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

The Michigan State University Women's Chorus enthralled their audiences at the 2009 National ACDA convention in Oklahoma City with this unique setting of the beloved hymn by John Newton. It incorporates the traditional melody in its original shape note context as well as with modern compositional techniques of chord clusters and aleatoric effects. Duration: ca. 4:10.

Arranger: Michael Hanawalt | Composer: John Newton

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

Several variants of this famous English folk ballad are incorporated into this evocative setting for women's voices. First performed by the Varsity Women's Choir of Appleton North High School, James Heiks, conductor.

Arranger: Stephen Hatfield

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

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

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

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

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

Duration: ca. 3:40

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

The fragmented nature of the poetry is reflected in the many small musical sections. (3:00)

Arranger: David L. Brunner

This fleet-footed setting of a medieval French folksong is packed with energy and self-assurance. Sure to please!

Arranger: Stephen Hatfield

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 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

Adapted from a traditional African-American chant, this is - in the composer's words - a soulful piledriver with a monster backbeat. Plentiful but manageable divisi writing makes this a full and satisfying arrangement.

Arranger: Stephen Hatfield

Adapted from movement from a suite by C. Hubert H. Parry, this tuneful, quintessentially British melody, easily associated with the 19th Century England's vast reserve of folk-songs provides a wonderful vehicle for teaching style and musicality. The cello part is playable by a high school player.

Arranger: Robert Sieving

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

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

This is a merging of modern diction with the ancient forms of counting song, nursery rhyme, round, or catch, and the incantational folk songs that paid homage to the natural powers of this peculiar and beautiful world. (2:15)

Arranger: Stephen Hatfield

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

"Queen Ann" is Jane Seymour, the third and most beloved wife of Henry VIII, who died giving birth to Edward VI. Originating in England, this ballad then traveled to America where it settled in the isolated Kentucky hills. The story is told by three characters each of whom carry a distinctive timbre: treble I - Jane Seymour, treble II - the narrator, and treble III - Henry VIIII. The slow tempo and emotional context of the text give many opportunities for word painting and subtle dynamic nuances.

Arranger: Stephen Hatfield

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

Arranger: Stephen Hatfield

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

Arranger: Stephen Hatfield

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

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

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

By choosing to set this text, which speaks of charity and the love of God, for treble voices, Douglas Pew seeks to create images of celestial bodies and celestial spheres where this type of sacred love can exist in its full capacity. Using the full range of the mature voice, this will be a wonderful addition to your advanced women's choir literature.

Composer: Douglas Pew

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