils the familiar vulnerability often entwined with grief. Composed for TBB choir and piano, this piece features accessible yet richly woven harmonies that aim to encapsulate the heartfelt and sorrowful essence of Millay's profound poem. Ideal for your middle or high school TB choir.
SKU: HL.8750088
UPC: 884088365325. 6.75x10.5 inches.
The mystery and majesty of Yellowstone is perfectly portrayed in this choral tone poem that celebrates the beauty of this American treasure. An ideal concert and festival work, it may be performed by voices and piano or with the optional orchestration. Available separately: SATB, SAB, SSA, ChoirTrax CD. Chamber Orchestra score and parts available digitally (fl1, fl2, ob, bn, tpt, hn, tbn, bar, timp, vn1, vn2, va, vc, db). Duration: ca. 3:20.
SKU: BT.MUSM570366125
English.
Morag Galloway 's Dream of You for three voices (SSA). Duration: 2 minutes Composed: 2004 Also published as part of UYMP's Songspin Songbook, ISMN M 57036 603 3. Dream of You sets Morag 's own poem and was commissioned by Juice for performance in a late night concert, 'the witching hour', in York Spring Festival, May 2004. The poem describes a dream in which a single night with someone is remembered. The compositional aim was to set the words as they came without repetition, and not to repeat any musical material either. This was to try to recreate the strange familiarity of this dream and attempt to let it unfold in ‘real time’; to be as fleeting as the original night itself.
SKU: GI.WLG153
UPC: 888680092436. English. Text by Robert Frost.
A fantastic selection for treble choirs. This beautifully sorrowful Robert Frost poem has been captured by the composer's melody and accompaniment. Nice polyphonic vocal writing creates good texture while being singable. The addition of the cello reflects the voice of sorrow. Duration: Approx. 4:00. Optional Violin Part Recording by Baylor University Bella Voce, Lynne Gackle, conductor A fantastic selection for treble choirs. This beautifully sorrowful Robert Frost poem has been captured by the composer's melody and accompaniment. Nice polyphonic vocal writing creates good texture while being singable. The addition of the cello reflects the voice of sorrow. Duration: Approx. 4:00. Optional Violin Part Recording by Baylor University Bella Voce, Lynne Gackle, conductor.
SKU: HL.300003
ISBN 9781540061676. UPC: 888680959913. 6.75x10.5 inches.
Inspired by Sarah Williams' poem, The Old Astronomer, this best-selling concert work is now available for 3-Part Mixed and tells of the irony of life's moments of joy, sadness, longing, endurance, love and many other lessons rolled into a vessel of musical inspiration. Optional cello included with the choral.
SKU: HL.1224660
UPC: 196288143635. 6.75x10.5x0.029 inches.
Now available for treble voices. Royal Canadian Air Force Pilot John Magee wrote his popular poem ââ¬ÅHigh Flightââ¬Â when he was just 19 years old. In the poem, he describes the delirious feeling of wheeling and soaring, and an intimate connection with the divine. Setting these words, the composer's music soars and dives and floats and reflects the joy this young pilot experienced from the pilot's chair.
SKU: AP.49700
UPC: 038081567877. English.
Like a cozy sweater on a cold day, this original wintertime poem juxtaposes warmth with chills. Imagine the opening descending motive as the first falling flake and the eventual musical layers as accumulating snow. Each voice part sings in the sweet spot of their tessitura to garner rich choral tone. A harmonically vivid bridge creates contrast and offers a flurry of beauty in the piano, as singers realize the beautiful snowflakes are fleeting, all too soon they fade away. Delicate yet deep, simple yet stunning. This title is available in MakeMusic Cloud.
SKU: AP.50188
UPC: 038081573588. English. Words by Sara Teasdale.
Acknowledge life's many gifts with this splendid setting of Sara Teasdale's poem that reminds us to spend all you have for loveliness. A lilting rhythmic flow and some refreshing mixed meter moments create a buoyant effect. Greg's tuneful lines and sensible part writing are satisfying to sing and pave the way to success. Absolutely delightful!
SKU: HL.48024471
ISBN 9781784543839.
Composed for the Childrens Chorus of Opera North, this is an upper voice setting of Thomas Hardys poem of the same name ('Christmas Eve, and twelve of the clock'). The swaying jazz waltz style and chromatic, but very singable melody combine to create an effective and unique carol to add some variety to a choirs Christmas programme. The vocal parts are very approachable, with unison verses and two or three-part wordless refrains (sung to 'oo').
SKU: AP.48814
UPC: 038081561387. English. Words by Robert Frost.
Robert Frost's famous poem describes the woods as lovely, dark, and deep, and the same can be said about this appealing setting for winter concerts. The minor key casts a pensive backdrop for the vivid imagery of the text. The composer shows her teaching prowess by sculpting a line that harmonizes easily when sung in thirds and fits together perfectly when echoed from part to part. Developing choirs will appreciate the balance of emotional depth in the words and approachable challenges in the vocal parts. Sing the cue notes to quickly convert the 2-part voicing to S.S.A.
SKU: HL.1113576
ISBN 9781705179420. UPC: 196288104889. 6.75x10.5x0.029 inches.
This Wilcox poem mysteriously describes, like a riddle, a locomotive as if it's a living being of flesh and blood. Parr's setting is perfect to create and hold interest of young singers using a minor key, dynamic contrast, and interesting, rhythmic writing. A solid teaching and performance piece for any time of year.
SKU: HL.285974
UPC: 888680892494. 6.75x10.5 inches.
Using constant and flowing eighth notes in the piano accompaniment along with overlapping echoes in the voices to mirror the sound of a steady rainfall, here is a beautiful setting of the James Joyce poem. The most famous setting of this text was created by American composer Samuel Barber and now we have a setting that is suitable for middle school singers. Detailed and informative rehearsal notes are included in the page two notes.
SKU: AP.47595
UPC: 038081542881. English. Words by William Cullen Bryant.
Ruth Morris Gray has a gift for presenting worthy texts in satisfying choral settings, and this piece is no exception. With words from the poem November by William Cullen Bryant, former editor of the New York Evening Post, this expressive concert work evokes the stark beauty of coming winter. An optional C-instrument part adds a shimmering layer to the luscious choral/piano texture.
SKU: GI.G-009452
UPC: 641151094526. Text by Paul Cross.
Bob has set his original miusic to the contemplative words of the poem Mary the Dawn, Christ the Perfect Day, telling of Mary's important and supportive role in bringing the Messiah into the world. The piece begins with a vocal dialogue between unison men and women alternating the poem's phrases. The choral writing builds to a homophonic texture, an interlude introduces a new key and the piano writing adds a new texture to the closing phrase Mary the shrine, Christ God adored..
SKU: AP.48836
UPC: 038081561608. English. William Blake.
Captivating. Adventurous. With just a hint of danger. This feisty minor key setting of William Blake's gripping poem immediately garners attention with a ferocious fanfare. Then a jaunty, detached piano motive (which later becomes a choral counterline), leads to contemporary choral writing firmly rooted in traditional techniques. Angular intervals and syncopated agitation provide energy, vim, and vigor. Guaranteed to be a highlight of rehearsals, concerts, contests, and festivals. Visit to download a free choral rehearsal guide: www.alfred.com/tigerrehearsalguide This title is available in MakeMusic Cloud.
SKU: AP.50140
UPC: 038081573106. English. Words by Emily Dickinson.
This charming setting of the famous Emily Dickinson poem reminds us that hope never stops at all. A memorable melody is first sung in unison before layering into a buoyant two-part canon. From the brisk opening piano motive to the exuberant full-voiced ending, it's a stellar selection overflowing with joy. Careful and conservative part writing ensures success for developing choirs.
SKU: AP.30965
UPC: 038081337371. English. Rudyard Kipling; adapted by Marta Keen.
You will grow as a person if you learn to deal with the intricacies of daily life. This strong text based on Rudyard Kipling's poem will inspire and lift your singers to new heights. Optional solo opportunities for your best singers. A masterpiece for your choral ensembles. Accompaniment included on PianoTrax 1 CD (00-31028).
SKU: AP.48335
UPC: 038081551586. English. Words by Emma Lazarus.
These famous words are inscribed on the pedestal of the Statue of .Liberty: Give me your tired, your poor, your huddled masses yearning to breathe free. Emma Lazarus's timeless poem has been sensitively imagined for choir and piano, with optional French horn. A stirring opening solo blossoms into a beautifully crafted chorus with expressive tempo and dynamic shifts. Patriotic and inspiring. This title is available in MakeMusic Cloud.
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