Holy Is The Child: Choral Instrumental Pak
By Joel Auge / Arranged by BJ Davis
Item: 35-PK00161907
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Why we love this
The text sets itself apart through intimate theological reflection rather than festive decoration, which gives your choir genuine material to communicate. Auge crafts a soundscape that feels spacious and contemplative, allowing the peace described in the lyrics to exist musically rather than simply being told to the audience.
What to expect
A quiet moment of recognition, where the everyday becomes sacred. The music holds space for the lyrical statement without embellishment, creating an atmosphere of sincere contemplation that invites listening rather than celebration.
Who it's for
This work serves choirs seeking sacred repertoire with contemporary sensibility and genuine emotional depth for Christmas programming. It works equally well in concert settings where you want to move beyond traditional carols into more reflective territory.
How to get the most out of it
- Let the opening moments breathe. Resist the urge to rush the establishment of that peaceful quality; the choir needs time to settle the room before the text enters.
- Balance the orchestral accompaniment so it supports rather than overwhelms the lyrical content. The instrumental voices should enhance introspection, not compete with it.
- Shape the phrase "His peace He'll bring" with particular care. This is the theological hinge of the piece, and how your choir delivers it will determine whether the final section lands with genuine weight.
How to use it
Position this as a centerpiece in a Christmas concert that emphasizes spiritual significance over seasonal cheer, or pair it with other contemporary sacred works to show the range of how composers approach Christmas texts. Its five-minute duration and meditative quality make it an effective closer for a service or concert.
Skills your students will build
- Sustaining long phrases with attention to text clarity
- Balancing ensemble sound with instrumental accompaniment
- Performing with restraint and intentionality rather than dynamic extremes
- Communicating theological content through vocal line and musical space