Viva La Vida (arr. Peter van Lonkhuijsen): SAB Choral Octavo

Van Lonkhuijsen's arrangement captures the soaring quality of the original while building in parts that sit comfortably for developing singers. The SAB voicing lets you feature different singers week to week without boxing anyone out, and the 163 pages suggest a substantial arrangement that doesn't oversimplify the source material.

Anthemic and reflective at once. The song carries the weight of something meaningful without becoming heavy or overwrought. There's space for genuine emotion here, and for singers to connect with the material personally.

Any choir looking to program contemporary music that resonates with singers and audiences alike. This works equally well in a secular concert setting or as a bridge piece in a mixed repertoire program.

• Balance the alto line against the soprano melody in the chorus; the alto part often carries harmonic motion that shouldn't disappear beneath the primary tune.
• Approach the dynamics as a shape across phrases rather than sudden jumps. This song builds emotional momentum, so gradual crescendos feel more natural than stark contrasts.
• Lock in the bass line early. Even though baritones aren't listed as a separate part, the bass singers in your ensemble need a clear sense of harmonic foundation.

Pair this with other accessible pop arrangements for a contemporary concert, or place it strategically in a mixed program to energize an audience during a section of lighter works. The length and substance also make it suitable for district or state competition if your ensemble is prepared.

• Singing contemporary music with stylistic authenticity
• Balancing three-part texture without sacrificing the melodic line
• Managing dynamic shaping across longer phrases
• Connecting emotional content to vocal production