"Light" sacred classical music from prize-winning Creation Oratorio from Composer Sabrina Pena Young. Performed by the Millikin University Women's Choir and the Millikin Percussion Percussion ensembles , directors Michael Engelhardt and Brian Justison. Commissioned by Millikin. A complex multilingual intertwining of Afro-Cuban music and traditional choral music, the intermedia oratorio Creation celebrates diversity and the beauty of procreation. A celebration of culture, life, humanity, and the female body, Creation further marks itself as a musical milestone, commissioned specifically for a 60 member woman's chorus and composed by a young female composer of Cuban- Dominican heritage. Premier performance by the Millikin State University Women's Chorale directed by Michael Engelhardt and accompanied by the Millikin University Percussion Ensemble, directed by Brian Justison. Creation won the "New Genre Prize" for the IAWM Search for New Mu...

Graduale Aboense, hymn book of Turku, Finland. 14th-15th century. (Photo credit: Wikipedia ) The church used to be the home to phenomenal classical music like Bach's cantatas, Gregorian Chant , and Handel 's oratorios. What happened? What changed church music from being great to being a set list of repetitive 7/11 songs? What have we lost?  As a musician of over two decades, I have performed numerous Easter cantatas, Christmas programs, and music specials both as a professional and as a church patron. In 2008 I wrote a prize-winning sacred oratorio, Creation. Though I would hate to say it, I have to admit that the overall quality of the contemporary church musical repertoire seems low, with songs and cantatas riding the line between unimaginative and silly. I am not questioning their effectiveness in their overall purpose, but musically these works pale in comparison with the incredible masterpieces of Bach, Handel, or even contemporary composers John Rutter and Eric...

Cover of John Rutter As we begin to study Baroque large scale choral works and sacred music (ex. cantatas and oratorios ), you might notice a huge difference between the music heard in contemporary cantatas and those of the Baroque. Some of these differences are because: Amateur musicians The publishing machine (which, once again, is based on sales and not good music) Poor training in the parts of composers Music software Many contemporary religious institutions can not handle Bach's work unless there is an impressive music ministry budget with a fully-trained music director, orchestra, and choir. Many church choirs are comprised of dedicated volunteers who may or may not have musical talent. Additionally, music publishing companies have a tendency to sell musical slosh that is easy to play, unimaginative, and elementary. Choral arrangers have a tendency to rely on software to create their music. I firmly believe that a good composer can write good music, no matter what the leve...