'Psalm 57' was published in 1972 and is dedicated to the Brazeal Dennard Chorale, a Detroit-based choir that championed the music of Black composers. An unaccompanied setting that contrasts moments of reflection with declamatory exultation, the piece uses portions of four verses of Psalm 57 in the King James translation.

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Psalm 57 - Betty Jackson King

'A few more years shall roll' sets a hymn by Horatius Bonar (1808–89) that was written for his congregation to use on New Year’s Day. It is like 'He stooped to bless' in its use of imitative motives at the end of large sections and tonal writing that is coupled with facile modulations.

A few more years shall roll - Edward Margetson

'Magnificat' is a challenging but rewarding setting of the familiar text in its English translation, with occasional Latin interjections, and features rapid twists and turns in the interweaving melodies. It is a movement from the complete work 'Magnificat and Nunc Dimittis'. A version of this work with piano and organ accompaniment—a combination that reflects the tradition of the Black American church in which the composer grew up, where both instruments were used simultaneously for almost all service music—is also available.

Magnificat - Zanaida Stewart Robles

Originally, Lusitano's 'Emendemus in melius' was a two-part motet like his famous Regina caeli. The text is the responsory for Ash Wednesday/the First Sunday of Lent.

Emendemus in melius - Vicente Lusitano

'A Prayer' was written for the debut concert of the Jason Max Ferdinand Singers in 2021. The chromatic lines move effortlessly to highlight the simple, strophic text by Paul Laurence Dunbar (1872–1906). Spirituals and jazz also permeate each stanza with syncopations and extended harmonies

A Prayer - Ken Burton

'The Lord is my strength' is a short Easter anthem combining text from Psalm 118—for the first two sections in Bb and Eb —and two hymn texts from Hymns Ancient and Modern translated by John Mason Neale (1818–66) for the concluding chorale. The three contrasting sections feature full harmonies with little imitation, divided unison melodies, and homophonic phrases with final fermatas respectively.

The Lord is my strength - Samuel Coleridge-Taylor

'God be merciful' is a predominantly homophonic setting of the first three-and-a-half verses of Psalm 67 in the King James translation. This reverential prayer emphasizes ‘God’ with multiple sustained pitches.

God be merciful - Adolphus Hailstork

Garcia composed 'Ave maris stella' for mixed choir with a small instrumental ensemble of flutes, horns, strings, and organ. This short hymn is primarily homophonic, with joyful dynamic contrasts in adoration and praise of the Virgin Mary.

Alleluia, angelus Domini - José Maurício Nunes Garcia

'Son of Mary' is a jubilant motet ‘based on a traditional Negro melody’ from Dett’s personal collection and sets a text by Henry Hart Milman (1791–1868). The unknown pentatonic melody is reminiscent of a spiritual, and Dett’s counterpoint adds rhythmic vitality throughout the final verse’s fugato with its own syncopated rhythms.

Son of Mary - Robert Nathaniel Dett

'The 100th Psalm' in modified ternary form captures the joy and excitement of the familiar psalm. Unlike in some of his other anthems, the soprano range is limited to pitches on the stave, without extensions into the extremes. The organ part features a fanfare-like motif that effectively complements the text.

The 100th Psalm - Charles Coleman

In this poignant ballad Toby Young has set an adaptation of Emily Dickinson's poem ‘My Letter to the World’ to heartfelt melodies with a pop-style piano accompaniment. The song reflects on the pain of being separated from loved ones during the COVID-19 pandemic and the power that music has to unite us.

My Letter to the World - Toby Young

Come Back Like the Sea sets words from Sara Teasdale's poem 'Ebb Tide', in which the author uses the metaphor of the ocean's tide to symbolize life's inevitable ups and downs. The music captures the text's sea imagery and strong sense of yearning with a captivating opening soundscape that includes improvised sea sounds from the Basses, melodic lines that ebb and flow like the tide, and an expressive piano accompaniment that weaves throughout the work.

Come Back Like the Sea - Katerina Gimon

This short work by Marques L. A. Garrett sets a beautiful and poignant text by Paul Laurence Dunbar that tells of the healing effects of music and how our own music-making can spread joy to those around us. The warm chordal texture and stirring harmonies bring to life the beautiful narrative of the poem.

The Lesson - Marques L. A. Garrett

Hazzard's enchanting Sanctus, setting text from the Latin Mass, captures the feeling of a rushing current throughout. Though the energy often pulsates below the surface, it bursts through at the zestful exclamations of 'Hosanna!' where Hazzard introduces complex metres, body percussion, and a balance of slow-building swells and sudden dynamic changes. Suitable for concert use, this piece features imaginative text-setting and driving rhythms that create an engaging experience for singers and listeners alike.

Sanctus - Matthew Lyon Hazzard

A Birthday sets a poem of the same title by Christina Rossetti. Chydenius reflects the vivid imagery in the text of the verses through beautiful vocal lines with swirling countermelodies. The choruses set the words 'my love is come to me' in a powerful antiphonal texture.

A Birthday - Jussi Chydenius

Written in an a cappella style with scat accompaniment, A Tree is a Song is a joyful celebration of the connections and affinity found in nature and how wisdom and knowledge can be passed on 'as a melody from tree to tree'. McDowall's setting of Heather Lane's text embodies the theme of connection as the parts imitate and respond to each other, sharing in the heartwood's song.

A Tree is a Song - Cecilia McDowall

This is a compelling setting of words by American writer and civil rights activist James Weldon Johnson that speaks to the way the power of song can help to overcome dark times. Garrett brings the powerful text to life through dynamic and textural contrasts, a passionate melody, and imaginative harmonies.

The Gift to Sing - Marques L. A. Garrett

Dhire-dhire sets a 'dohe' (couplet) by the fifteenth-century Indian mystic poet Kabir on the topic of patience. Esmail explores the soundworld of the Hindustani classical tradition, with characteristic vocal ornamentation in the solo lines, and the score includes both devanagari script and a transliteration, for ease of reading.

Dhīre-dhīre - Reena Esmail

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