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GO 9281
HAWLEY, W.: Choral Music (Shall We Gather at the River) (Choral Arts, Robert Bode)

HAWLEY, W.: Choral Music (Shall We Gather at the River) (Choral Arts, Robert Bode)

The Classical Shop
release date: November 2013

Originally recorded in 2013

Artists:

Robert Bode

Conductor

Choral Arts

Choir

Choral Arts

Choral

Venue:

Lagerquist Hall, Pacific Lutheran University, Tacoma, Washington, United States

Venue

Record Label
Gothic

Genre:

Choir


Classical

Total Time - 47:32
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HAWLEY, W.: Choral Music (Shall We Gather at the River) (Choral Arts, Robert Bode)

     
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WILLIAM HAWLEY

1 

Beautiful River (Shall We Gather at the River)

02:31
     
 

4 Reveries

 
2 No. 1. Echo 03:45
3 No. 2. Remembrance 03:17
4 No. 3. My River Runs to Thee 03:17
5 No. 4. Meeting at Night 02:26
     
 

2 Motets

 
6 No. 1. Mosella 02:04
7 No. 2. Te Vigilans Oculis 02:07
     
 

3 Rime di Tasso

 
8 No. 1. Amor l'ali m'impenna 03:59
9 No. 2. Fuggi, fuggi dolor 03:01
10 No. 3. Labbra vermiglie e belle 04:12
     
 

6 Dickinson Settings

 
11 No. 1. There Came a Day at Summer's Full 02:31
12 No. 2. A Valentine 03:39
13 No. 3. As if the Sea Should Part 01:53
14 No. 4. I Have a Bird in Spring 02:59
15 No. 5. It's Like the Light 01:30
16 No. 6. On This Wondrous Sea 02:48
     
 

TRADITIONAL

17 

Not One Sparrow is Forgotten (arr. W. Hawley)

01:33
     
 Choral Arts Choir
 Robert Bode Conductor


Shall We Gather at the River - The Choral Music of William Hawley (1950)

Choral Arts, Robert Bode, director

William Hawley is a central figure in today’s renaissance of American choral music.  His treatment of harmony and counterpoint helped to establish compositional trends that have since been adopted by other major figures such as Morten Lauridsen and Eric Whitacre. 

Winners of the American Prize and the Margaret Hillis Award, Choral Arts and Robert Bode make a musically persuasive case for the importance of Hawley’s choral works.

William Hawley (born 1950) is one of the central figures in today’s renaissance of American choral music. Born in upstate New York to a literarily minded family, he studied at Ithaca College and the California Institute of the Arts. There, he composed avant-garde instrumental works in the shadow of Morton Subotnick, Earle Brown, and Morton Feldman, and even flirted with minimalism. However, the launch of his Two Motets in 1981 demonstrated a shift to vocal music and to a more emotionally direct style. This new approach, unusual among his fellow composers based in New York City, was particularly well-suited to unaccompanied choirs, with their natural penchant for rich textures, sonorous but dissonant harmonies, unresolved suspensions, and  subtle counterpoint. His catalog also includes an extensive corpus of music for women’s chorus, major works for chorus and orchestra (including a Mass and a Requiem), and several pieces for solo voice. He has composed for such noted ensembles as New York’s Gregg Smith Singers, the Dale Warland Singers in St. Paul, the Handel and Haydn Society in Boston, and Chanticleer, San Francisco’s all-male professional choir. In recent years, Hawley has traded the hubbub of Manhattan for the calm of coastal Maine, but his continuing output demonstrates an influential and timely voice in American choral music. Indeed, his treatment of harmony and counterpoint helped to establish compositional trends that have since been adopted by other major figures such as Morten Lauridsen and Eric Whitacre.

 
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