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This is My Father's World for SSAATTBB Choir: SSAATTBB Choral Octavo

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This is My Father's World for SSAATTBB Choir Cover Image

This is My Father's World for SSAATTBB Choir: SSAATTBB Choral Octavo

for SSAATTBB Choir

By Eriks Ešenvalds / Words by Maltbie Davenport Babcock (1858-1901)

Item: 98-MB1237

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Description
A lyrical new setting of the traditional hymn text and Terra Beata tune, in an a cappella setting for SATB choir with some divisi. Ešenvalds employs his accessible and appealing harmonic compsition style to deliver a highly effective arrangement.

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Additional Details
Series: Musica Baltica
Publisher: Musica Baltica
Page Count: 8
ISBN10: 0-697-95132-4
ISBN13: 979-0-697-95132-7
SKU: 98-MB1237
Instrumentation: Mixed Voices (SSAATTBB)

More about this title

About the Composer: Eriks Ešenvalds

Eriks Ešenvalds is a Latvian composer whose choral writing has become standard repertoire in concert halls and cathedrals worldwide. His gift for combining accessible harmonic language with genuine spiritual depth has made him one of the most performed contemporary composers in choral music.

Ešenvalds brings a Baltic sensibility to his work: transparency of texture, an affinity for modal harmony, and an instinctive understanding of how voices blend. His catalog spans sacred and secular works across chamber, orchestral, and choral genres, but his choral music remains his most distinctive contribution to music education and performance.

Why we love this

Ešenvalds strips away the clutter that can weigh down familiar hymns. His arrangement respects the Terra Beata tune while surrounding it with luminous harmonies that feel both fresh and earned. The divisi sections create textural depth without overwhelming singers who may be sight-reading the work.

What to expect

Intimate and spacious at once. The a cappella texture creates immediate focus on the singing voice itself, while Ešenvalds's harmonic palette suggests light filtering through stained glass. There's reverence here without sentimentality.

Who it's for

Adult choirs and upper-level high school ensembles with secure readers across all parts. This works equally well for choirs with strong harmonic sense and those still building facility with chromatic movement.

How to get the most out of it

  • Balance the divisi carefully in the fuller passages. The soprano and alto splits should maintain their independence without one drowning out the other. Run separate sectional rehearsals to establish confidence in divided lines before combining.
  • Attend to the pacing of harmonic changes. Ešenvalds's progressions often move by step or common tone; slight rubato in transitional moments will help singers hear the architecture beneath the surface.
  • Shape the melodic line through the accompaniment layers. Since the arrangement is a cappella, soloists or a small group of voices carrying the tune need subtle support from sustained inner voices to project without forcing.
  • Use the full range available in SSAATTBB carefully. The extra parts exist for color and support, not to crowd every moment. Careful part doubling choices will transform rehearsals into productive refinement rather than balance debates.

How to use it

Nest this alongside other contemporary sacred music in a concert exploring how modern composers speak to traditional texts. It also pairs naturally with other Ešenvalds works if your ensemble is building a deeper dive into his catalog. The lyrical, meditative quality makes it suitable for services as well as concert settings.

Skills your students will build

  • Balancing divisi voice parts while maintaining blend
  • Singing sustainable dynamics through harmonic progressions that shift by step
  • Intonation and resonance in a cappella texture without instrumental support
  • Interpreting modal and extended harmonic language
  • Shaping a familiar melody through unfamiliar harmonic underlay

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