Call On Him: Choral Instrumental Pak

Leavitt captures something genuinely moving here without resorting to overwrought sentimentality. The cinematic quality mentioned in the description isn't hyperbole; the orchestration (harp, strings, and horn) unfolds with real sophistication, and the choral writing sits comfortably even as it soars. This is the kind of piece that feels like a genuine event in a service or concert.

Luminous and unhurried. The accompaniment shimmers around a vocal line that feels both personal and universal, moving from introspection into something more exuberant. There's an almost hymnic quality beneath the contemporary harmonic language, making it feel both modern and timeless.

This works for choirs of moderate to advanced ability who have string and harp players available (or can hire them). It's particularly suited to churches and concert settings where a substantial, polished anthem creates the right spiritual or artistic moment without demanding a massive ensemble.

• Balance the harp's rippling figures carefully in rehearsal; they anchor the harmonic language and shouldn't disappear under the choir, but they also shouldn't dominate. Mark dynamic relationships between the accompaniment and vocal lines early.
• Shape the string writing as an extension of the choir's phrases. Conductors should establish clear breath points and communicate those to the string section so the instrumental parts breathe with the voices.
• Let the horn line emerge distinctly at its entrance; it provides structural anchoring and shouldn't blend into the texture. Brief sectional work with brass and rhythm section pays dividends.
• The text carries theological weight, so encourage singers to understand the Psalm connection and the arc of surrender moving toward celebration. Musical choices follow naturally once the text lands emotionally.

Position this as the centerpiece of an Easter service or spring concert. It pairs well with both earlier classical material and contemporary works, and its 3-5 minute span allows it to anchor a program without overshadowing surrounding pieces. Consider programming it where you want listeners to sit quietly afterward.

• Sustaining long vocal lines with dynamic shape and textual clarity
• Blending with instrumental accompaniment across multiple instrumental families
• Interpreting contemporary harmonic language and major-minor inflections
• Responding to a conductor's gestural refinement of phrase architecture