1 | Reena Esmail Choral Works | (this sheet is organized by choir type) | ||||||||||||
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2 | Name of Work (click link for more info) | Choir Type | Instruments | Length (mins) | Movements | Level (1-5) | Language(s) | Text by: | Year written: | community/ audience participation? | written specifically for youth choirs? | Occasion/ Theme | Raags used/ referenced: | Notes: |
3 | Together at Last (from Quarantine Madrigals) (QUM300) | 4-parts of any single voice type | none | 2 (flexible) | 1 | 1 - easy | English | Amy Fogerson | 2020 | Y | relationship, being together, post-covid, community | This is a round that can be taught and sung with audience (note, mmt2 of Quarantine Madrigals is also a round, but a little harder to sing) | ||
4 | Quarantine Madrigals (QUM100) | 4-parts of any single voice type (see notes) | none | 18 | 7+postlude | 4 - intermediate to advanced/professional | English | Amy Fogerson | 2020 | pandemic, isolation, community, relationship | strains of Yaman, Charukeshi, Megh (but not overt) | This work was intended for one singer to compile by recording each voice on top of themselves during the pandemic. However, it can be performed with as few as four singers who have the same vocal range (and I'm sure it can also be done creatively with singers of different vocal ranges as well -- this is a very flexible set that will work in many situations) -- some of these movements are much easier than others | ||
5 | See Me (community version) (SEM200) | open voicing | none | 2 (flexible length) | 1 | 1 - easy | English | Reena Esmail | 2020 | Y | Megh/Malhaar | can be taught/performed by rote | ||
6 | Community Songbook (CSO100) | open voicing | none | ~ | ~ | 1 - easy | English | Reena Esmail | 2024 (et al) | community, belonging, care | This is a FREE DOWNLOADABLE compilation of my work for community choirs. It contains a few of the arrangements of Take What You Need, a community version of See Me and Together at Last from the Quarantine Madrigals. More work will be added as it becomes available. | |||
7 | Sunaao (SUN300) | SAB | piano | 10 | 3 | 2 - easy to intermediate | Hindi/Urdu | Reena Bhansali | 2023 | Y | invitation, positive mindset, curiosity | Megh Malkauns Chandrakauns Bhimpalas Vachaspati | This is an entry level set, designed to be a choir's introduction to the Hindi/Urdu langauge. | |
8 | Ritual (RIT100) | SATB | piano | 5 | 1 | 3 - intermediate | English | William Stafford | 2006 | relationship, mutual understanding, tolerance | ||||
9 | Curiosity (from Earth Speaks) (EAS100iii) | SATB | piano | 12 | 3 | 4 - intermediate to advanced | English | woven together from many poets, as well as scientific sources | 2014 | space exploration, mars, discovery | ||||
10 | Tuttarana (SATB) (TUT200) | SATB | none | 3 | 5 - advanced | Hindi-based | Reena Esmail | 2014 | Jog-based | Tuttarana is a fast-paced piece that often gets used as part of a competition/All-State set list. Please note: The text in this piece is not a set of words with meanings -- they are onomatopoeic sounds that are used when singing Indian classical music (please note: if you have experience in Indian classical music, you will notice that there are a few melodic moves that take the piece out of Jog, so if Jog is familiar to you, you will see that the G-S melodic move is not strictly in Jog) | ||||
11 | Earth Speaks (EAS100) | SATB | French horn and piano | 45 | 9 | 4 - intermediate to advanced | English | woven together from many poets, as well as scientific sources | 2015 | environment, space exploration, ancestry/lineage, earthquakes, mars | ||||
12 | Even After All This Time... (SATB only) (EAA100) | SATB | none | 6 | 1 | 3 - intermediate | English and Farsi | Hafiz (tr. Daniel Ladinsky) | 2016 | relationship, love, commitment | ||||
13 | Even After All This Time... (SATB+clarinet) (EAA100) | SATB | Bb Clarinet | 8 | 1 | 3 - intermediate | English and Farsi | Hafiz (tr. Daniel Ladinsky) | 2016 | relationship, love, commitment | ||||
14 | Still I Rise (from I Rise: Women in Song) - SATB Version (IRW600) | SATB | string orchestra, flute and harp | 5 | 1 | 4 - intermediate to advanced | English | Maya Angelou | 2016 | surmounting obstacles, perseverance, tenacity | ||||
15 | TaReKiTa (TAR100) | SATB | none | 2 | 1 | 2 - easy to intermediate | Hindi-based | Reena Esmail | 2016 | Y | Jog-based | The text in this piece is not a set of words with meanings -- they are onomatopoeic sounds that are used when singing Indian classical music (please note: if you have experience in Indian classical music, you will notice that some of the syllables seem more Carnatic than Hindustani - it's a bit of a blend of both. Also, there are a few melodic moves that take the piece out of Jog, so if Jog is familiar to you, you will see that the G-S melodic move is not strictly in Jog) | ||
16 | This Love Between Us: Prayers for Unity (TLB100) | SATB | sitar, tabla and orchestra (Bach Magnificat orchestration) | 40 | 7 | 4 - intermediate to advanced | English and a variety of langues of religious texts (Sanskrit, Gurumukhi, Malayalam, Pahlavi, Hindi, Ardha Magadhi -- detailed audio guides available) | sacred texts from various religious practiced widely in India | 2016 | unity, kindness, interfaith | (various) | |||
17 | When the Violin (SATB + cello) (WTV100) | SATB | cello | 6 | 1 | 4 - intermediate to advanced | English | Hafiz (tr. Daniel Ladinsky) | 2018 | forgiveness | Charukeshi | all choral versions of When the Violin are essentially the same music, just scored differently for either a small ensemble (9 voices) or a larger ensemble (minimum 16 voices). There are small solos for a soprano, alto, tenor and bass, in a more Hindustani style (which can be handled by a Western singer -- does not require Indian vocal training). | ||
18 | When the Violin (SATB + viola) (WTV600) | SATB | viola | 6 | 1 | 4 - intermediate to advanced | English | Hafiz (tr. Daniel Ladinsky) | 2018 | forgiveness | Charukeshi | all choral versions of When the Violin are essentially the same music, just scored differently for either a small ensemble (9 voices) or a larger ensemble (minimum 16 voices). There are small solos for a soprano, alto, tenor and bass, in a more Hindustani style (which can be handled by a Western singer -- does not require Indian vocal training). | ||
19 | When the Violin (SATB + violin) (WTV200) | SATB | violin | 6 | 1 | 4 - intermediate to advanced | English | Hafiz (tr. Daniel Ladinsky) | 2018 | forgiveness | Charukeshi | all choral versions of When the Violin are essentially the same music, just scored differently for either a small ensemble (9 voices) or a larger ensemble (minimum 16 voices). There are small solos for a soprano, alto, tenor and bass, in a more Hindustani style (which can be handled by a Western singer -- does not require Indian vocal training). | ||
20 | She Will Transform You (SATB+orchestra) (SWT100) | SATB | full orchestra | 14 | 1 | 4 - intermediate to advanced | English | Neelanjana Banerjee | 2019 | immigration, generations, women | Rageshree | |||
21 | The Love of Thousands (SATB) (TLO200) | SATB | none | 5 | 4 - intermediate to advanced | English (with Hindi-based textures) | Linda Hogan | 2019 | ancestry, connection, love, support | Charukeshi | ||||
22 | When the Guitar (WTG100) | SATB | guitar quartet (four guitars) | 6 | 1 | 4 - intermediate to advanced | English | Hafiz (tr. Daniel Ladinsky) | 2019 | forgiveness | Charukeshi | all choral versions of When the Violin/Guitar are essentially the same music, just scored differently for either a small ensemble (9 voices) or a larger ensemble (minimum 16 voices). There are small solos for a soprano, alto, tenor and bass, in a more Hindustani style (which can be handled by a Western singer -- does not require Indian vocal training). | ||
23 | She Will Transform You (SATB+flute) (SWT300) | SATB | flute | 8 | 1 | 4 - intermediate to advanced | English | Neelanjana Banerjee | 2020 | immigration, generations, women | Rageshree | |||
24 | A Winter Breviary (AWB100) | SATB | none | 12 | 3 | 2 - easy to intermediate | English | Rebecca Gayle Howell | 2021 | holiday season, solstice | Hamsadhwani Malkauns Ahir Bhairav | |||
25 | The Tipping Point (TTP100) | SATB | tabla | 9 | 1 | 4 - intermediate to advanced | English and Hindi | Amy Fogerson (with brief Hindi phrases) | 2021 | solstice, daybreak, return of light | Vibhas | |||
26 | Dhire Dhire (SATB Version) (DDH200) | SATB | piano | 5 | 1 | 2 - easy to intermediate | Hindi | Kabir Das | 2022 | Y | spring, new beginnings, patience | Megh | there are other versions of this work for solo soprano and piano, as well as soprano and piano trio -- but this is the only version for choir. It will be available from Oxford University Press soon. | |
27 | Trust the Ballot (from Say Your Name) (SYN300) | SATB | piano | 5 | 3 - intermediate | English | Rebecca Gayle Howell | 2022 | voting, suffrage | Megh/Malhaar-based | ||||
28 | Lacrimosa (from Malhaar: A Requiem for Water (MAL100vi) | SATB | tabla | 7 | 1 | 2 - easy to intermediate | English and Latin | William O'Daly (with Latin Lacrimosa text) | 2023 | water, grief, tears, loss | (no specific raag in this movement) | |||
29 | Malhaar: A Requiem for Water (MAL100) | SATB | Hindustani vocalist and tabla | 45 | 7 | 3 - intermediate | English, Latin, Hindi | William O'Daly (with Latin Requiem mass text), plus Hindi (mainly for Hindustani singer) | 2023 | water, environment, climate change, loss, grief | Malhaar family | |||
30 | Sunaao (SUN100) | SATB | piano | 10 | 3 | 2 - easy to intermediate | Hindi/Urdu | Reena Bhansali | 2023 | Y | invitation, positive mindset, curiosity | Megh Malkauns Chandrakauns Bhimpalas Vachaspati | This is an entry level set, designed to be a choir's introduction to the Hindi/Urdu langauge. | |
31 | Man Tu Shudam, Tu Man Shudi (MTS100) | SATB | none | 5 | 1 | 4 - intermediate to advanced | Hindi/Urdu | Amir Khusro | 2023 | love, connection, empathy | Pratiksha | under exclusivity with Indiana Wesleyan University until Fall 2024 | ||
32 | If the River Leaves Without Me (ITR200) | SATB | piano | 4 | 1 | 2 - easy to intermediate | English | Reena Esmail | 2023 | Y | taking a different path, uncertainty | This work will be available from Oxford University Press in Fall 2024 | ||
33 | Alleluia from Exaltations - trombone version (EXA300) | SATB - double choir | trombone | 4 | 1 | 3 | Latin | 2024 | joy, peace, celebration, sacred | Pratiksha | This is movement 2 of Exaltations, as a standalone piece. This movement only requires a single obbligato instrument - the trombone (there is also a french horn version of this movement) | |||
34 | Alleluia from Exaltations - horn version (EXA100ii) | SATB - double choir | horn | 4 | 1 | 3 | Latin | 2024 | joy, peace, celebration, sacred | Pratiksha | This is movement 2 of Exaltations, as a standalone piece. This movement only requires a single obbligato instrument - the French horn (there is also a trombone version of this movement) | |||
35 | Exaltations (EXA100) | SATB - double choir | brass quintet | 10 | 3 | 3 - intermediate (last movement is harder than other two - maybe level 4-5) | Latin | traditional Mass text | 2024 | praise, joy, sacred | Bageshri Pratiksha Megh | These three pieces can be performed as a set or interstitially between other work on the program. They also don't have to be performed as a set - a single movement can be programmed separately, if so desired. They are designed to be compatible with the 15C double choir music of Gabrieli et al. | ||
36 | When the Violin (9 voices + cello) (WTV300) | SATB - SSAATTBBB (one on a part) | cello | 6 | 1 | 4 - intermediate to advanced | English | Hafiz (tr. Daniel Ladinsky) | 2018 | forgiveness | Charukeshi | all choral versions of When the Violin are essentially the same music, just scored differently for either a small ensemble (9 voices) or a larger ensemble (minimum 16 voices). There are small solos for a soprano, alto, tenor and bass, in a more Hindustani style (which can be handled by a Western singer -- does not require Indian vocal training). | ||
37 | When the Violin (9 voices + violin) (WTV400) | SATB - SSAATTBBB (one on a part) | violin | 6 | 1 | 4 - intermediate to advanced | English | Hafiz (tr. Daniel Ladinsky) | 2018 | forgiveness | Charukeshi | all choral versions of When the Violin are essentially the same music, just scored differently for either a small ensemble (9 voices) or a larger ensemble (minimum 16 voices). There are small solos for a soprano, alto, tenor and bass, in a more Hindustani style (which can be handled by a Western singer -- does not require Indian vocal training). | ||
38 | Say Your Name (SYN100) | SATB (+solo soprano) | full orchestra | 30 | 4 | 4 - intermediate to advanced | English | Rebecca Gayle Howell | 2022 | voting, suffrage, democracy | ||||
39 | White Key (WKE100) | SATB (SSAATTBB) | none | 14 | 1 | 5 - advanced | English | Carol Muske-Dukes | 2009 | grief, loss, memory | White Key is a deep cut -- it is one of my first choral works, from before I started working with Indian classical music. It is difficult in many ways, but also shows a completely different side of my choral writing, from when it was more similar to my instrumental writing. | |||
40 | See Me (SEM100) | SATB + soprano soli + community choir | none | 9 | 1 | 4 - intermediate to advanced (community part is level 1 - easy) | English and Sanskrit | Sanskrit text from Rig Veda (English text by Reena Esmail) | 2020 | Y | beginning of universe, mutual understanding | Megh | ||
41 | We Are Love (WAL100) | SATB + soprano solo + community | piano | 7 | 1 | 3 - intermediate (community part is 1 - easy) | English | Melissa Studdard | 2022 | Y | love, connection | Yaman Vachaspati (traces) | We Are Love is designed to be performed by a regular SATB chorus and a community chorus side by side. While the community part does need rehearsal, it can be taught by rote. | |
42 | Take What You Need (TWY100-1300) | SATB+community part | string orchestra (can also use string quintet or piano) | 5-20 (flexible) | 1 | 2-5 (many different level options) | English | Reena Esmail | 2016 | Y | relationship, empowerment, mutual understanding | This work has a dozen different versions to meet a variety of needs. Please see the sidebar of any of the Take What You Need pages to download any number of versions of the piece. They are all available for free and licensed under creative commons. | ||
43 | The Love of Thousands (12-voice treble) (TLO100) | Treble - (12-part divisi) | none | 9 | 5 - advanced | English (with Hindi-based textures) | Linda Hogan | 2019 | ancestry, connection, love, support | Charukeshi | ||||
44 | Ram Tori Maya (2-part treble version) (RTM500) | Treble - SA | piano | 4 | 1 | 2 - easy to intermediate | Hindi | Barabas (ancient Indian saint-poet) | 2019 | Y | focus, aspiration | |||
45 | Listen (LIS100) | Treble - SA | piano | 4 | 1 | 2 - easy to intermediate | English | Reena Esmail | 2021 | Y | listening, connection, dialogue | |||
46 | Tuttarana (SSA) (TUT100) | Treble - SSA (with divisi) | none | 3 | 5 - advanced | Hindi-based | Reena Esmail | 2014 | Jog-based | Tuttarana is a fast-paced piece that often gets used as part of a competition/All-State set list. Please note: The text in this piece is not a set of words with meanings -- they are onomatopoeic sounds that are used when singing Indian classical music (please note: if you have experience in Indian classical music, you will notice that there are a few melodic moves that take the piece out of Jog, so if Jog is familiar to you, you will see that the G-S melodic move is not strictly in Jog) | ||||
47 | Ave Maria (AVM100) | Treble - SSAA | none | 4 | 1 | 3 - intermediate | Latin | (Latin Ave Maria text) | 2006 | religion (Catholicism), women | a very early work -- not yet in Indian classical style | |||
48 | The Dirt is Red Here (from Earth Speaks - EAS100) | Treble - SSAA | none | 4 | 1 | 2 - easy to intermediate | English | Stephen Meadows | 2015 | women, grief | ||||
49 | I Rise: Women in Song (IRW100) | Treble - SSAA | string orchestra, flute and harp | 25 | 5 | 4 - intermediate to advanced | English | Eleanor Roosevelt, Maya Angelou, Emily Dickinson, Arlene Geller | 2016 | women, aspiration | There is also a chamber version of this work, designed for four singers, flute, harp and string quintet. | |||
50 | I Rise: Women in Song (SSAA+flute version) (IRW400) | Treble - SSAA | flute | 15 | 3 | 4 - intermediate to advanced | English | Eleanor Roosevelt, Emily Dickinson, Arlene Geller | 2016 | women, aspiration | This is three movements of the full work, arranged for choir and solo flute. | |||
51 | TaReKiTa (TAR200) | Treble - SSAA | none | 2 | 1 | 2 - easy to intermediate | Hindi-based | Reena Esmail | 2016 | Y | Jog-based | The text in this piece is not a set of words with meanings -- they are onomatopoeic sounds that are used when singing Indian classical music (please note: if you have experience in Indian classical music, you will notice that some of the syllables seem more Carnatic than Hindustani - it's a bit of a blend of both. Also, there are a few melodic moves that take the piece out of Jog, so if Jog is familiar to you, you will see that the G-S melodic move is not strictly in Jog) | ||
52 | This Love Between Us: Prayers for Unity (TLB600) | Treble - SSAA | sitar, tabla and orchestra (Bach Magnificat orchestration) | 40 | 7 | 4 - intermediate to advanced | English and a variety of langues of religious texts (Sanskrit, Gurumukhi, Malayalam, Pahlavi, Hindi, Ardha Magadhi -- detailed audio guides available) | sacred texts from various religious practiced widely in India | 2016 | unity, kindness, interfaith | (various) | (this is a recent arrangement for treble choir of the original SATB version of this piece. All else remains the same) | ||
53 | If the River Leaves Without Me (ITR100) | Treble - SSAA | piano | 4 | 1 | 2 - easy to intermediate | English | Reena Esmail | 2023 | Y | taking a different path, uncertainty | This work is available from Oxford University Press. | ||
54 | Sunaao (SUN200) | Treble - SSAA | piano | 10 | 3 | 2 - easy to intermediate | Hindi/Urdu | Reena Bhansali | 2023 | Y | invitation, positive mindset, curiosity | Megh Malkauns Chandrakauns Bhimpalas Vachaspati | This is an entry level set, designed to be a choir's introduction to the Hindi/Urdu langauge. | |
55 | TaReKiTa (TAR300) | TTBB | none | 2 | 1 | 2 - easy to intermediate | Hindi-based | Reena Esmail | 2016 | Y | Jog-based | The text in this piece is not a set of words with meanings -- they are onomatopoeic sounds that are used when singing Indian classical music (please note: if you have experience in Indian classical music, you will notice that some of the syllables seem more Carnatic than Hindustani - it's a bit of a blend of both. Also, there are a few melodic moves that take the piece out of Jog, so if Jog is familiar to you, you will see that the G-S melodic move is not strictly in Jog) |