Sing, Rejoice A Song Of Praise (arr. John Leavitt): Choral Instrumental Pak

Leavitt's touch here is surgical: he preserves Mozart's exuberant melodic gift without padding the score or over orchestrating it. The instrumental parts feel organic rather than grafted on, and the flexibility to perform with or without full instrumentation means you're not locked into one sound or held hostage by missing players.

Pure celebration in musical form. The piece practically levitates off the page with its ascending melodic contour and infectious rhythmic vitality. Even in a traditional service or concert setting, it radiates warmth and genuine joy rather than solemnity.

Church choirs seeking repertoire that honors classical tradition without feeling academic or distant. Smaller ensembles benefit from the flexible instrumentation, while larger programs can use the full complement to create a genuinely festive sound.

• Let the oboes lead the choral entrance in measures 3-4; their articulation sets the rhythmic clarity the piece demands.
• Shape the dynamic arch across the "Exsultate" phrases by lifting into each peak rather than hitting it and staying there.
• Balance the choral parts carefully in unison passages; sopranos can easily overshadow the inner voices if not monitored.
• Bring clarity to the string figures in measures 9-12; they're decorative but they also provide structural scaffolding for the harmonic progression.

Position this as a second half opener on a concert that mixes sacred and classical work; its energy provides a natural reset after more introspective pieces. In a church context, it serves beautifully as a recessional or festival anthem that doesn't require soloists or special preparation.

• Singing sustained legato lines within a joyful, energetic context
• Balancing choral blend with instrumental accompaniment
• Reading and interpreting classical phrase architecture
• Responding to string and oboe cues in ensemble coordination