The music and lyrics of Songs of Hope in Strange Times: In Times of Re-Emergence was written during the COVID-19 global pandemic of 2020-onwards and was commissioned by SACRA/PROFANA, directed by Juan Carlos Acosta. The overall song cycle is five movements long, with each movement reflecting on how to find hope and meaning during strange and unknown times of life. In Times of Re-Emergence, the fourth movement of the song cycle, represents a joyful return to one’s life, albeit a cautious return initially, after a prolonged hiatus. The 9/8 meter has a dance-like quality, allowing a lighter mood after the more intense third movement, In Times of Stasis. The overall Strophic form (containing three Verses with the same melody and overall harmonies) allows for the performers and audience alike to relax in the familiarity of the material as it unfolds.
This movement could be performed as a stand-alone piece or as part of the entire Songs of Hope in Strange Times song cycle.
See other movements:
I. In Times of Descent
II. In Times of Hibernation
III. In Times of Stasis
V. In Times of Rising
The music and lyrics of Songs of Hope in Strange Times: In Times of Descent was written during the COVID-19 global pandemic of 2020-onwards and was commissioned by SACRA/PROFANA, directed by Juan Carlos Acosta. The overall song cycle is five movements long, with each movement reflecting on how to find hope and meaning during strange and unknown times of life. In Times of Descent is the frenzied opening movement of the cycle, representing those first chaotic and terrifying days when COVID-19 appeared in March, 2020 in the United States. The piece portrays this unsettling time through sinking, descending chromatic lines and heavy metal-inspired pulsating strings. This feeling of descending can be applied to those times in life when the world as we know it seems to fall apart and the end is nowhere in sight, such as the first days following a loved one’s passing, the minutes after receiving life-altering news, or other moments immediately following a tragedy. This movement acts as a mirror of the fifth and final movement In Times of Rising: using rising instead of falling lines, referencing the “sky and sea” (which are clouded by the darkness described in In Times of Descent), and other elements of contrast.
This movement could be performed as a stand-alone piece or as part of the entire Songs of Hope in Strange Times song cycle.
See other movements:
II. In Times of Hibernation
III. In Times of Stasis
IV. In Times of Re-Emergence
V. In Times of Rising
SONGS OF HOPE IN STRANGE TIMES, a five-movement choral song cycle for SATB Choir & String Quartet, was originally written as a narrative of the COVID-19 pandemic that struck the world in 2020-present, but can also speak to other strange times in our lives when things do not seem to make sense or have a clear meaning. Each movement traces a different part of the pandemic, from the Descent (Mvmt. I) into chaos in the beginning days, the periods of Hibernation (Mvmt. II) retreating to safety and distance, the long period of Stasis (Mvmt. III) waiting for things to change, the slow but hopeful Re-Emergence (Mvmt. IV) as things started to improve, and the triumphant Rising (Mvmt. V) as we returned to life and joy. Each movement presents a way to find hope and meaning in these strange times of our lives, including other situations where normal life doesn’t always make sense.”
MOVEMENTS
I: IN TIMES OF DESCENT (3:30) – commissioned by SACRA/PROFANA directed by Juan Carlos Acosta
II: IN TIMES OF HIBERNATION (3:30) – commissioned by SACRA/PROFANA directed by Juan Carlos Acosta
III: IN TIMES OF STASIS (6:00) – commissioned by Westminster High School directed by Kelly Ann Self
IV: IN TIMES OF RE-EMERGENCE (3:30) – commissioned by SACRA/PROFANA directed by Juan Carlos Acosta
V: IN TIMES OF RISING (5:30) – commissioned by Loyola Marymount University Consort Singers directed by T.J. Harper
The music and lyrics of We Have a Choice were composed as a reaction to the COVID-19 crisis. The piece explores aleatoric and performer-based textures that can be sung remotely through video conferencing platforms, such as Zoom. The text explores our ability to choose our own paths and reactions in every situation, hopefully ultimately choosing to embrace the story with love, joy, hope, and peace.
The piece alternates between mostly-unison chant-like textures and aleatoric branching textures, in which the performers may choose their own path.
This piece is suitable for any Mixed-Voice Choir interested in exploring virtual singing and limited- aleatoric textures that give performers ownership of the material.
This up-tempo arrangement of Joy to the World, commissioned by Jonathan Bautista and dedicated to Nova Vocal Ensemble, features lively rhythms, playful dialogue between the voices, and a fresh reharmonization of this beloved carol. Most of the melodic, rhythmic, and motivic counterpoint is adapted from another beloved carol, Deck the Halls.
This carol would fit well in any holiday-themed concert, Festival of Lessons and Carols, or sacred Christmas and/or Epiphany service.
Evening Comes is a windband ensemble piece dedicated to Maxwell Judah Leviss. The piece has a wide range of emotions, ranging from childlike to aggressive to poignant. Evening Comes ends with a striking reharmonization of the classic melody “Taps”. This piece would work well for any windband ensemble concert.
Instrumentation:
Piccolo
Flute 1
Flute 2
Oboe 1
Oboe 2
English Horn
Bassoon
Clarinet in Bb 1
Clarinet in Bb 2
Clarinet in Bb 3
Bass Clarinet
Alto Sax 1
Alto Sax 2
Tenor Sax
Baritone Sax
Trumpet in Bb 1
Trumpet in Bb 2
Trumpet in Bb 3
Trumpet in Bb 4
Trumpet in Bb 5
Horn in F 1
Horn in F 2
Horn in F 3
Horn in F4
Trombone 1
Trombone 2
Bass Trombone
Euphonium
Tuba
Timpani
Glockenspiel
Xylophone/Triangle
Vibraphone/Suspended Cymbal
Marimba
Snare Drum
Crash Cymbal/Bass Drum
Vapors explores different sounds the cello can produce and evokes the image of airy and vapory visuals. It calls for advanced cello techniques, including extended passages of natural and artificial harmonics. This piece would work well for a string chamber recital or classical chamber concert.
Continue reading VaporsPyramid was inspired by Jennifer Higdon’s 1726, which was named after the address of her school. Similarly this piece is named after the striking blue pyramid of my alma mater, California State University at Long Beach (CSULB). The second movement of Pyramid uses a limited pitch set determined by the German notation of BEACH (Bb E A C B), also an homage to CSULB.
Continue reading Pyramid: I, II, and III