Already chosen for several All-State choral festivals, this exciting choral fanfare is the perfect concert opener. The text, in Italian and based on lines from Dante's Divine Comedy, speaks of goodness and love. The sound of non-pitched bells will establish a special mood for the night ahead. Duration ca. 1:40. Performed by Women's Chamber Ensemble, Michigan State University, Sandra Snow, conductor.

Arranger: Lee Kesselman

Arranger: Stephen Hatfield

One of the songs of Mirabai (1498-1547), this setting for 4-Part women's chorus is marked by sinuous and sensual solo lines, drones, embellishment, rhythmic ostinati and layering of voices and instruments. Written for and premiered at ACDA 2009 by the Michigan State University Women's Chamber Ensemble, Sandra Snow, Conductor. With cello.

Arranger: David L. Brunner

Based on a biblical text, And Miriam Sang is a song of celebration following Israel's deliverance from Egypt through the Red Sea. It begins in a slow, chant-like manner, and soon shifts to an up-tempo dance-like mood. Although the melodies are original, they incorporate the augmented second interval and melodic formulas common to Hasidic and some Middle-Eastern music. The use of Hebrew text, tambourine and drums add to the authentic feel. Duration: ca. 3:15. Performed by Michigan State University Women's Chamber Ensemble, Sandra Snow, conductor.

Arranger: Zebulun M. Highben

Bring in the new year with this lovely arrangement that uses the beloved Scottish poem by Robert Burns and a tune that predates the one commonly used today. The song speaks to the value of old friends, although life circumstances (and people themselves) are ever changing. Duration: ca. 4:30.

Arranger: Mairi Campbell

This Ojibwa text, adapted by the composer, explores the beloved flower of the forest, Sky-treading bird of the prairie, wonderful fawn-eyed one. Opening with a joyful fanfare-like exclamation of the word Awake and ending as though in soaring flight, this is an excellent selection for advanced women's choir repertoire.

Arranger: Imant Raminsh

Battant Son Plein is French slang, literally "hitting his fill," the equivalent of the English "in full swing." Written for Scala, a children's choir from Bruxelles, the title refers to what these children sound like when they sing, and the piece is a salute to their confidence and daring.

Arranger: Stephen Hatfield

Taking advantage of the ancient and at the same time relevant musical style we know as Chant, Stephen Hatfield has created a funky, rhythmic, modern look at musical styles and how reality and the digital world have changed what is possible. Music is in us and has been in us from the beginning of time. Now is the time to express the music in me. Duration ca. 3 minutes, 40 seconds.

Arranger: Stephen Hatfield

A unique pairing of Latin text (taken from a bell inscription) and the percussive beats of African drumming, Carillon is full of rhythmic excitement, call-and-response singing, and relentless energy.

Arranger: Stephen Hatfield

This work is based on three medieval English song fragments, the first, Ich am of Irlande, an invitation to dance, the second, Of every Kinne tre, a parallel between the hawthorn and the lover, the third, Maiden in the more lay, describing a spirit who lives among the flowers. The viola adds an important dimension to the work, from graceful backdrop to lively playmate.

Arranger: Sheena Phillips

Combining the 15th century Bianco Da Siena text Laudi Spiritualis with a single verse from Christina Rossetti's A Christmas Carol. In the first, the poet invites divine love to descend. In the latter, Rossetti considers the gift of love manifested in the birth of the Christ child. Together, they remind the listener that holy love may come in many forms.

Composer: Sally Lamb McCune

Second in the cycle of Ecstatic Songs on texts by the Hindu mystic poet Mirabei written for the Michigan State University Women's Chamber Ensemble and their conductor Sandra Snow, the soloist in this piece embodies the voice of Mira with words of intensity, passion, conviction and devotion. With percussion (pakhawaj, finger cymbals, bells, wind chimes and brass bowls). Duration: ca. 4 minutes 30 seconds.

Arranger: David L. Brunner

Arranger: Stephen Hatfield

Now available for SSAA voices, this South African folk song of the Xhosa people is boisterous, open-throated and joyful. Duration: 3:30.

Arranger: Stephen Hatfield

Commissioned by the 2012 ACDA Women's Choir R&S Commissioning Consortium, the entire piece drives toward the last line of the Stacy Gnall poem big brother, I am catching up to you. One long, rhythmic race, this selection will be a wonderful contrast to much of the repertoire often included in women's choral concerts.

Arranger: Dale Trumbore

Now available in an SSA voicing, this choral work offers a taste of layered ostinatos and African polyrhythms and may be performed a cappella or with two or more percussionists.

Arranger: Stephen Hatfield

Now available in an SSAA voicing, this popular arrangement of Psalm 42 features a strong, forward moving pulse, piano ostinato and a vocal percussive quality in the chorus.

Arranger: Nick Page

Duration: ca. 5:30

Arranger: Stephen Hatfield

Jubilation is given full voice in this rousing setting of Psalm 150! Laudate Dominum is the final movement of Raminsh's Symphony of Psalms for chorus and orchestra; full vocal and orchestral materials are available from Boosey & Hawkes Rental Library.

Arranger: Imant Raminsh

A Canticle of Mary: My soul magnifies the Lord and my spirit rejoices in God, my Savior, this setting attempts to capture the mystical, miraculous quality that seems to emanate from these words. Duration: ca. 8:00.

Arranger: Frank La Rocca

The Magnificat for treble voices with optional strings is by the Baroque composer Nicola Porpora and is written in six contrasting choral movements. Editor Whittemore brings considerable knowledge and research to the project and conductors can be assured of excellent scholarship. Duration: ca. 9 minutes.

Arranger: Joan Whitmore

The Ecstatic Songs Cycle was a project with conductor Sandra Snow that spanned eight years. The first song was All I Was Doing Was Breathing (48019949), while the second song Don't Go (48022954) followed four years later. This movement has musical material that seems familiar, melodic gestures similar to those of the previous movements, and the reappearance of the solo cello as the longing in Mira's voice. There is a sense of resolve in her words and in this music.

Composer: David L. Brunner

This is an homage to the passing of time: a reflection on autumn turning into winter. Silence ensues as one takes refuge inside while wind stirs and trees toss outside, reminding us of the cycles of nature and the inner and outer worlds of our being. A gentle melody is framed by a sparse yet expressive piano part where waves of motion and longing gradually give way to peace and tranquility.

Composer: Andrea Clearfield

Written for the Wheaton College Christmas Festival, this work with a text by Christian mystic, Hildegard of Bingen, should feel very free, personal and almost improvisational. The close harmony requires careful attention to balance among the parts and is worthy of any fine women's choir.

Arranger: Lee Kesselman | Composer: Hildegard von Bingen

An audience need not be familiar with the history of Newfoundland and Labrador, Canada's easternmost province, to get the sense that an epic story is unfolding before them. Based on the maritime heritage of Newfoundland and Labrador, this modern folk song creates an atmosphere of sea air and hard work.

Arranger: Stephen Hatfield

With poetry by e.e. cummings, the text is a tender plea of a lover asking for acceptance of the gift of love with all its mysteries, fantasies, dreams and yearnings. The music reflects these offerings in a lilting waltz-like tempo that floats toward its conclusion with hints of promised fulfillment, expansiveness and peace. Duration: ca. 2:00.

Arranger: Daniel Brewbaker

Comprised of a children's song, a lullaby, and a love song, this collection of folk tunes is full of lively rhythms and enchanting melodies.

Arranger: Sidney Marquez Boquiren

These a cappella psalm settings capture two juxtaposed ideas of worship: collective, celebratory praise, which is portrayed in Praise Him, and the reverence of quiet solace and individual contemplation in Be Still. Duration: ca. 5:40.

Arranger: Andrea Ramsey

Ripple Effect was written in honor of the 25th anniversary of the Canadian group, Amabile Youth Singers. The text's theme of ripples set through water and air is reinforced by musical allusions to the chord progression of Donovan's water song Atlantis and the broken harmonic thirds of Debussy's air Clair de Lune. Duration: 5:00.

Arranger: Stephen Hatfield | Composer: Claude Debussy

Drawn from the English tradition that brought blessings to crops and flocks, this Somerset melody is rousingly arranged for full chorus.

Arranger: Stephen Hatfield

Representing one of the eight languages included in Raminsh's Symphony of Psalms, this stylistically French movement is filled with compelling vocal lines that embody the contemplative portion of this choral symphony.

Arranger: Imant Raminsh

This piece is known in a variety of melodies and dialects in the Ukranian oral tradition.

Arranger: Stephen Hatfield

Sista visits the grief of an African family losing a beloved child, as well as the deep connection to the spirit world of the ancestors, which makes it possible for family and friends to carry on after her death. Polyphonic layers of song in the finale reflect the polyrhythmic nature of the traditional Ghanaian music which helped inspire this piece. Duration ca. 5 minutes 30 seconds.

Arranger: Rory Magill

Son de Camaguey is a Cuban folk song from which the composer takes the refrain and then frames it with kaleidoscopic patterns of ostinati inspired by the song, and by Afro-Cuban music in general. Already one of the most exciting renditions from Stephen Hatfield as an SATB piece, it is now available for men's and women's choirs. Duration: ca. 3:00.

Arranger: Stephen Hatfield

This is the second in the trilogy called Widow Poems, written after the sudden death of a lover. Each of the three represents a different stage in the arc of the poet's grief. In this one, the bereaved begins to handle the material affairs of the deceased as she, glossing Shakespeare's famous funeral poem, contrasts his state of peace with her own dread.

Arranger: Kristina Boerger

This work sings of loves and experiences with a vibrant and lyrical text by Francesca Gulì (1924-2008) an American of Italian heritage. Opening with the phrase, I sing of Summer and of tree, whom I embrace embraces me, with music that grows and develops into rich textures ideal for collegiate and community women's choruses.

Arranger: Cary Ratcliff

Comprised of a children's song, a lullaby, and a love song, this collection of folk tunes is full of lively rhythms and enchanting melodies.

Arranger: Sidney Marquez Boquiren

This joyful and animated setting of Psalm 24 is the eighth movement of Raminsh's grand-scale work Symphony of Psalms. Full vocal and orchestral materials are available from Boosey & Hawkes Rental Library.

Arranger: Imant Raminsh

This lyrical and passionate work for treble choir, cello and piano features flowing, rich harmonies and exhilarating dance-like passages offering the promise of sensual beauty, joyful connection and unconditional love.

Arranger: Andrea Clearfield

Setting the poem Sunflowers by contemporary poet Susan Windle, this 6-1/2 minute work for women's choir and string quartet is strong and thoughtful and insightful and requires women who are just like the music. Commissioned by the Anna Crusis Women's Choir in celebration of their 30 year anniversary, this is an anchor piece for your concert.

Composer: Andrea Clearfield

These are settings of two poems on night themes by native Okanagan poet, Ben Abel: Nighthawk - Stars Do Tell. Includes optional flute part. Duration: 5:45. Performed by Anima-Young Singers of Greater Chicago. Emily Ellsworth, conductor.

Arranger: Imant Raminsh

Now available for women's voices, Viva La Musica! is a wonderful theme for any concert. This exuberant work opens with a strong, bold, unison exclamation, vividly expressing the text and musical idea.

Arranger: David L. Brunner

Überlebensgross, which means larger than life, pays tribute to the strength, sweetness and savviness of women's voices through a montage of styles ranging from Jerez Flamenco to 1920's flapper. Directions are included for use as a processional. The four percussionists are the driving force begind the piece, with plenty of room for showmanship. Percussion includes bamboo poles, triangle, sizzle cymbal, cowbell, shaker, agogo bells, and woodblock. Duration: ca. 3:00.

Arranger: Stephen Hatfield