“The heavens are telling…” from The Creation
Joseph Haydn
 
Joseph Haydn (1732-1809), an Austrian composer, was a pivotal figure in the development of Classical music. Often hailed as the “Father of the Symphony” and the “Father of the String Quartet,” his innovations in symphonies, sonatas, and chamber music laid the foundation for much of the music that followed. As Kapellmeister for the Esterházy family, Haydn enjoyed the creative freedom to experiment and perfect his craft, resulting in a prolific output of over 100 symphonies, 68 string quartets, and numerous operas, concertos, and masses. Among his greatest achievements is the oratorio The Creation, a work that reflects both the grandeur of nature and the depth of faith.
 
One of the most celebrated moments in The Creation is “The heavens are telling…” a powerful choral piece from Part I, which portrays the fourth day of creation, when God brings forth the sun, moon, and stars. Composed between 1796 and 1798, the piece is set in a bright and joyful C major, evoking a sense of awe at the vastness of the heavens. The chorus opens with a bold, majestic theme and alternates between homophonic sections with rich harmonies and contrapuntal passages that demonstrate Haydn’s masterful use of texture. At its core, “The Heavens are Telling” celebrates the beauty and magnificence of creation, with text from Psalm 19 proclaiming the heavens as a reflection of God’s glory. The music, full of vitality and wonder, offers an inspiring connection between nature and the divine, capturing the awe and sublimity of the universe.
 
 
Sicut cervus
Giovanni Pierluigi da Palestrina
 
Giovanni Pierluigi da Palestrina (c. 1525–1594) was an Italian Renaissance composer and one of the most influential figures in the development of sacred music. Widely regarded as a master of Renaissance polyphony, Palestrina composed over 100 masses and hundreds of motets, hymns, and other liturgical works. His music exemplifies the clarity, balance, and serene beauty that characterized the High Renaissance style, particularly through his expert use of counterpoint and smooth melodic lines.
 
Sicut cervus, one of his most famous works, is a motet composed for four voices and set to the text of Psalm 40 (Hebrew Psalm 41): “As the deer yearns for running water, so my soul yearns for you, my God.” Written with typical Renaissance polyphonic techniques, the motet features flowing, interwoven melodies that create a rich, contemplative texture. Each voice part—soprano, alto, tenor, and bass—moves with independence while maintaining harmonic coherence, creating a serene, meditative atmosphere. The beauty of this piece lies in its simplicity and purity. Palestrina carefully balances the voices, avoiding excessive ornamentation, to let the spiritual meaning of the text shine through. The seamless blend of voices and the gentle rise and fall of the lines evoke a sense of longing and spiritual yearning, perfectly complementing the sacred text.
 
 
A Gaelic Blessing
John Rutter
 
Sir John Milford Rutter CBE (b. 1945) is an English composer, conductor, editor, arranger, and record producer, mainly of choral music. His larger choral works, Gloria, Requiem, Magnificat, Mass of the Children, The Gift of Life, and Visions are widely performed around the world. Some of his smaller-scale compositions, such as For the beauty of the earth, the Lord bless you and keep you, and All things bright and beautiful have become some of the standard repertoire for secondary and collegiate-level choirs.
 
Published and commissioned by the Chancel Choir of the First United Methodist Church in Omaha, Nebraska in 1978, A Gaelic Blessing is written initially for four-part voices and organ. Scottish Gaelic, or simply known as Gaelic, is a Goidelic language native to the Gaels of Scotland, developed out of Old Irish. A Gaelic Blessing is also primarily known for the repeated chants of the phrase “Deep Peace.” The text comes from William Sharp’s novel The Dominion of Dreams: Under the Dark Star (1895). In 3/4 time signature, the music is marked “flowing and tranquil.” Rutter’s calm melodies support the voices sung through the text, suggesting a quiet and peaceful feel. The voices rise and reach the climax of the song on “shining star” and “Christ,” with a quiet conclusion towards the end.
 
Deep peace of the running wave to you
Deep peace of the flowing air to you
Deep peace of the quiet earth to you
Deep peace of the shining stars to you
Deep peace of the gentle night to you
Moon and stars pour their healing light on you
Deep peace of Christ the light of the world to you
Deep peace of Christ to you
 
 
For the Beauty of the Earth
John Rutter
 
John Rutter (b. 1945) is one of the most celebrated contemporary composers of choral music, known for his accessible style, lush harmonies, and an ability to blend traditional choral traditions with fresh, modern expressions. His compositions have become staples in the choral repertoire, beloved for their lyrical beauty and uplifting spirit.
 
For the beauty of the earth is one of Rutter’s most well-known and frequently performed anthems. Composed in 1980, it is a joyful and reverent setting of a 19th-century text by Folliott S. Pierpoint, which expresses gratitude for the natural world and all its blessings. Rutter’s setting captures the sense of wonder and thanksgiving found in the poem, offering a bright and jubilant choral experience. The anthem begins with a flowing, singable melody that is simple yet elegant, allowing the text’s message of gratitude to shine through. Rutter’s characteristic harmonic richness is evident in the radiant, full choral sections, which swell with warmth and reverence. His use of dynamic contrasts and expressive phrasing helps to evoke the beauty of the earth, the glory of the skies, and the joy of life itself.
 
 
Tchaka
Sydney Guillaume
 
Sydney Guillaume (b. 1982) is a Haitian-American composer celebrated for his vibrant and rhythmically intricate choral works, which often draw deeply from his Haitian heritage. His music masterfully blends contemporary choral techniques with the rich cultural traditions of Haiti, resulting in compositions that are dynamic, expressive, and brimming with energy.
 
One of Guillaume’s most renowned and impactful choral works is Tchaka, named after a traditional Haitian dish made from corn and beans, symbolizing nourishment and community. Composed in 2010 to a text written by the composer’s father, Gabriel T. Guillaume, the piece explores themes of perseverance, cultural pride, and the importance of staying connected to one’s roots. Musically, Tchaka is driven by its energetic syncopations and rhythmic vitality, evoking the spirit of Haitian folk music. The piece features vibrant vocal lines and percussive effects that create an atmosphere of joy and celebration. Its intricate rhythms and harmonies present both a technical challenge and a rewarding experience for choirs, while Guillaume’s use of dynamic contrasts, rhythmic layering, and call-and-response reflects the communal essence of Haitian music and culture.
 
Tchaka serves as a powerful metaphor for unity, justice, and love. Much like the Haitian stew from which it takes its name—a melting pot of ingredients such as corn, beans, pork, and crustaceans—the piece celebrates the beauty found in diversity and togetherness. As Guillaume himself explains, Haitian folklore is a rich tapestry of rhythms and dances that, when blended together, create extraordinary works, just like the diverse elements that make up Tchaka.
 
At the sound of the three drums, everyone yells out hurray
If we join together we can all move forward.
Let us enmesh in lovely harmony
A delicious homemade stew, a musical tchaka.
 
Turn up the fire! Turn up the fire!
 
We proclaimed hope and we sang of peace,
So that the light of justice spreads throughout the earth.
 
We’ll keep on singing…
We’ll keep on singing to make life more beautiful!
 
 
O Love
Elaine Hagenberg
 
Educated as a music educator at Drake University in 2002, Elaine Hagenberg (b. 1979) is an accomplished pianist, singer, contemporary American composer, and arranger of choral music. Known for her lush harmonies and memorable melodies, Hagenberg’s music provides a sensitive setting for poetry and texts. In addition to her composing career, Hagenberg is an active conductor and clinician who has taught at high school and college levels. As an outstanding writer, she has been commissioned for over fifty works in the past ten years and was named the 2020 ACDA Brock Competition for Professional Composers winner.
 
O Love, originally titled O Love That Wilt Not Let Me Go, was a hymn written by Minister George Matheson (1842-1906) over the tune St. Margaret. Blinded at nineteen and rejected by his financé to move forward with their engagement, Matheson was cared for by his sister until his sister got married. When Matheson was forty years of age, the departure of his sister brought him to the most profound suffering of his life. Matheson turned to God and flushed out the text and song of O Love That Wilt Not Let Me Go. Hagenberg gives the text a fresh new melody with refreshing and gorgeous harmonies, evoking hope and tenderness throughout the work.
 
 
“Dirait-on” from Les Chansons des Roses
Morten Lauridsen
 
Morten Lauridsen (b. 1943) is one of America’s most beloved and frequently performed contemporary choral composers. His music is known for its lush harmonies, lyrical melodies, and emotional depth, often inspired by poetry and literature. Lauridsen’s works are characterized by their accessibility, yet profound beauty, resonating deeply with choirs and audiences alike.
 
“Dirait-on,” composed in 1993, is part of Lauridsen’s Les Chansons des Roses cycle, which is set to the poetry of Rainer Maria Rilke. This particular piece, a setting of a poem that expresses the beauty of a rose in simple yet evocative language, has become one of Lauridsen’s most performed and admired choral works. “Dirait-on” translates to “so they say,” and its tender, lilting melody, combined with the richness of the harmonies, creates a sense of timeless elegance. The piece features a flowing, waltz-like rhythm, with delicate vocal lines that weave together in a seamless and beautiful texture. Lauridsen’s use of warm, resonant harmonies reflects the poetic imagery of the rose, enhancing the piece’s sense of grace and simplicity. The repetition of the main melodic theme throughout the piece gives it a soothing, meditative quality, making it an ideal work for conveying beauty and serenity.
 
Abandon entouré d’abandon
Tendresse touchant aux tendresses…
C’est ton intérieur qui sans cesse
Se caresse, dirait-on ;
 
Se caresse en soi-même
Par son propre reflet éclairé
Ainsi tu inventes le thème
Du Narcisse exhaucé
 
–English translation–
 
Abandon surrounding abandon,
Tenderness touching tenderness…
Your oneness endlessly
Caresses itself, so they say;
 
Self-caressing
Through its own clear reflection.
Thus you invent the theme
Of Narcissus fulfilled
 
 
I Love You/What a Wonderful World
Craig Hella Johnson
 
Craig Hella Johnson (b. 1962) is an American composer, conductor, and the founder of the acclaimed choral ensemble Conspirare. Known for his ability to blend a wide range of musical styles, Johnson’s work is celebrated for its emotional depth, creativity, and its capacity to connect with audiences on a profound level.
 
I Love You/What a Wonderful World is a choral arrangement that beautifully combines two iconic songs: “I Love You” by Texan folk artist Bobby McFerrin and “What a Wonderful World,” made famous by jazz legend Louis Armstrong. Johnson’s arrangement brings these two timeless expressions of love and gratitude together in a seamless, heartfelt medley. The result is a piece that celebrates the beauty of life and the importance of love and human connection. The arrangement begins with the tender simplicity of “I Love You,” its repetitive phrases gently underscoring the theme of devotion. Johnson’s use of close, lush harmonies creates a feeling of warmth and intimacy, inviting both singers and listeners into the emotional core of the piece. As the familiar strains of “What a Wonderful World” emerge, the music swells into a broader celebration of the world’s natural beauty, enhanced by Johnson’s sensitive and uplifting harmonic treatment.
 
 
I’ll Fly Away
Brandon A. Boyd
 
Brandon A. Boyd (b. 1985) is an American composer and conductor known for his expressive and innovative approach to choral music, often blending elements of traditional gospel, contemporary choral writing, and spirituals. His works are noted for their emotional resonance, rhythmic vitality, and ability to connect deeply with both singers and audiences.
 
I’ll Fly Away is Boyd’s dynamic arrangement of the classic American gospel song written by Albert E. Brumley in 1929. The song, with its uplifting message of freedom, hope, and eternal life, has been a staple in gospel and folk music for decades. Boyd’s version breathes new life into this beloved hymn, infusing it with fresh harmonic textures, rhythmic drive, and a deeply spiritual energy. In Boyd’s arrangement, the familiar melody of I’ll Fly Away is treated with rich, contemporary harmonies that add depth and emotion to the piece. He incorporates vibrant rhythmic elements that propel the music forward, creating a sense of movement and excitement. Boyd masterfully blends traditional gospel with modern choral techniques, allowing the arrangement to maintain the song’s joyful spirit while offering new interpretive possibilities.

You Are My Sunshine
 
You are my sunshine
My only sunshine
You make me happy
When skies are gray
You’ll never know, dear
How much I love you
Please don’t take
My sunshine away
 
The other night, dear
As I lay sleeping
I dreamed I held you
In my arms
When I awoke, dear
I was mistaken
So I hung my head and cried
 
 
Somewhere Over the Rainbow
 
Somewhere over the rainbow
Way up high
There’s a land that I heard of
Once in a lullaby
 
Somewhere over the rainbow
Skies are blue
And the dreams that you dare to
Dream really do come true
 
Someday I’ll wish upon a star
And wake up where the clouds are far behind me
Where troubles melt like lemon drops
Away above the chimney tops
That’s where you’ll find me
Somewhere over the rainbow
Bluebirds fly
Birds fly over the rainbow
Why then, oh, why can’t I?
 
If happy little bluebirds fly
Beyond the rainbow
Why, oh why can’t I?