Nocturne: SSAATTBB Choral Octavo

Hagen's collaboration with VOCES8 and poet Todd Boss creates a piece that feels both intimate and assured. The addition of French horn lifts the texture without overwhelming the voices, and the clock-ticking conceit gives shape to what could easily become shapeless night music, making this a standout choice for directors seeking contemporary choral work with genuine elegance.

Night unfolds in this piece with the inevitability of a clock's ticking, neither anxious nor dreamy but fully present. The harmonic language is modern and contemplative, with moments of surprising brightness emerging from quieter passages. There's a gentleness here that doesn't sacrifice musical substance.

This piece suits intermediate to advanced college and professional choirs, as well as accomplished high school groups comfortable with divisi writing and harmonic sophistication. It works equally well for ensembles with instrumental resources (French horn) or those choosing to perform the a cappella version.

• Balance the French horn so it registers as texture rather than accompaniment; the voices remain primary throughout, and the horn should feel like it's breathing alongside them.
• Attend to the text's internal rhythms. Todd Boss's language unfolds deliberately, so resist rushing passages that feel sparse; silence and space are as important as notes.
• Consider how your SATB divisi sections create harmonic density. Fewer voices on a line often means greater clarity is needed in vowel unification and intonation.
• Rehearse the piece without the horn first to establish ensemble security, then introduce the instrumental part once voices are stable and confident.

Program Nocturne alongside other contemporary secular choral works to showcase current compositional voices, or pair it with instrumental chamber music to highlight how voices and instruments can share lyrical space. Its 4.5-minute length makes it ideal for opening a set or bridging between larger works. The piece's meditative quality also positions it well as a concert closer, leaving audiences with quiet reflection.

• Reading and singing SATB divisi writing with multiple staff lines per part
• Sustaining lyrical phrasing across extended passages with minimal text repetition
• Balancing voices in divisi sections to achieve blend rather than layering
• Coordinating with instrumental partners and responding to horn dynamics and phrasing
• Interpreting contemporary harmonic language and finding tonal centers in non-traditional progressions