This Joyful Eastertide

Contributing Editor: Jonathan Campbell

As choral conductors, we’re always thinking several steps ahead–towards next season, next concert, or next year. As we celebrate the spring season, enjoy looking over the following Easter pieces. Put them in your “2024” pile.

“Adonai,” by Carol Barnett, for unison voices, is ideal for virtual choir or reduced forces. The Hebrew text is useful for affirming Jewish culture. The altered minor scale–with a lowered second–is also great for developing aural and tuning skills. Moreover, the music is intense, haunting, and provides an unusual musical experience.

“Adonai, Adonai”
Carol Barnett
Round for a cappella choir.
Unison to 4-part performances possible.
Difficulty:

An ancient prayer set to a plaintive, middle-eastern scale that can be sung either in unison or as a canon.

As they say in Monty Python, “And now for something completely different,” Dominick DiOrio’s grand anthem “He Walks the Road” is a tour de force for choir, brass, organ, and timpani. This is an anthem that should be on many bucket lists for church musicians. DiOrio embraces ambition and drama reminiscent of British sacred music. For churches or universities with more resources, “He Walks the Road” would be a great choice for a concert or church service. It would pair well with pieces by Dan Locklair or Herbert Howells.

“He Walks the Road”
Dominick DiOrio
SATB, organ, 2 trumpets, 2 trombones, and timpani
Difficulty:

An Easter work highlighting the mystery of the Emmaus story.

For something more reflective and introspective, “Psalm 67” by Eric Barnum is shrouded in noble beauty with spicy hints of the orient and Byzantium. Passages of lovely chordal homophony offset the drones and chant-like outer portions of the piece. In many respects, “Psalm 67” would be an effective companion to “Adonai.” Both pieces utilize altered minor scales and have intense, spiritual qualities.

“Psalm 67”
Eric William Barnum
SATB with string drone
Difficulty:

A rich setting of Psalm 67 with a harmonic nod to the Baltics and eastern Europe.

“Psalm 67,” by Eric William Barnum. Performed by Hampden Congregational Church, Molly Webster, Conductor.

The music of John Tavener fits well into the themes explored in this article. Like the pieces mentioned above, his music is often religious, but not necessarily liturgical. “The Lamb” is a great example. Musically sophisticated, yet not complicated. Metaphorically religious, but also universal and mystical. And, of course, a wonderful example of effective retrograde in a choral composition.

“The Lamb” by John Tavener, performed by Tenebrae Choir Nigel Short, director.

Our Contributing Editor

Jonathan Campbell, BA, MSM, DMA, currently serves as Director of Music at Zion Lutheran Church, Anoka, MN., and is a Contributing Editor for Graphite Publishing. His music publishers include Augsburg Fortress, Concordia, Morningstar, GIA, Sacred Music Press, and Falls House. He won first prize in the Morningside Choral Composition Contest and was also awarded a Faith Partner’s Residency with the American Composer’s Forum. Jonathan has served many churches, conducted the Chorale of the Honors Choirs S.E. MN for eight years, and has served on the faculties of Winona State University, Augsburg University, and Pomona College.