Accompaniment - ["Reduction"]

Nolawi Araya's vibrant arrangement of the traditional spiritual March Down to Jordan captures the joy, energy, and communal spirit of the African American sacred tradition. This uplifting work invites both singers and listeners into a compelling musical journey of resilience and hope.

Accompaniment - ["Piano"]

The moving words, "As long as we live, we remember them" frame this highly melodic and touching song. We Remember Them is an achievable work for chorus and piano and will be a beautiful addition to any program. Also appropriate for memorial services and funerals. Andrew Crane Choral Series.

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Contact Jake at www.jakerunestad.com for part rental information._x000D_ _x000D_ Performance Video:_x000D_ _x000D_  _x000D_ _x000D_ Background_x000D_ _x000D_ _x000D_  _x000D_ _x000D_ Vincent van Gogh’s story is often framed by struggle—his lack of recognition, his illness, and the myths that surround his life. Yet, beyond the shadows, Vincent lived with a luminous heart: he gave generously to those in need, loved with intensity, and uncovered beauty in the ordinary. Though he endured what many now believe was temporal lobe epilepsy, his greatest gift was his vision—teaching us to see the world with fresh eyes, alive with light and wonder._x000D_ _x000D_ Across the ocean, Walt Whitman sang with a similar spirit. Vincent read him with admiration, and one senses in his letters and paintings a kinship with Whitman’s voice. Both were largely self-taught, both were seekers of truth and beauty, both revealed through their art a profound tenderness for people and the natural world. In Whitman’s words, Vincent may have found a companion; in Vincent’s colors, we may glimpse Whitman’s song._x000D_ _x000D_ In Vincent’s Sky, I explore van Gogh’s emotional world through the lens of three of his paintings, guided by Whitman’s words. I used a musical cryptogram, assigning pitches to letters, to spell words that would inform the musical content. For example, “VINCENT” is spelled with the notes A, B, G, C, E, G, F._x000D_ _x000D_ I. Olive Trees_x000D_ _x000D_ This painting pulsates with yellow rays emanating from the sun over a field of olive trees. Vincent associated yellow with happiness, and Whitman’s text for this movement celebrates color and light. _x000D_ _x000D_ II. Wheatfield with Crows_x000D_ _x000D_ While this movement opens with a soaring admiration for the beauty of the earth, Vincent’s thoughts are soon overtaken by hallucinations, ghostly voices, and chaos. The dark, stormy sky and presence of crows (a symbol of death) foreshadow difficulties ahead. Vincent wrote in his letters about having hallucinations of the Horla during his psychotic episodes. The Horla, a story written by Guy de Maupassant in 1886, depicts the possession of the main character by a supernatural being after he waved to a “superb three-mast ship,” and how this being gradually takes over his mind._x000D_ _x000D_ III. The Starry Night_x000D_ _x000D_ Vincent’s most iconic painting of the night sky is adapted from the view from his bedroom window at the Saint-Paul Asylum in Saint-Rémy-de-Provence where he admitted himself after a severe mental health crisis. Vincent’s fight against the “silent shadows” of his inner world come to life in the beauty of this night scene, in which the sky swirls with color and the stars shimmer with light. Whitman’s words bring us the hopeful twinkling of the stars in the face of life’s darkness.

Accompaniment - ["Piano"]

Performance Video:_x000D_ _x000D_ _x000D_  _x000D_ _x000D_ Background_x000D_ _x000D_  _x000D_ _x000D_ Vincent van Gogh’s story is often framed by struggle—his lack of recognition, his illness, and the myths that surround his life. Yet, beyond the shadows, Vincent lived with a luminous heart: he gave generously to those in need, loved with intensity, and uncovered beauty in the ordinary. Though he endured what many now believe was temporal lobe epilepsy, his greatest gift was his vision—teaching us to see the world with fresh eyes, alive with light and wonder._x000D_ _x000D_ Across the ocean, Walt Whitman sang with a similar spirit. Vincent read him with admiration, and one senses in his letters and paintings a kinship with Whitman’s voice. Both were largely self-taught, both were seekers of truth and beauty, both revealed through their art a profound tenderness for people and the natural world. In Whitman’s words, Vincent may have found a companion; in Vincent’s colors, we may glimpse Whitman’s song._x000D_ _x000D_ In Vincent’s Sky, I explore van Gogh’s emotional world through the lens of three of his paintings, guided by Whitman’s words. I used a musical cryptogram, assigning pitches to letters, to spell words that would inform the musical content. For example, “VINCENT” is spelled with the notes A, B, G, C, E, G, F._x000D_ _x000D_ I. Olive Trees_x000D_ _x000D_ This painting pulsates with yellow rays emanating from the sun over a field of olive trees. Vincent associated yellow with happiness, and Whitman’s text for this movement celebrates color and light. _x000D_ _x000D_ II. Wheatfield with Crows_x000D_ _x000D_ While this movement opens with a soaring admiration for the beauty of the earth, Vincent’s thoughts are soon overtaken by hallucinations, ghostly voices, and chaos. The dark, stormy sky and presence of crows (a symbol of death) foreshadow difficulties ahead. Vincent wrote in his letters about having hallucinations of the Horla during his psychotic episodes. The Horla, a story written by Guy de Maupassant in 1886, depicts the possession of the main character by a supernatural being after he waved to a “superb three-mast ship,” and how this being gradually takes over his mind._x000D_ _x000D_ III. The Starry Night_x000D_ _x000D_ Vincent’s most iconic painting of the night sky is adapted from the view from his bedroom window at the Saint-Paul Asylum in Saint-Rémy-de-Provence where he admitted himself after a severe mental health crisis. Vincent’s fight against the “silent shadows” of his inner world come to life in the beauty of this night scene, in which the sky swirls with color and the stars shimmer with light. Whitman’s words bring us the hopeful twinkling of the stars in the face of life’s darkness.

Accompaniment - ["Piano"]

Pianist Saundra Bishop's arrangement of the Kumbaya tune combines with J. Reese Norris' beautiful choral writing to give us Haleluya. This vibrant setting weaves the simplicity and warmth of the beloved spiritual into a deeply moving selection for choirs. _x000D_

Accompaniment - ["None"]

Hyun Kook's Confitebor tibi Domine is a vibrant choral work that sets the Latin text “I will praise you, O Lord” with energy and expressive depth. The rhythmic vitality of this compelling piece conveys a spirit of joyful thanksgiving among singers and audiences.

Accompaniment - ["Reduction"]

Arranged by Eoin Conway, A Red, Red Rose is a lyrical choral setting of Robert Burns’s beloved poem celebrating enduring love and devotion. Conway's arrangement captures both the tenderness and passion of the text while highlighting its Scottish folk-song roots._x000D_

Accompaniment - ["Piano"]

The Old Pull of the Earth by David von Kampen is a reflective choral work inspired by a celebrated passage from My Ántonia by Willa Cather, evoking the deep emotional bond between people and the landscape they call home. Through warm harmonies and expressive choral writing, the quiet spiritual power of the prairie comes to life.

Accompaniment - ["Reduction"]

Lil' David is a vibrant arrangement of the traditional African American spiritual by Stacey V. Gibbs. Featuring energetic rhythms and expressive dynamics, Gibbs' setting captures the joy and excitement of David's music-making while showcasing the ensemble's vocal artistry.

Accompaniment - ["Reduction"]

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Accompaniment - ["Organ"]

For SATB choir and organ. Suitable as either a short anthem or a hymn.

Accompaniment - ["Keyboard"]

Holy Communion with Agnus Dei & Benedictus in B flat. The Benedictus & Agnus Dei were written to complete the Holy Communion in G.

Accompaniment - ["Organ"]

Composer’s Notes: My first set of canticles were broadcast live on BBC Radio 3 in 2024 as part of an Evensong service at St Martin-in-the-Fields to mark the Eve of the Ascension. It was poignant to celebrate this compositional milestone in a place which embodies such sentimental, artistic and educational value for me. In the Magnificat, I wanted to conjure a light and ethereal atmosphere, with freely flowing harmonies and frequent metrical shifts to accommodate the flow of the text. The piece gradually builds to a powerful and transcendental Gloria. The Nunc dimittis is more serene, and the harmonic structure reimagines the Gloria as an expression of homecoming and comfort.

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The C instrument parts are also included in Bass clef.