Set Me As A Seal (Mixed Voices): Choral Octavo

Ešenvalds delivers a fresh setting of sacred text that sits comfortably in the medium-difficulty range while never feeling simplified. The addition of two solo lines creates opportunity for featured singers without removing the ensemble from the musical center, and the SSATBB voicing gives full-voice choirs real ownership of the sound.

The piece unfolds with quiet confidence, allowing text and harmony to speak rather than relying on dramatic gesture. There is an intimacy here, even with six voice parts and soloists, rooted in the composer's understanding of how vulnerability in choral writing connects to listeners.

Choirs with solid blend and basic part independence looking to add a substantial contemporary work to their sacred repertoire. It works equally well for festivals, concert series, or liturgical settings where a medium-sized ensemble can give it proper attention.

• Balance the solo lines carefully in rehearsal; they should float above the texture rather than cut through it. Encourage soloists to listen inward to the harmonic support rather than project outward.
• Work the harmonic shifts slowly at first. Ešenvalds often moves between closely related sonorities, and ensemble precision here determines whether the work feels seamless or fragmented.
• Allow space for silence within phrases. The text setting creates natural breath points that serve the meaning of the poetry; resist the urge to push through them.
• Shape longer phrases by thinking in terms of harmonic motion rather than lyrical contour. This score rewards conductors who prioritize vertical sonority over melodic line.

Position this as the centerpiece of a choral concert exploring contemporary sacred music, or program it alongside works by other Balkan and Northern European composers to trace regional voices. It also fits naturally within a concert devoted to commissioned works, given its 2026 premiere by the Ešenvalds Festival Choir.

• Blending and balance across six voice parts with solo material
• Reading and sustaining closely related harmonic progressions
• Text inflection in contemporary sacred settings
• Listening to harmonic function rather than individual melodic lines
• Ensemble response to subtle conducting gestures