Best Choral Music 2021: Top 16 Songs For Many Decade

Best Choral Music 2021 Top 16 Songs For Many Decade

This Choral music is a must-have for any music lover. This article on Best Choral Music is especially for those just starting to learn about Choral formation. This article is very useful because it helps you feel the difference and understand this type of music.

Cazzette has created the following list to help you save time and understand the value of Choral music. For more information, please stay tuned at the end of this post.

5 Minutes That Will Make You Love Choral Music

5 Minutes That Will Make You Love Choral Music

Leila Adu-Gilmore, composer

As a woman and composer of color, I have struggled with the Classical period. This period is widely considered to be the peak of Western European culture. It was also a time of brutal colonization and slavery.

Hildegard of Bingen was born in Germany in 1098 during the Middle Ages. Instead of being in a major or a minor key, Cum process factura digital die shows her calm and soothing vocal compositions in the haunting Phrygian style.

Hildegard, ahead nun at Eibingen Abbey and a composer, botanist, and author, is a Christian mystic. She links the divine and nature, thereby connecting us all through time.

Doug Peck, conductor, and teacher

James Baldwin spoke of rare occasions when something opens inside, and the music enters, and Richard Smallwood’s Total Praise is one such choral piece. Smallwood also speaks of mountaintop worship, which celebrates God when all is well, and valley praise, which praises God for the darkest times of our lives.

His mother and godbrother were both terminally ill, and Total Praise was written. It has been a source for millions of listeners from walks of life, the mountains to the valleys and everything.

Vision is the ideal choral arrangement: each part can be heard clearly in a rich range of community sound. The Amens sequence is a musical, spiritual and artistic achievement comparable to anything Bach left.

Corinna da Fonseca-Wollheim, Times writer

It is magical to hear the first iterations in Beethoven’s Ninth of the Ode to Joy, the last movement. Here’s where it gets me choked up: When the men, tethered by trombones, laid down Schiller’s challenge of universal brotherhood and sent a kiss — den Kuss — out to the world with all of the solemnity that an oath.

A meteor shower answers these with high voices. The music builds in overlapping waves, falters, gains momentum, and then is suspended again in a pulsating stillness, as if it is holding its breath.

Then they are off singers and instrumentalists, some moving and some singing, until the joyful ending.

Marcos Pavan, Sistine Chapel Choir director

The Gregorian repertoire chants are the best form of sacred chant in the West. They were created within the liturgical rituals of the Christian Church in the eighth and nine centuries. They are the foundation for the music we now know, not just sacred.

Three characteristics of Gregorian chant are evident in the gradual Christus facts est: the incredible beauty of pure melody and perfect adherence of the sacred text, as well as the unsurpassed ability to reach the deepest parts of the soul.

Two complementary aspects of Christ’s sacrifice are well expressed: His humiliation and death on the cross (the initial part) and glorifying (the second).

Charmaine Lee, vocalist and composer

Charmaine Lee, vocalist and composer

Marcel Cellier’s compilation album, Le Mystere Des Voix Bulgares, was the first time I heard it. It struck me immediately with its raw vocal quality and supreme clarity.

Yanka Rupkina’s powerful solo in Kalimankou Denkou is wrapped in rich harmony that cascades, unfolding with organic complexity. This is perfect tonal music. Harmony and melody work together to express deep emotions.

I hope that it will lead you down a YouTube rabbit trail in the vocal music of Bulgaria and other nearby countries like Georgia, Georgia, Albania, Corsica, Georgia, Georgia, and Greece.

Zanaida Robles, conductor, composer, and vocalist

Joel Thompson’s America Will Be has everything I love in choral music. It weaves together text in many languages about the meaning of America to immigrants, from generation to generation.

The compositions are richer thanks to the use of a variety of effects and compositional techniques. It’s rhythmically complex and evokes feelings of uneasiness, urgency, and steadfastness.

The piece features beautiful solo singing and wonderful support from the choir. The piece is a fascinating exploration of many harmonic colors, which takes the listener on an emotional journey from dissonant uncertainty to consonant certainty.

Eric Whitacre, composer

This is a brief piece, a setting for hauntingly beautiful poetry from William Blake. It always seems to dim the lights, whether I’m performing it live or hearing it in a performance. It induces a sense of twilight in the listener, that magical blue space between nighttime and the sun setting.

It is evident how rich, warm, and full of forgiveness that the music is to me. This is what I consider the gift of choral music. It allows us to communicate with one another in an emotional language that is deeper and more real than words.

Anthony Tommasini, Times chief classical music critic

Serge Koussevitsky, the Boston Symphony conductor, commissioned Randall Thompson, an American composer, to compose a choral piece for the opening exercises of the Berkshire Music Center’s first summer at Tanglewood in 1940.

Thompson’s five-minute Alleluia, which he had composed just hours before the ceremony began, was performed by all instrumentalists and faculty.

This beautiful, richly textured, brilliant, and the subdued piece has been performed in every Tanglewood opening ever since. It has also been a favorite for church services, concerts, and commencement exercises. It is rightly so.

Mary Jane Leach, composer, and performer

In 1972, I was in an early-music workshop when I first heard Monteverdi’s Lamento d’Arianna. It was a sight-reading exercise, back when Monteverdi was not well-known. We were all moved by the beautiful dissonances that we were singing.

We stood together admiring the song and the experience while a loud cricket sounded off. The lament was written over 400 years ago and retained its freshness. It still passes the brings you to tears test.

Top 16 Works for Choir & Orchestra

1. Byrd Masses

The Cardinall’s Musick / Carwood


Their style is simple and elegant, which belies the simplistic criticism. The use of vibrato is limited: after 40 years, some listeners may find the continuous use by the King’s Choir in the late 1950s to be almost overwhelming. Carwood avoids the modern trend to accelerate everything too fast.

Hill, with his enormous Winchester Cathedral Choir, sometimes succumbs.

Hill had the brilliant idea, just like Christophers, of interspersing bits of Byrd’s Gradualia. I believe that Carwood and The Cardinall’s Musick still have a lot to offer with their deep understanding.

2. Vivaldi: Gloria

Like most of Vivaldi’s music, this piece was written for the girls of the orphanage where Vivaldi taught music. The piece was unknown to the rest until Alfredo Casella, composer of Vivaldi Week in 1939, had it performed. It has been performed by thousands of professional and church choirs around the globe every year since then.

3. Judith Bingham – First Light

FirstLight was written by Judith Bingham, a British composer for Waynflete singers based in Winchester. It is set in Judith’s poem Mark Shaw about the Incarnation – the belief that God became human through Jesus Christ.

Bingham’s macabre harmonic language, dynamic writing for brass ensembles and choirs plunge listeners into a world of atmospheric uncertainty. The singing is epic, with a mix of delicately sung passages as well as thunderous moments.

4. Judith Bingham – First Light

FirstLight was written by Judith Bingham, a British composer for Waynflete singers based in Winchester. It is set in Judith’s poem Mark Shaw about the Incarnation – the belief that God became human through Jesus Christ.

Bingham’s macabre harmonic language, dynamic writing for brass ensemble, and choir plunge listeners into the atmosphere. The singing is spectacular, with a mix of delicately sung passages as well as thunderous moments.

5. Stravinsky: Symphony of Psalms

Stravinsky stated that the Symphony of Psalms is not a symphony where he has included Psalms to sing. It is the singing of Psalms I am symphonizing.

He wanted his audience to understand that the music was there to support the Psalms and that the choir is an integral part of the work.

Listening to this piece will reveal that Stravinsky was using the choir in the same way as he would instrument in the orchestra.

This monumental music for orchestra and choir was composed in three movements without a break. It was composed for the 50th-anniversary celebration of the Boston Symphony in 1930.

Instrumentation is one of the fascinating aspects of the work. Stravinsky wrote it for a large orchestra, but it was missing important parts.

The orchestra has a large wind section but no clarinets. Violins and violas have been omitted completely. Stravinsky requested that children sing the alto and soprano parts whenever possible.

6. John Adams – Harmonium

John Adams’s Harmonium sounds like a wonderful, soothing treat for the ears. The piece was composed between 1980 and 1981 and featured layers of minimalist textures similar to the work of Steve Reich and Philip Glass. These layers of sound are used by Adams to propel the music forward in its most dramatic moments and to provide an ethereal background in others.

7. Handel Messiah

Dunedin Consort & Players / John Butt

Butt resolves to use the same resources Handel had in Dublin. This means that the whole oratorio can be sung by twelve singers (with all soloists required for the choruses, just as Handel would have wanted).

This approach could lead to boring solos from stalwart choir members. However, the Dunedin Consort’s outstanding singers create virtuoso choruses that are theatrically charged and beautifully poised while exquisitely blended. The old warhorses For unto our child is born or Surely he has borne our sorrows are charmingly inspiring.

The combination of Dunedin Consort and Butt is a marriage of astute scholarship and sincere artistic expression. It’s comfortably the freshest, natural, revelatory, and transparently joyous Messiah I’ve ever heard.

8. Verdi: Requiem

Verdi’s Requiem was inspired by a piece he had proposed after Rossini died. It was a requiem Mass in which a different composer would have written each movement. The project was abandoned, but Verdi rediscovered the idea after the death of Alessandro Marzoni.

Although the Requiem was originally performed in a church, it soon found its way to theaters and concert halls. The work is more theatrical than liturgical, if we are honest. It was hugely successful during Verdi’s life (and ever since). It was a huge success, but there were criticisms about the overly dramatic nature of the piece for a church setting.

9. Magnus Lindberg – Graffiti

Magnus Lindberg’s 2009 work shows how old and new collide. The song’s text is sung from vandalism that was found in Ancient Roman cities. It uses the Latin language to bring out the scribbles around Pompeii, Herculaneum.

Choral writing can take you through eerie, chaotic, and eerie sound worlds. The choir’s complex polyrhythmic patterns reach an exhilarating peak when they unite in force. It is a disorienting ode to the Roman Empire’s world that seems further away than it ever was.

10. Stainer Crucifixion

Sols; BBC Singers, Leith Hill Festival Singers/Brian Kay


It is a wonderful piece of music to listen to again after so many years.

The celebration of amateurism in Stainer’s Crucifixion, that special English virtue, is what I wish for too often in this piece.

A genuine, self-regarding performance like this is likely to make the strongest case.

11. Bernstein: Chichester Psalms

Bernstein’s Chichester Psalms adds a little religious diversity to a genre that Christianity usually dominates.

Bernstein set several psalms, despite it being commissioned by Chichester Cathedral, England. This emphasized the connection between his Jewish faith and the Christian traditions of Chichester Cathedral.

Bernstein made two theatrical and symbolic moves to give the harp a prominent position in the orchestra. He also stressed that a young boy or a countertenor should only sing the solo part. These gestures were meant to connect the texts to King David, who is believed to have written them.

12. Meredith Monk – Panda Chant II

Here’s something different: a piece by Meredith Monk, avant-garde composer, and vocalist improviser. Monk’s 1983 science fiction opera The Games contains ‘Panda Chant II. It was written for 16 voices and included keyboards, keyboards, Flemish Bagpipes, Chinese Horn, and Flemish bagpipes.

The Games takes place in a post-nuclear world, in which citizens participate in ritualistic games to save their civilization.

Panda Chant II highlights the versatility of the human voice when it transforms into the sounds of our furry friends.

13. Elgar The Dream of Gerontius

Sols; Halle Choir & Orchestra / Mark Elder


Bryn Terfel’s proclamation of Go forth! is full of force and presence – heavens portals are open for that, just as they do with the arrival by the heavenly host of the great Praise the Holiest chorus.

Elder’s insistent rhythmic articulation helps the Halle choir gain momentum. Elder achieves a stunning crescendo on that final chord, leaving the organ to explore infinite depths.

14. Bach: Magnificat

The Latin translation of Mary’s prayer to Gabriel, when she was told she would give birth by the angel Gabriel, is called the Magnificat.

Bach performed his first musical adaptations of Christmas in 1723, shortly after being hired as music director at St. Thomas Church in Leipzig.

Although the Magnificat was an integral part of Sunday services at the church’s church, the congregation performed more elaborate renditions on holidays.

Bach returned to this music ten years later. Bach increased the orchestra’s size and removed the Christmas hymns he had inserted into the original. This is the version that’s most commonly performed today. It’s also one of the most loved works for orchestra and choir.

15. Vaughan Williams A Sea Symphony

Katherine Broderick sop Roderick Wils bar Halle Choir, Halle Youth Choir, Schola Cantorum, Ad Solem, and Halle Orchestra / Sir Mark Elder.


It is almost as irresistible as the mono Boult (EMI, 2/89) or Haitink (1/90), and Elder’s Sea Symphony is my favorite. No one who has his RVW symphonic cycle with the Halle should have any hesitation in buying it.

16. Eric Whitacre – Lux Aurumque

Lux Aurumque is a translation of Edward Esch’s poem Light and Gold. It was originally composed for wind ensemble but was then fully released to the public as Eric Whitacre’s Virtual Choir in 2009.

It is a beautiful piece of contemporary choral music. Whitacre keeps listeners guessing at every chord while dazzling them with transcendent textures. The last chord is pure joy and the cherry on top of an undoubtedly perfect piece of choral musical music.


What is the most famous choir in the world?

Gramophone magazine has named John Eliot Gardiner’s Monteverdi Choir the best in the world.

Read on:

What is a piece of choral music?

Choral music is music that has been written and performed by a chorus. Two or more voices can sing each part of choral music. The structure of a choral composition will also vary depending on the size of the choir.

See more:

What does F mean in the choir?

The main dynamic symbols off and p are loud, which can be translated to loud.

Click here:

Who has the biggest choir?

The Church of God International. The Guinness World Record is held by members of the Church of God International for having the largest gospel choir in the world. They come from all parts of the globe, including Grand Island, Brazil, and the Philippines.



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