Goosebump Moments: The Power of Solo and Ensemble in Choral Works
Whether you’ve sung in the chorus or stepped forward as a soloist, certain moments in choral music stay with us—a luminous cadence, a sudden hush, a solo line that seems to rise from the ensemble and momentarily suspend time.
This week, we’re inviting you to reflect on those goosebump moments within choral works. Maybe it’s the Agnus Dei from Bach’s B Minor Mass, the soprano line in Lauridsen’s Lux Aeterna, or a quiet entry in Pärt’s Berliner Messe. Whether you were singing solo or blending into the ensemble, these moments often reveal the emotional and social depth of the music itself.
As explored in The Social Psychology of Music (North & Hargreaves, 2008), shared music-making—especially in choral contexts—can heighten emotional impact and foster connection. Even when singing alone, a soloist within a choral work is never truly alone.
🎶 What’s a moment in a choral piece that always gives you goosebumps?
💬 Were you singing solo—or with others? How did that shape your experience?
📹 Bonus points for posting a video of your performance (past or present)!
Let’s celebrate those unforgettable moments that remind us why we sing.
31 replies
-
What a wonderful question! I don't have a recording of my singing this, but the piece that immediately comes to mind is the sixth movement ("Denn wir haben hie keine bleibende Statt") from Brahms' A German Requiem. I've sung this piece (as part of the bass section) probably thrice by now, and I reliably choke up at the baritone soloist's entrance: "Siehe, ich sage euch ein Geheimnis" (Behold, I tell you a mystery). When the choir comes in with "Denn es wird die Posaune schallen" (For the trumpet shall sound), and later with "Der Tod ist verschlungen in den Sieg" (Death has been swallowed up into victory) and "Tod, wo ist dein Stachel? Hölle, wo ist dein Sieg?" (Death, where is thy sting? Hell, where is thy victory?), all I can do is think "vowels, resonance, articulation, breath" and desperately focus on technique, otherwise emotion will overcome me and I can't sing my part.
-
I completely understand this sentiment.. and LOVE the Brahms Requiem!! For me there were several moments in the Britten War Requiem where I had to stay intellectually connected and not allow myself to be overwhelmed emotionally. I've only ever sung it once (back in my undergrad days), but it was a very powerful experience. It was the performance that made me fall in love with symphonic choral music.
Here's a link to the recording I sang in:
https://www.youtube.com/watch?v=aMGT7Vcne84&list=RDaMGT7Vcne84&start_radio=1
-
also, have to share my all time favorite moment from the Brahms (with my all time favorite bass-baritone) https://youtu.be/Ne4YbR0JkGI?feature=shared
-
the Britten obviously is another great choice. What an incredible cast!! I never had the chance to hear any of these stellar soloists live, but Kurt Masur’s tenure at the NY Philharmonic did overlap with the years that I lived in Manhattan. Unfortunately, the link to the recording is blocked for me.
-
yes!! Thank you for reminding us of this incredible performance. The Klemperer recording with Fischer-Dieskau and Schwarzkopf will always have a special place in my heart, but this one is just fully satisfying and deeply moving in so many ways. And I agree: Bryn is the best! One cannot imagine a more perfectly produced bass-baritone voice, and the artistry with which he uses that voice in the service of great music is equally perfect. That ascending line: on “…und ich davon muß” is so tough, so exposed and so scary - and he makes is sound completely effortless (or rather, all effort is expended towards dramatic expression, not in a technical struggle).
-
go Wales!!
-
I really love Britten's War Requiem. I have not sung it yet but hope to do so soon.
-
Here is one of my favorite Terfel songs. He sings Rue Britannia on the last night of the proms and sings a couple verses in Welsh.
-
It's a monster!
-
I'm sure I've shared this, but nothing beats Terfel's Vagabond :) https://youtu.be/PqI9mwveoyU?si=3RkvF5LB67Ih2I1q
-
Terfel never seems to have an ounce of technical struggle.. just strength and grace. Wouldn't it be fun if we had a time machine and could create an all star cast of singers throughout the eras? Fischer-Dieskau and Schwarzkopf would make that list every time ... funny enough, I got to sing with Masur several times. He was a tricky Maestro to sing under - the choir may have gotten scolded for watching his assistant, Sam (he was conducting the chamber ensemble next to the big orchestra for the Britten). Nevertheless, it's hard to argue with the success Masur had at the New York Phil.
-
-
How about "Bring Him Home" sung by Colin Wilkinson from Les Miserables. I simply adore his tenor voice, and that high note at the end gives me chills.
-
Hmmmm....I think I get chills more often when I listen to music than when I perform. However, I have cried many times in the middle of performances. Good tears!! Here's a list of a few:
Howell's Requiem (I'll put a link where I am the soloist on the 2nd movement)
https://www.youtube.com/watch?v=m3Pdr7LGr9Y&list=RDm3Pdr7LGr9Y&start_radio=1
Martin Mass
Durufle Requiem, and specifically Agnus Dei
Lauridsen's Nocturnes - Sure on This Shining Night, Soneto de la noche, Sa nuit d'ete
Ola Gjeilo's The Rose
Craig Hella Johnson's Ordinary Boy from Considering Matthew Shepard
Dan Forrest's See Amid the Winter Snow
Alf Houkom's Rune of Hospitality
Eric Whitacre's All Seems Beautiful to Me
VOCES 8 Carrikfergus
Dan Forrest The Sun Never Says
But the piece that changed my life where I wept for the first time during choral music was when I was in high school and sang in All State choir singing the Erb Shenandoah. It's the piece that made me become a choral musician.
-
For me it was definitely Handel's Messiah, particularly the final chorus "Amen". This choir was a very special experience for me (just 2 days of rehearsal in Idyllwild, followed by a concert). In rehearsal, I would often get teary eyed during the final chorus, a beautiful feeling of togetherness, along with a poignant feeling of finality and impermanence. Even during the concert, I struggled to hold myself together on those final notes, but that's the power of music!
-
Hope it's not too late in the week to join this discussion! Wow, I've definitely had these types of moments, but never really had a fitting word or phrase to describe them. "Goosebump moments"... yes, that does describe it! Other words that come to mind are "magical", "profoundly moving", and yes, "luminous"... that's a wonderful way to describe it!
When I first saw your email on this topic, , I had the same response as -- I immediately thought of the Brahms Requiem in German. Except, I've only sung the 2nd movement. Our "Schola" choir at Padre Serra Parish joined the Conejo Valley Choral Society and Conejo Valley Youth Orchestra for this performance last March:
https://www.youtube.com/live/9vxnyehVskA?t=4562s
(Brahms Requiem 2nd Mov. begins at approximately 1:16:00)
For me, the luminous moment is somewhere between 1:29:10 and 1:29:40, as the altos and tenors share a beautiful duet, doing a gradual diminuendo on the phrase, "Das Gras ist verdorret und die Blume abgefallen." (1 Peter 1:24) King James translation: "The grass withereth, and the flower thereof falleth away." Right after that section, the lyrics shift to a very confident and triumphant, "But the word of the Lord endureth forever"!
-
Here's a freeze frame from that video. It includes me and my friends, and in the back row on the right side 😊
-
It's NEVER too late to join a discussion. You can even comment on VERY old ones, if you want! Always happy to hear your thoughts on singing - that's the fun bit 😄
Seriously, what an amazing experience and an INCREDIBLE piece! Brahms may have to be the winner on this one! What a monster in the repertoire.
-
-
I'm going to be late to the party for this one too. Such a wonderful question, and I enjoyed revisiting some of these pieces! I have to agree with that I think I have these moments more when listening to music, but I have definitely been known to try and sing through my tears (thank God for larger choirs). Here are some of the latter:
Faure's Requiem, especially Libera Me/Dies Irae and In Paradisum. The first time we did this was in 2012, combined Padre Serra and St. Charles Borromeo, and incorporated it into the All Soul's Day Mass. There's a story behind this for me, but I'll wait till I meet some of you in person.
Rutter's Requiem (all of it)
Eric Whitaker's Lux Aurumque
Morten Lauridsen's Lux Aeterna (Especially "O Nata Lux", but also the contrast from the luminous quality of "O Nata Lux", to the exhuberant, jubilant "Veni Sancte Spiritus" - Come Holy Spirit.
I fell in love with Lauridsen's work when I heard the Los Angeles Master Chorale perform O Magnum Mysterium. That was a bit out of reach for our choir, but I would love to be able to sing in a performance of that some day.
Faure's Cantique de Jean Racine (Psalm 84)
Chorus Caritas (a schola from Padre Serra's Adult Choir) sang this with the Conejo Valley Youth Orchestra Virtuosi. Unfortunately the sound isn't that great but here is a link. It starts at around 1:11:10. and and I are in the middle of the group. We also sang this with the full choir at a Mass of Remembrance...yeah, in that context I got really choked up.
https://www.youtube.com/live/VqB9mqG2tg4?si=vI_ehbbIDtMDrpDj
A couple of "goosebump pieces" that the schola is revisiting for a concert in September are:
Ola Gjeilo's Northern Lights
Kim Andre Arnesen's Even When He Is Silent
Philip Stopford's Do Not Be Afraid is a simple choral piece that we frequently do at Mass, and yet, I have so many associations to it that it can easily trigger my "leaky eyes syndrome" ;-) Most recently, during the fires as we sang:
"When you walk through the waters, I’ll be with you;
You will never sink beneath the waves.
When the fire is burning all around you,
You will never be consumed by the flames".The musical line for "When the fire is burning all around you" soars with danger, and then "You will never be consumed by the flames: comes down to a place of comfort and safety.
While revisiting some of the above music, I stumbled on the choral music of Elaine Hagenberg and would love to sing some of her works (such as all of the movements of the Illuminare.). They just transport me to a different dimension. Music is my "go to" prayer form, and I've started to use some of her works as a form of Musica Divina (like Lectio Divina but with music instead of words). Another case of getting goosebumps from the music, but also from using it as a way to connect with God.