Two Haiku: Choral Works (inc. Oratorios)

Hersch's approach to text setting avoids sentimentality while embracing chromatic richness that feels both contemporary and deeply human. The integration of whistled birdsong and audible breathing transforms the singers into instruments of nature itself, creating a piece that challenges singers intellectually and theatrically without sacrificing emotional directness. Programming this work signals artistic courage and rewards ensembles willing to invest in unconventional sonorities.

Contemplative and subtly haunting, with moments of surprising intimacy woven through rich harmonic textures. The unpitched vocal sounds create an almost orchestral quality, as if the ensemble itself becomes a landscape where human voices dissolve into natural phenomena. This is meditative music that moves beneath the surface rather than demanding immediate emotional engagement.

Advanced mixed choirs and vocal octets seeking contemporary repertoire that combines poetic sophistication with accessible humanity. The piece demands secure sight-reading and comfort with extended vocal techniques, making it ideal for collegiate ensembles, professional vocal groups, and experienced community choirs ready to expand their artistic reach.

• Treat the whistled birdsong passages as precise musical material, not decorative effects. Singers should practice the pitch accuracy and timing of these moments with the same rigor applied to pitched passages.
• Coordinate the unvoiced breaths across the ensemble so they become a rhythmic and textural layer rather than a distraction. Consider marking these moments in all parts to ensure unified execution.
• Balance the eight parts by listening for chromatic voice leading rather than traditional harmonic structure. The richness emerges from clarity within each line, not from blending all voices into a unified block.
• Allow time in rehearsal to explore the expressive range of silence and breath. These compositional choices carry meaning; rushing past them diminishes the work's contemplative power.

Position this as a centerpiece for a concert exploring mortality, impermanence, or the intersection of classical and contemporary voices. Its six-minute arc works beautifully as the finale of a curated set, or paired with other text-driven pieces that share its attention to language and extended technique. The work's dedication to Steve Zegree also makes it fitting for memorial concerts or events honoring educators and musicians.

• Reading and executing eight-part chromatic harmony with individual voice independence
• Performing extended vocal techniques (whistling at pitch, controlled unvoiced breathing, articulation)
• Interpreting poetic text through unconventional vocal expression beyond traditional legit singing
• Ensemble precision in complex rhythmic passages without relying on harmonic stability
• Understanding contemporary composition techniques and theatrical staging of vocal sound