In developing Holy Hope’s orchestrated album “Hope Abounds”, composer Kerry Douglass Keyser collaborated with a number of musicians from the Wheaton College Conservatory of Music. Over the next few months, we'll be profiling some of these musicians. Today, let's meet Elizabeth Kapitaniuk, Christina Schempf, and Elisabeth Follman.
Each of the songs from the “Hope Abounds” album are reflective and stirring, and they are ideal as instrumental offertory and communion songs for any church. The album has songs fitting for the joyful liturgical seasons of Easter and Ordinary time, as well as the preparatory, penitential seasons of Advent and Lent.
The following songs from the album “Hope Abounds” are perfect to consider for weddings. These chamber ensemble arrangements reflect the intimate, glorious bond of love through the dialogue of the various instruments.
Composer Kerry Douglass Keyser walked down the aisle in her own wedding to the oboe-piano arrangement of “Glorioso." “Communion of Love” and “Draw Near” were two of her prelude songs.
The making of the “Hope Abounds” album was sheer joy! I cannot speak highly enough of all the musicians I collaborated with from the Wheaton Conservatory of Music.
Elliot Leung was my first connection with the Conservatory. A humble, energetic and extremely creative composer beyond his years, Elliot was a real blessing and opened up new avenues for inviting other musicians into the music of Holy Hope.
Over and over again I was impressed with the dynamics among the musicians of the various ensembles…
The theme of this year's TED conference was "The Future You," and Pope Francis surprised the audience with his own talk. His Holiness delivered a plainspoken sermon on the importance of interconnection and tenderness. In his talk, he spoke about the importance of hope:
Piano Day, a annual worldwide event founded by a group of likeminded people, takes place on the 88th day of the year – in 2017 it’s the 29th March – because of the number of keys on the instrument being celebrated.
I recently started working with another composer, Thomas Fielding, to arrange some of my songs for four part choirs. Today, in listening to Tom's arrangement of my song, I was deeply struck by the transcendent nature of music.