Juan Orrego-Sala, a noted Latin American composer, is Professor Emeritis of Composition and Latin American Music at the Indiana University School of Music. This charming set of Christmas pieces reflects his native country, Chile, not only in the language, but in the characteristic rhythms and harmonies. The second of the three, Alleluya, can be extracted for year-round performance, and, although diminutive in length, deserves a place along side the well-known "Alleluia" by Randall Thompson with whom the composer studied.

Arranger: Mary Goetze

Longfellow wrote the text, entitled Christmas Bells, in 1863. During that Christmas season, the poet's son was critically wounded in a war, and the text expresses his father's anguish over was and his longing for peace on earth. The message is as timely today as it was over 125 years ago.

Arranger: Mary Goetze

The poem which inspired this piece was written by a thirteen-year-old girl. In it, she expresses the power of fire, of its life-giving and life-consuming potential, in simple and clear form.

Arranger: Mary Goetze

A beautiful melody accompanied by a simple yet lush piano accompaniment, this work provides unique moments for singers to sing expressively and create a tender mood through dynamic contrasts. With a setting of the ancient children's prayer Now I lay me down to sleep in the middle, this song reassures us that we are loved, known, and never alone. With flute part. Duration: ca. 3:45.

Arranger: Mary Goetze

An imitative part and a lively counter-melody accompany the simple refrain of this spiritual, contrasted by the verse in which singing in parallel thirds is practiced.

Arranger: Mary Goetze

Written mainly as SSA, this piece divides into 5 parts.

Arranger: Mary Goetze

Hold the Wind, a simple yet stirring melody in the mixolydian mode, was sung by a blacksmith. The simple harmonization highlights the beauty of the melody.

Arranger: Mary Goetze

Composer Mary Goetze states that this song sprang from within me as she thought about the many directors ad teachers who have dedicated their lives to children's choirs and music education - thus enriching the lives of so many children through singing. The cascading vocal parts of the refrain that move predominantly by stepwise motion as well as the optional unison verses, contribute to the accessibility of this choral work. Duration: 4:30.

Arranger: Mary Goetze

Arranged with a simple and accessible vocal accompaniment that enhances the intense hope expressed in the text and melody. Stepwise contrapuntal melodic phrases and repeated harmonic patterns provide a carpet of vocal sounds for the inspiring melody. Builds to an effective climax in the coda with an unexpected harmonic turn.

Arranger: Mary Goetze

Arranger: Mary Goetze

This short piece was written early in Schein's life and is typical of the Italian madrigal. The polyphonic writing offers each voice a melodic line to shape, and imitation to listen for the other voices. Kikkehihi is a rousing way to begin a program and to introduce the choir and audience to the charm of madrigals.

Arranger: Mary Goetze

This familiar fiddle tune of our American heritage is arranged in a playful setting which captures the flavor of the jocular text.

Arranger: Mary Goetze | Composer: Traditional

This Russian folk song is transcribed and arranged here based on a version sung by Olga and Kristina Bashirin in Irkutsk, Russia, in July of 1993. Includes both English and Russian text with pronunciation guide for the Russian.

Arranger: Lana Walter

This lovely southern folksong is set for three-part treble voices, and features one verse in unison, one in canon, and a third which features two ostinati in the outer voices and a beautiful melodic line in the middle voice, giving all voices an opportunity to sing both melody and harmony. Duration: ca. 3:00.

Arranger: Nancy Boone Allsbrook

Mary Goetze presents here a setting of the most familiar variant of this traditional folk ballad in which two lovers make impossible requests of each other. The texture shifts from homophonic to imitative counterpoint. Brief dissonances created and resolved by stepwise progression of the accompanying voices reflect the bittersweetness of the text.

Arranger: Mary Goetze

This utterly charming and accessible three-part arrangement for treble choir progresses from unison to 2- and 3-part counterpoint. The upbeat and gently syncopated third verse of Shady Grove is cleverly juxtaposed with the folk song The Cuckoo, whose call can be heard in the flute part throughout. Choirs will enjoy the opportunity to develop a sense of phrasing, while singing musically and expressively. Duration: 3:10.

Arranger: Nancy Boone Allsbrook/Glenda Goodin

This familiar song is set with very simple ideas which complement and support the motion of the beautiful melody. The accompanying voices can be learned quickly, for they sing like melodies and progress by step.

Arranger: Mary Goetze

Arranger: Mary Goetze

Musical elements of the setting of this William Blake text, such as the piccolo in the Dorian mode and occasional open fifths at cadences evoke the life described in the poem. Available for 3-Part Treble and Piccolo. Performance Time: Approx. 4:00.

Arranger: Mary Goetze

Arranger: Mary Goetze