Ain't Gonna Study War No More | Caldwell/Ivory | SSA
Let it be you | Kyra Stahr | TTB
All the Whiskey in Heaven | Rich Campbell | TTBB
We Are Timeless | Moira Smiley | SAA
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ACDA 2025
ACDA 2025
ACDA 2025
Commissioned by Choirs of America
Geoffrey McQueen, Executive Director
Christopher Olin, Artistic Director
O Vos Omnes
SATB Chorus and Piano
Traditional Liturgical Text adapted from the Latin Vulgate translation of Lamentations 1:12
This charming choral gem comes from the pen of Cécile Chaminade (1857-1944) and exhibits all the hallmarks of her compositional style lyrical melodies, clear textures, and mildly chromatic harmonies. The modest ranges of the two parts sopranos D4-E5 and altos B3-D5 make this an ideal work for treble ensembles of all ages and ability levels. Performance by tenor-bass ensembles is also viable option. The score calls for organ (or harmonium) accompaniment, which adapts easily to the piano. This edition, based on the original publication of 1927, clarifies dynamic markings and offers suggestions for breaths in both the choral and keyboard parts.
ACDA 2025
History has not been kind to Cécile Chaminade. In the late 19th and early 20th centuries her composing and performing made her one of the most recognizable names in French music, but the last two decades of her life were spent in relative solitude, and she died in obscurity. Chaminade wrote over 400 works, nearly all of which were published (a mark of distinction in itself), but little of her music has made its way to the modern-day concert stage. Flutists know her Concertino, Op. 107 (commissioned by the Paris Conservatoire in 1902), pianists know some of her character pieces, and a few of her songs have crept back into the vocal recital programs, but most choral conductors are completely unaware of her Messe pour deux voix égales. This edition hopes to provide a small step toward correcting that oversight.
Chaminade was born to musical parents of some affluence who recognized her talent early on. Bizet was their neighbor and dubbed the young Cécile his “little Mozart.” In the late 1860s she played some of her piano compositions for Liszt, who compared her approach to that of Chopin. Her ballet symphonique, Callirhoë, Op. 37, was premiered in Marseille in 1888 and subsequently staged more than 200 times. She gave public recitals of her own music as early as 1878 and performed her own works primarily her character pieces for piano and her melodies to packed concert halls throughout Europe. In England, she received the Jubilee Medal from Queen Victoria in 1897, and her Prelude for Organ, Op. 78, was performed at the Queen’s funeral in 1901. She was even more popular in the United States, where thousands of American women participated in “ Chaminade Clubs,” musical so cieties focused on amateur performances and discussion, with a fair amount of Chaminade veneration. She toured the U.S. in 1908, appearing in major musical venues on the East Coast and in the Midwest. Chaminade received the Légion d'honneur in 1913, the first female French composer to be so recognized. In spite of all these successes, by the time of her death in 1944, her music was already out of fashion and seldom performed.
Moderato = 88
K Y R I E
ACDA 2025
ACDA
son. Chri ste e le i son, Chri ste e le i son, e
son. Chri ste e le i son Chri ste e
ACDA
rallen.
a tempo
rallen. a tempo
About the Composition:
I want to begin by saying that I struggle to write up-tempo music. As a composer, I tend to lean toward and connect to slow and emotional pieces. I have always been someone who strives to convey emotional complexity, therefore writing an up-tempo piece had to be purposeful and meaningful.
The inspiration for this score comes from the first time I was able to hear my son's heartbeat in an ultrasound. It was a magical and exciting moment that I will never forget; however, everything leading up to that specific moment had an element of tension. Six months prior to hearing my son’s heartbeat my wife and found ourselves in a very similar situation with a different ultrasound. We arrived at the hospital excited to meet our child only to find out that we had miscarried. I had never felt so deflated and aimless in one sudden moment. It was as if I was a boat, drifting, with no direction in my life.
Fast forward to this ultrasound with my soon-to-be son, you can imagine the excitement and fear I felt all at once as the doctor prepared to give the ultrasound. Hearing the heartbeat of my son was the most beautiful sound I have ever heard, and it brought me to tears. Personally, it felt like such a hopeful relief.
The excitement and tension of that specific moment are what I sought to capture in this composition.
Performance Notes:
ACDA 2025
The djembe uses symbols and note placement to differentiate between slap, tone, and bass hits. Regular note heads placed below the staff signify bass hits, triangular note heads located on the staff signify tones, and exes above the staff signify slaps. The soprano solo/duo at m. 48 is optional and should only be performed if possible by the choir. Lastly, other percussion elements may be added to the score so long as they accentuate and enhance the existing body percussion, djembe, and shaker line. *For Zach's current bio please visit zacharyjmoore.com*
for Luther College's Nordic Choir, directed by Dr. Andrew Last Dedicated to my soon to be son.
This response to Thomas Tallis’s iconic setting of this text was commissioned by the Amor Artis choral ensemble of New York City under the direction of Dr. Ryan Brandau and premiered in March 2022.
The piece begins by presenting Tallis’s original opening phrase “If Ye Love me, keep my commandments” establishing the harmonic and melodic framework from which the piece will depart.
The soprano solo enters at m5, at which point the harmonic material begins to expand and the texture thickens. The incorporation of the soprano saxophone adds remnants of Tallis’s original melody as a soloistic voice superimposed with the new melodic and harmonic material that is present in the vocal score.
ACDA 2025
There are many independent phrase entrances that will require singers to be confident when the harmonic shifts might not always be diatonic. In particular, m25 has a dramatic harmonic shift to the key of Cb which needs to be anticipated by all voice parts, but basses in particular, as they execute the Bb to Cb interval that lays the foundation for that phrase.
Attention to all dynamics is crucial to deliver the most emotional and captivating performance possible.
This piece works very well when paired with the original Tallis setting of the text
Thank you to Thomas Tallis for inspiring this work.
I Celebrate Life (the second and last movement of the Light Cycle suite), commissioned by Jennifer Gaderlund for the Graham Middle School Choirs, sets the beau.ful poem by Rhoda Gordon, the composer's late grandmother, for SATB (orig. SSA) Choir and Piano. The piece opens with an excited yet hushed os.nato in the Piano. The choir sings the first four lines of the poem by repea.ng the beginning line and adding the next line un.l it is complete, u.lizing the modern technique of addi.ve processes popular in Minimalism. In the more pensive middle sec.on, the os.nato transforms into a more poignant texture as the Choir "realizes the joy of being through seeing the glorious crea.on" that they are a part of. The os.nato then speeds up and returns to the hushed excitement heard in the opening. The piece concludes with the Choir building up to the most important line of the text: "The most powerful light to celebrate by is love."
This piece is suitable for any Mixed-Voice ensemble.
ACDA 2025
Text
I celebrate life With beauty, With color, With singing; I realize The joy of being Through seeing The glorious Crea.on I am part of. The most powerful Light to celebrate by Is love.
About the composer: Amy Gordon is an ac.ve composer, arranger, songwriter, and vocalist based in Los Angeles, CA. As a choral composer, she has worked with and been commissioned by numerous choirs, including being the composer-in-residence for Nova Vocal Ensemble. She has also scored numerous films and webcasts. She has a BA in Composi.on from Loyola Marymount University and an MM in Composi.on from California State University, Long Beach.
beau
ACDA 2025
& V ? &
ACDA 2025
V ? ?
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ACDA 2025
ACDA 2025
ACDA 2025
ACDA 2025
ACDA 2025
ACDA 2025
ACDA 2025
ACDA 2025
ACDA 2025
ACDA 2025
Commissioned by the Young Voices of Colorado, Jena Dickey, Artistic Director for the Sing A Mile High International Children's Choral Festival 2016 - Denver, CO
A fierce, hopeful anthem celebrating LGBTQIA experience and joy. Commissioned by Mirabai and Denver Women’s Cho rus
CHORUS
For we are timeless, we are far, we are near. We are alive beyond the poison of fear We are all stronger when we are open and true You with me, me with you.
VERSE - CHANT
I am alive in the 21st century, everyone said to me Ooh, child, you may be unlucky to be born now, but be calm, child. Many things are wrong, child, so try to get along, put your head down…. watch out for the bully! Oh! They say I’m just a girl, just a boy, don’t play with that toy! But I come to know what I love more than what I hate Do not negotiate who I am, who I love, what I’m made of And if you say you hate me that’s all you, not me I’m sorry someone lied and told you what you couldn’t be Have they never seen a rainbow? So many colors in a rainbow. Have they never seen a rainbow? They don’t know… They don’t know…
VERSE 2
I came to you, my guardian angels With hope that you would see all of me When I was shunned away to darkness And I yearned for chosen family.
ACDA 2025
I found myself through community Bloomed into a glorious me I stand on the shoulders of my elders Who fought so I could live to be free We need every color in the rainbow
C o m m i s s i o n e d b y M i r a b a i & D e n ve r Wo m e n ' s C h o r u s , 2 0 2 3 fo r S to r y te l l e r s C h o r a l E ve n t & M i r a b a i C h o r a l S e r i e s
A r e T i m e l e s s
C o m m i s s i o n e d b y M i r a b a i & D e n ve r Wo m e n ' s C h o r u s , 2 0 2 3
fo r S to r y te l l e r s C h o r a l E ve n t & M i r a b a i C h o r a l S e r i e s
M o i r a S m i l e y w i t h V2 b y S h r u � R a m a n i , K i a r a h O ’ K a n e
q = 7 6
S P n o
P n o
S 1 A 1
2 P n o
P n o
M o i r a S m i l e y
M o i r a S m i l e y p i a n o a r r a n ge m e n t b y M S m i l e y + K a i F u k u d a
p i a n o a r r a n ge m e n t b y M S m i l e y + K a i F u k u d a M o i r a S m i l e y w i t h V2 b y S h r u � R a m a n i , K i a r a h O ’ K a n e I N TR O C H O R U S & b b b ? b b b
P e r fo r m a n c e N o te s :
I N TR O C H O R U S & b b b ? b b b
4 4 4 4 4 4 & b b b ∑
1 U n d e r l i n e d te x t i n S d e n o te s o p � o n a l d i v i s i o n ' a l i ve '
AL L s n g th s m e o d y th e n p e e l o ff
F o r w e a r e � m e l e s s , - w e a r e fa r w e a r e n e a r
2 Th e p a u s e a t m 6 6 b e fo r e t h e fi n a l c h o r u s , I h e a r /s e e s o m e t h i n g fe r o c i o u s h a p p e
n
c a l fl o u r i s h , a s h o u t , a s t u n n i n g m o ve m e n t b y o n e p e r s o n s o m e t h i n g t h a t s to p s � m e
P e r fo r m a n c e N o te s :
1 U n d e r l i n e d te x t i n S d e n o te s o p � o n a l d i v i s i o n ' a l i ve '
3 Th e ' w o o p ' a n d ' h e y ' m o m e n t s
2 Th e p a u s e a t m 6 6 b e fo r e t h e
a s h o u t , a s t u n n i n g m o ve m e n t b y o n e p e r s o n
We a r e a l i ve - b e yo n d - t h e p o i s o n - o f fe a r
e p o i s o n - o f fe a r
We a r e a l i ve - b e yo n d - t h e p o i s o n - o f fe a r
We a r e a l l s t r o n g e r - w h e n w e a r e o p e n a n d
We a r e a l l s t r o n g e r - w h e n w e a r e o p e n a n d
We a r e a l l s t r o n g e r - w h e n w e a r e o p e n a n d
t r u e f Yo u w i t h m e m e w i t h yo u F o r w e a r e � m e l e s s , - h m m ! w e a r e
t r u e f Yo u w i t h m e m e w i t h yo u . F o r w e a r e � m e l e s s , - h m m ! w e a r e
t r u e f Yo u w i t h m e m e w i t h yo u .
F o r w e a r e � m e l e s s , - h m m ! w e a r e
t r u e f Yo u w i t h m e m e w i t h yo u . F o r w e a r e � m e l e s s , - h m m ! w e a r e
f Yo u w i t h m e m e w i t h yo u F o r w e a r e � m e l e s s , - h m m ! w e a r e
f Yo u w i t h m e m e w i t h yo u
F o r w e a r e � m e l e s s , - h m m ! w e a r e
1 A 1 P n o
w h a t I h a te mf o h o h o h
o h ff D o n o t n e g o - � - a te - w h o I a m , w h o I l o ve , w h a t I ' m m a d e o f, i f yo u s a y yo u S 1 A 1 P n o
h a te m e t h a t ' s a l l yo u , n o t m e S o r r y - s o m e o n e - l i e d , a n d to l d yo u w h a t yo u c o u l d n ' t - b e S 1
H a ve f t h e y n e ve r - s e e n a r a i n b o w ? - S o m a n y - c o l o r s - i n a r a i n b o w H a ve t h e y n e ve r - s e e n a r a i n b o w ?f S 1
Th e y mp d o n ' t k n o w, t h e y d o n ' t k n o w t h a t w e a r e � m e l e s s , -
We
1
1
s h u n n e d a w a y - to d a r k - n e s s a n d I ye a r n ' d fo r c h o s e n - fa m i l y - I fo u n d m y s e l f - t h r o u g h c o m m u - n i - t y -
P n o
s h u n n e d a w a y - to d a r k n e s s a n d I ye a r n ' d fo r c h o s e n - fa m i l y - I fo u n d m y s e l f - t h r o u g h c o m m u - n i - t yS 1 A 1
P n o
3
b l o o m ' d i n to - a g l o r i o u s m e I s ta n d o n t h e s h o u l d e r s - o f m y e l d e r s w h o fo u g h t s o I c o u l d l i ve to b e f r e e I
S 1 A 1 A
b l o o m ' d i n to - a g l o r i o u s m e . I s ta n d o n t h e s h o u l d e r s - o f m y e l d e r s w h o fo u g h t s o I c o u l d l i ve to b e f r e e I
i ve to b e f r e e
P n o
n e e d e ve r y - c o l o r - i n t h e r a i n b o w -
We n e e d e ve r y - c o l o r - i n t h e r a i n b o w - We
n e e d e ve r y - c o l o r - i n t h e r a i n b o w - We n e e d e ve r y - c o l o r - i n t h e r a i n b o w - We
n e e d e ve r y - c o l o r - i n t h e r a i n b o w -
We n e e d e ve r y - c o l o r - i n t h e r a i n b o w -
S 1 A 1
P n o n e e d f e ve r y - c o l o r - i n t h e r a i n b o w - o h o h ! o h ! w h o w e a r e i s a r t ! w h o ff w e a r e i s a r t ! 6 1
n e e d f e ve r y - c o l o r -
p o i s o n - o f fe a r We a r e a l l s t r o n g e r - w h e n w e a r e o p e n - a n d t r u e
p
i s
p o i s o n - o f fe a r
P n o
a r e a l l s t r o n g e r - w h e n w e a r e o p e n - a n d t r u e
