Robert DeCormier's career bridged classical training and American vernacular music. After studying at Juilliard, he spent seventeen years as music director of the New York Choral Society, worked as conductor and arranger for Harry Belafonte, and from 1978 to 2010 served as music director for Peter, Paul and Mary. He also taught conducting and ensembles at the Eastman School of Music and helped establish the Vermont Symphony Orchestra Chorus in 1993.
Beyond his conducting work, DeCormier became known for his thoughtful arrangements of spirituals, folk songs, and international repertoire. He founded the professional vocal ensemble Counterpoint in 2000, which toured extensively and mentored high school choirs throughout New England. His arrangements and compositions appeared on numerous labels, and his work earned recognition including the Vermont Governor's Award for Excellence in the Arts and a Lifetime Achievement Award from the New England Choral Arts Foundation.
Why we love this
DeCormier's arrangement brings authentic warmth to this South African folk song without oversimplifying it. The SATB voicing sits naturally for mixed ensembles while preserving the song's cultural character and emotional depth. Choirs consistently find that this piece generates genuine excitement in rehearsal and leaves audiences moved.
What to expect
Ut'he Wena carries an unhurried dignity and warmth. The arrangement unfolds with the reflective quality of genuine folk material, inviting singers and listeners into its melodic and harmonic landscape without artifice or rush.
Who it's for
Intermediate to advanced SATB choirs seeking repertoire that expands their cultural and musical horizons. This works equally well for concert programs, educational settings emphasizing global music, or ensembles drawn to folk material and world traditions.
How to get the most out of it
Attend to the natural phrasing and rhythmic feel of the African melody. Let the text guide your breathing rather than imposing strict bar-line thinking.
Balance the texture so that the primary melodic line reads clearly without the accompaniment receding into mere support. Each voice part deserves presence.
Work the harmonic progressions slowly at first to ensure singers hear how the chords color the text. This builds ownership of the arrangement.
How to use it
Pair this with other world music or folk repertoire to create a meaningful concert arc exploring different musical traditions. It also serves as an excellent piece for teaching students how folk material responds to sensitive, respectful arrangement. The fourteen pages and moderate difficulty make it accessible for community or educational choirs while rewarding careful preparation.
Skills your students will build
Singing with stylistic awareness of African folk idioms
Balancing independent vocal lines within a cohesive choral sound
Interpretation of text from an unfamiliar language and cultural context
Ensemble listening across SATB texture
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