Benefční koncert duchovní hudby Kostel Nejsvětější Trojice v Brně – Králově Poli 13.11.2018 www.gloriabrunensis.cz

Music: © Copyright 2017 by Highgate Press, Inc., a division of ECS Publishing Group. www.ecspublishing.com All rights reserved. Words: from the Polish Poem Zegar (The Clock) by Abramek Koplowicz. Translation by Sarah Lawson and Małgorzata Korasze...  moreMusic: © Copyright 2017 by Highgate Press, Inc., a division of ECS Publishing Group. www.ecspublishing.com All rights reserved. Words: from the Polish Poem Zegar (The Clock) by Abramek Koplowicz. Translation by Sarah Lawson and Małgorzata Koraszewska. © Copyright 1993 by Eliazer “Lolek” Grynfeld. All rights reserved. Used by permission of Eliazer “Lolek” Grynfeld, Sarah Lawson and Małgorzata Koraszewska. Performance by the women of The Singers conducted by Mathew Culloton. Used by permission of ECS Publishing Group.  less

Poem by John Gillespie Magee, Jr. Video: Ritvars Bluka Style: Līga Banga Live Performance at Latvian National Museum of Arts "High Flight" Oh! I have slipped the surly bonds of Earth And danced the skies on laughter-silvered wings; Sunward I’ve c...  morePoem by John Gillespie Magee, Jr. Video: Ritvars Bluka Style: Līga Banga Live Performance at Latvian National Museum of Arts "High Flight" Oh! I have slipped the surly bonds of Earth And danced the skies on laughter-silvered wings; Sunward I’ve climbed, and joined the tumbling mirth Of sun-split clouds, — and done a hundred things You have not dreamed of — wheeled and soared and swung High in the sunlit silence. Hov’ring there, I’ve chased the shouting wind along, and flung My eager craft through footless halls of air . . . Up, up the long, delirious burning blue I’ve topped the wind-swept heights with easy grace Where never lark, or ever eagle flew — And, while with silent, lifting mind I’ve trod The high untrespassed sanctity of space, Put out my hand, and touched the face of God. www.latvianvoices.lv  less

"Maid in the Moor" is a setting of a medieval Poem. Written, filmed and edited by Michael McGlynn and performed by Anúna. From the DVD "Invocations of Ireland" and CD "Sensation". Soloist Aideen Rickard.

There is power in singing in choirs. These are just a few of my thoughts. I'd love to hear if your reasons are similar! http://wp.me/p5eWWi-gx

Eric Whitacre conducts Männerstimmen der Chorknaben Uetersen, Five Hebrew Love Songs, Hamburg, 12.12.2010

Setting by D W Solomons of a Poem by Marie Keyser, for two equal voices Elle est près du fleuve dormeur debout It stands by the sleepy river mais le saule incliné toucherait de sa cîme l'eau But the bending willow would touch the water with its very...  moreSetting by D W Solomons of a Poem by Marie Keyser, for two equal voices Elle est près du fleuve dormeur debout It stands by the sleepy river mais le saule incliné toucherait de sa cîme l'eau But the bending willow would touch the water with its very top L'église vieille dit les heures de l'île où la nuit descend The church - an old church - tells the hours from the island where the night descends Je la vois encore son toit de gris dans le gris de l'eau. I can still see it, its grey roof in the grey of the water pressens dans la tour de bois ma demeure la folie I have a presentiment in the tower of wood of my dwelling place, of madness la folie le silence of madness, of silence clos clos vigilance Closed in, closed in but keeping watch Oh Ne pas altérer ce qui reste, et le doit. Oh never change what remains and should remain "Was bleibt aber stiften die Dichter." What remains, however, is the stuff of poetry.  less

Performed by mirabai, Sandra Snow, Artistic Director Leanne King, viola Judy Kabodian, piano

I NEVER SAW Davide Riva’s beautiful acapella setting for four-part mixed voices is set to the beloved Poem by Emily Dickinson. The composition is divided into two repeated sections. In the first section, the choral texture is homo-rhythmic and in the se...  moreI NEVER SAW Davide Riva’s beautiful acapella setting for four-part mixed voices is set to the beloved Poem by Emily Dickinson. The composition is divided into two repeated sections. In the first section, the choral texture is homo-rhythmic and in the second section, the voices are set into a simple counterpoint. “I Never Saw” closes on the dominant chord creating a feeling of suspension that enhances the concept of faith expressed by Dickinson.  

Gospel style setting for 2 or 4 voices, 2 flutes, double bass, guitar and tambourine of my evangelical Poem about the meaning of Christmas.