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Elevation (Mixed Voices): Choral Octavo

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Elevation (Mixed Voices): Choral Octavo

By Erik Ešenvalds/Words by Charles Baudelaire (1821-1867)/Translators Piaget Shanks Lewis/William Aggeler

Item: 98-MB4287

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Description
Commissioned by the Pacific Lutheran University to honour the legacy of conductor, Richard Nance. Premiered by the PLU Choir of the West, conducted by Raul Dominguez, Pacific Lutheran University, Lagerquist Concert Hall, 8 March 2026.

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Additional Details
Series: Musica Baltica
Publisher: Latvia
ISBN10: 0-265-04101-5
ISBN13: 979-0-265-04101-6
SKU: 98-MB4287

More about this title

About the Composer: Erik Ešenvalds

Erik Ešenvalds is a Latvian composer whose choral works have earned international recognition for their luminous harmonic language and spiritual depth. His compositions, often rooted in Baltic cultural traditions, combine accessible vocal writing with sophisticated harmonic thinking that appeals to both amateur and professional ensembles.

Ešenvalds has become a fixture in the modern choral repertoire, with his works performed regularly at festivals and concert halls worldwide. His gift for creating pieces that sound both contemporary and timeless makes him particularly valued in educational settings, where singers discover that modern composition can be both intellectually engaging and emotionally moving.

Why we love this

Ešenvalds brings the same harmonic subtlety and emotional intelligence to this work that earned him a place in the choral canon. The double choir writing allows for rich textural possibilities without overwhelming singers, and the commission history gives your students a tangible connection to a living composer and a meaningful conducting legacy.

What to expect

Ešenvalds' harmonic language creates an atmosphere of quiet intensity and spaciousness. The double choir texture allows moments of luminescence as the two groups weave together, creating a sense of elevation that feels both contemplative and affirming.

Who it's for

Choirs with at least some experience balancing complex harmonies and managing divided sections will get the most from this work. The double choir writing makes it ideal for larger, more established ensembles or for programs where you want to showcase your singers' ability to hold independent lines.

How to get the most out of it

  • Balance the two choirs as equal partners rather than treating one as primary and one as secondary; this creates the luminous quality the double choir texture demands.
  • Listen closely to how the inner voices move; Ešenvalds writes motivic material throughout the texture, not just in the top line.
  • Explore tempos that allow the harmonic changes to register clearly without feeling rushed, especially if there are slower sections that require sustained tone.
  • Consider staging options that separate the two choirs spatially, which can amplify the textural interplay and create acoustic richness.

How to use it

This work functions beautifully as a centerpiece for a concert exploring contemporary choral writing or as a memorial or tribute program piece given its commissioning context. Its spiritual character also makes it suitable for concerts that blend sacred and secular themes.

Skills your students will build

  • Maintaining independence while blending with a second choir
  • Understanding modern harmonic language and voice leading across multiple voice parts
  • Sustaining focused tone through complex chord changes
  • Responding to subtle conducting gestures that coordinate two independent groups

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