Randall Thompson (1899-1984)

Last Words of David

Commissioned 1949 by the Boston Symphony Orchestra in honor of the 25th anniversary of Dr. Serge Koussevitzky, Randall Thompson’s Last Words of David is a truly moving and profound piece. 

The text for this motet comes from 2 Samuel 23:1-7, which are traditionally considered to be the final words or testament of King David. Thompson’s setting is centered on verses 3 & 4 which herald the coming of the Savior:

“He that ruleth over men must be just, ruling in the fear of God. And he shall be as the light of the morning, when the sun riseth, even a morning without clouds; as the tender grass springing out of the earth by clear shining after rain”.

Thompson’s setting beautifully captures the solemnity and reflection of these final pronouncements through its use of an a cappella texture, careful attention to word painting, rich harmonies, and contrasting dynamics and textures. The piece is a staple in choral repertoire and is often performed for its beauty and the weight of its text. It provides a powerful glimpse into the final thoughts of a significant biblical figure.

Ludwig van Beethoven (1770–1827)
Piano Trio in E-flat Major, Op. 1 No. 1
I. Allegro

Beethoven’s Piano Trio in E-flat Major, published in 1795, was the first work he released under his own name—marking a major step in his early career. Though written in the Classical style of Haydn and Mozart, the piece already shows flashes of Beethoven’s bold and dramatic voice.

The first movement, Allegro, is lively, elegant, and full of character. The piano, violin, and cello take equal roles, trading melodies and building energy through playful exchanges and dynamic contrast. A cheerful opening theme sets the stage for inventive developments, surprising turns, and the expressive flair that would define Beethoven’s later works.

This movement is an excellent introduction to chamber music, encouraging student performers to listen closely, balance their parts, and explore the expressive range of the Classical style.

Jacob Narverud (b. 1986)

The Wellerman

The Wellerman is a New Zealand whaling song believed to have originated in the mid-19th century. The song tells the story of a whaling crew waiting for a supply ship called the “Wellerman” to bring them essential provisions like sugar, tea, and rum. The shanty humorously describes the crew’s long wait and their encounter with a large whale (think Moby Dick). Like many sea shanties, it features a call-and-response structure, with a leader singing the verses and the crew (or choir) responding with the chorus. The song experienced a significant resurgence in popularity in recent years, particularly through social media platforms like TikTok, leading to numerous covers and arrangements.

Victor C Johnson (b. 1978)

Singabahambayo

Victor C. Johnson’s arrangement of “Singabahambayo” is a Zulu phrase meaning “We are marching/walking” or “We are moving forward,” and a well-loved choral piece that brings the joyful spirit of South African-inspired music to choirs worldwide. Its accessibility and vibrant energy make it a rewarding piece to sing and perform. Due to the nature of folk-inspired choral pieces, the emphasis is often on the rhythmic and melodic elements rather than a complex narrative lyric. The energy and spirit of the music are primary. The song often carries a deeper meaning, sometimes interpreted as a spiritual journey or a sense of displacement, where the earthly journey is temporary, and the ultimate home is in the afterlife.

Singabahambayo thina kulomhlaba, 

kepha sinekhaya ezulwini. 

Haleluya!

We are marching forward. 

We have a place on this earth,

but a home in heaven.

Eric Ewazen (b. 1954)
Pastorale (for Two Trombones and Piano)

Originally composed for solo trumpet, Pastorale has become one of Eric Ewazen’s most beloved works and is now widely performed in arrangements for other instruments. In this version for two trombones and piano, the piece highlights the lyrical, singing quality of the trombone through flowing melodies and rich harmonies. Calm and reflective, Pastorale evokes the peaceful beauty of the countryside, offering both performers and listeners a moment of quiet expression.

For student performers, Pastorale is an excellent opportunity to explore chamber music collaboration, blend, and expressive storytelling—all within a modern yet accessible harmonic language.

Cedrick Howoseb

Muhona

Born in Otjiwarongo, Namibia, Cedrick Howoseb’s passion for choral music began with the hymns of the Lutheran church choir. He is a self-taught musician who continues to develop his skills in choral composition. His compositions have gained recognition within the choral community.

One of his popular choral works is Muhona, which is sung in the Otjiherero language of southwest Africa. 

The lyrics of “Muhona” are a song of praise that roughly translates to “I love you Lord. Let your name be praised.”

Jacques Offenbach (1819–1880), arr. Todd Parrish
A Can-Can Festival

Jacques Offenbach was a 19th-century French composer known for his lively and entertaining operettas. One of his most famous pieces is the high-energy Can-Can from Orpheus in the Underworld, a work that has become instantly recognizable and closely tied to French cabaret and dance culture.

In this fun and fast-paced arrangement by Todd Parrish, A Can-Can Festival brings together Offenbach’s most famous melodies in a way that’s both exciting and accessible for student performers. With its quick tempos, playful rhythms, and energetic spirit, the piece captures the joy and humor of Offenbach’s original music while giving every section of the ensemble a chance to shine.

A guaranteed crowd-pleaser, this piece is as much fun to play as it is to hear!

Robert Sheldon (b. 1954)
Appalachian Morning

Appalachian Morning is a lyrical and expressive work by American composer Robert Sheldon, known for writing music that is both accessible and emotionally rich for student ensembles. This piece paints a musical picture of a peaceful sunrise in the Appalachian Mountains, capturing the natural beauty and quiet majesty of the landscape.

With flowing melodies, warm harmonies, and gentle dynamics, the piece invites players and listeners alike into a reflective and serene atmosphere. It emphasizes tone, phrasing, and musical sensitivity—making it a valuable piece for developing expressive playing.

Appalachian Morning offers a moment of calm and beauty, standing out as a heartfelt contrast to more energetic selections on a concert program.

François Devienne (1759–1803)
Duo No. 4 in F Major for Flute and Viola
I. Andante | II. Allegro

François Devienne was a French composer, flutist, and teacher whose music captures the elegance and clarity of the Classical period. A talented performer—especially on the flute—Devienne often wrote works that highlight both technical skill and musical dialogue.

This duo for flute and viola is a charming example. The Andante opens with a graceful, lyrical character as the instruments exchange melodic lines in a flowing, expressive conversation. The Allegro brings a bright, playful energy, full of lively interplay and classical charm. Both parts enjoy moments of virtuosic flair within the spirited exchange.

Duo No. 4 offers student musicians a chance to explore ensemble balance, phrasing, and stylistic nuance—within a beautifully crafted and engaging Classical framework.

Bill Withers (1938-2020)

Lean on Me

Lean on Me is a timeless and deeply resonant song originally written and performed by the legendary Bill Withers. It has become an enduring anthem of friendship, support, and human connection. The lyrics are direct and heartfelt, speaking to the fundamental human need for companionship and assistance during difficult times. The theme of relying on others and offering support resonates across cultures, ages, and backgrounds. It speaks to the core of human relationships and the importance of community. It’s a powerful reminder of the strength found in human connection and the simple act of being there for one another.

Georges Bizet (1838–1875)
Selections from Carmen Suite No. 1 & 2
Prelude and Aragonaise | Habanera | Chanson du Toreador | Seguedille | Les Toreadors

Carmen, Bizet’s iconic opera, tells the dramatic story of love, jealousy, and fate. The selections in this suite capture the heart of the opera with vibrant melodies and rhythms. The Prelude and Aragonaise introduce the lively Spanish atmosphere, while Habanera showcases Carmen’s seductive charm. Chanson du Toreador and Les Toreadors offer bold, triumphant tunes, and Seguedille adds a flirtatious dance. These pieces highlight Bizet’s infectious rhythms and emotional intensity, making Carmen one of the most beloved operas in the classical repertoire.