R. Michael Daugherty – Composer

Original Music for Orchestra, Band, Ensemble, Solo, Chorus and Voice

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  • Born a Child, Born a King

    By R. Michael Daugherty / September 18, 2018

    Born a Child, Born a King (5/11/16) for SATB choir and vibraphone – 2’40”.  The work describes Mary’s journey from youthful virgin maid to God’s appointed and to the birth of Jesus, our Savior and Lord. The…

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  • Alleluia, This is the Day Christ was Born

    By R. Michael Daugherty / September 18, 2018

    Alleluia, This is the Day Christ was Born (7/7/15) for SATB choir and Trumpet – 3’00”.  This bright, enthusiastic setting is drawn from the Latin “Hodie Christus natus est.”  It reflects the strengths of the trumpet in…

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  • Ah, Dearest Jesus, Holy Child

    By R. Michael Daugherty / September 18, 2018

    Ah, Dearest Jesus, Holy Child (2012) for SATB choir, violin, cello and piano – Duration: 4’00”.  Martin Luther’s poem (translated in 1855 by Christine Winkworth) invites Christ into our hearts as we prepare for the new year. …

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  • If I Take the Wings of the Morning – SATB choir and piano

    By R. Michael Daugherty / August 22, 2018

    If I Take the Wings of the Morning (2001) for SATB choir and piano – 4’20”.  This work starts with portions of Psalm 139 and adds texts by the composer.  The message is clear:  God’s devotion to…

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  • Gentle Lord, Take my Hand – SATB choir and piano

    By R. Michael Daugherty / August 22, 2018

    Gentle Lord, Take my Hand (2008) for SATB chorus and piano – 3’15”.  As a statement of faith, this piece makes a very good general anthem. It is also appropriate for memorial or funeral services because it…

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Testimonials

“melodic flavor of works by Vaughan Williams and Eric Coates”

Conductor Hugh Partridge chose Ancient Voices by R. Michael Daugherty, an accomplished contemporary composer. The titles of the three movements are quotes from Caesar, Lucretius, and Horace. This piece calls for large forces, including harp. The overall effect was pleasantly romantic, with bits of modernity marbled in. The beginning Caesar movement bore resemblance to the melodic flavor of works by Vaughan Williams and Eric Coates, no minor accomplishment.

Paul D. Williams, CVNC, an online arts journal in North Carolina, May 8, 2011

“…eminently embraceable.”

“R. Michael Daugherty’s body of choral works is eminently embraceable. Many specimens are moving, others are whimsical, each presenting its own degree of challenge and nearly all rewarding to both listener and performer.”

Robert Palmer, music critic Rochester Democrat and Chronicle (retired)

“…an incredible friend to the Philharmonic Association…”

You (R. Michael Daugherty) have been an incredible friend to the Philharmonic Association for so many years. I have enjoyed hearing your many compositions, and Hugh (Partridge) and the young musicians have enjoyed performing them. It has been a special collaboration that we treasure. Thank you for providing this celebratory piece (Celebration Overture) for the 30th Anniversary and Hugh’s final formal concert.

Margaret Partridge, Philharmonic Association Executive Director

“A delightfully varied work…”

Michael Ching appeared again on stage to accompany clarinetist James Williams for R. Michael Daugherty’s Numinous Ignotus. A delightfully varied work in three movements, the 1987 piece explores the clarinet’s unique register shifts. Ching began with percussive chords, while the clean-toned Williams played snatches of high treble melodies. In the meditative movement that followed, the piano adopted an engaging waltz rhythm and the clarinet played liquid runs. The third movement brought both instruments together. Suddenly the tempo paused, as the clarinet struck a few experimental high notes, and then dashed to the closing.

Lee Lourdeaux, Durham Morning Herald, Tuesday, August 4, 1987

“…honest songs that you can wear for a life time!”

R. Michael Daugherty’s songs for soprano are delightful, whether it be a woman’s journey through life in Passages, or Emily Dickinson settings of Wagtail dances, Emily in Love, or Songs of Eternity. Tuneful inspiring melodies, thought provoking texts, honest songs that you can wear for a life time!

Alice Pierce, soprano

“…locals marveled at the seemingly perfect mating of language and Michael’s reaction to it.”

I have immense admiration for the work of R. Michael Daugherty.  As a conductor I have been especially blessed with Michael’s fifteen contributions to the repertory of The Denison Singers.  An inspired craftsman, always aware of the needs of the designated performers, astute in his choice of texts and response to them, those skills extend to the cycles of pieces he wrote for tours to Romania and Spain, where the locals marveled at the seemingly perfect mating of the local language and Michael’s reaction to it.  I hope that others will become acquainted with and perform the work of this immensely gifted composer.

William Osborne, Distinguished Professor of Fine Arts Emeritus, Denison University

“…a festive work…”

Celebration Overture is “a festive work…embodied in a bold, positive new score.”

John W. Lambert, CVNC, an online arts journal in North Carolina

“…the songs seem practically to sing themselves.”

The Authentic Cadences of Gerard Manley Hopkins for baritone and organ by R. Michael Daugherty is certainly deserving of mention. The poems are “Let Me Be to Thee,” “Pied Beauty” and “The May Magnificat.” Registrations are apt and helpful. The manuscript is clear and easy to read, the organ part lies well under the fingers, and the songs seem practically to sing themselves. This set of pieces would be a welcome addition to a recital program, and the texts are also appropriate for worship use.

Mary Ann Dodd, “The Fourth Biennial Holtkamp/AGO Award in Organ Composition 1989-1990” published in The American Organist, October 1990

“…spirited and interesting score…”

I admired the smooth playing and superior rhythmic sense of James Williams…and Michael Ching. Their ability to cope with the spirited and interesting score of R. Michael Daugherty’s Numinous Ignotus was obvious.

Nell Hirschberg, The News and Observer, Raleigh, NC, Monday, August 5, 1987

Testimonials

“…locals marveled at the seemingly perfect mating of language and Michael’s reaction to it.”

I have immense admiration for the work of R. Michael Daugherty.  As a conductor I have been especially blessed with Michael’s fifteen contributions to the repertory of The Denison Singers.  An inspired craftsman, always aware of the needs of the designated performers, astute in his choice of texts and response to them, those skills extend to the cycles of pieces he wrote for tours to Romania and Spain, where the locals marveled at the seemingly perfect mating of the local language and Michael’s reaction to it.  I hope that others will become acquainted with and perform the work of this immensely gifted composer.

William Osborne, Distinguished Professor of Fine Arts Emeritus, Denison University

“…a festive work…”

Celebration Overture is “a festive work…embodied in a bold, positive new score.”

John W. Lambert, CVNC, an online arts journal in North Carolina

“…eminently embraceable.”

“R. Michael Daugherty’s body of choral works is eminently embraceable. Many specimens are moving, others are whimsical, each presenting its own degree of challenge and nearly all rewarding to both listener and performer.”

Robert Palmer, music critic Rochester Democrat and Chronicle (retired)

“…an incredible friend to the Philharmonic Association…”

You (R. Michael Daugherty) have been an incredible friend to the Philharmonic Association for so many years. I have enjoyed hearing your many compositions, and Hugh (Partridge) and the young musicians have enjoyed performing them. It has been a special collaboration that we treasure. Thank you for providing this celebratory piece (Celebration Overture) for the 30th Anniversary and Hugh’s final formal concert.

Margaret Partridge, Philharmonic Association Executive Director

“…honest songs that you can wear for a life time!”

R. Michael Daugherty’s songs for soprano are delightful, whether it be a woman’s journey through life in Passages, or Emily Dickinson settings of Wagtail dances, Emily in Love, or Songs of Eternity. Tuneful inspiring melodies, thought provoking texts, honest songs that you can wear for a life time!

Alice Pierce, soprano

“…the songs seem practically to sing themselves.”

The Authentic Cadences of Gerard Manley Hopkins for baritone and organ by R. Michael Daugherty is certainly deserving of mention. The poems are “Let Me Be to Thee,” “Pied Beauty” and “The May Magnificat.” Registrations are apt and helpful. The manuscript is clear and easy to read, the organ part lies well under the fingers, and the songs seem practically to sing themselves. This set of pieces would be a welcome addition to a recital program, and the texts are also appropriate for worship use.

Mary Ann Dodd, “The Fourth Biennial Holtkamp/AGO Award in Organ Composition 1989-1990” published in The American Organist, October 1990

“…spirited and interesting score…”

I admired the smooth playing and superior rhythmic sense of James Williams…and Michael Ching. Their ability to cope with the spirited and interesting score of R. Michael Daugherty’s Numinous Ignotus was obvious.

Nell Hirschberg, The News and Observer, Raleigh, NC, Monday, August 5, 1987

“melodic flavor of works by Vaughan Williams and Eric Coates”

Conductor Hugh Partridge chose Ancient Voices by R. Michael Daugherty, an accomplished contemporary composer. The titles of the three movements are quotes from Caesar, Lucretius, and Horace. This piece calls for large forces, including harp. The overall effect was pleasantly romantic, with bits of modernity marbled in. The beginning Caesar movement bore resemblance to the melodic flavor of works by Vaughan Williams and Eric Coates, no minor accomplishment.

Paul D. Williams, CVNC, an online arts journal in North Carolina, May 8, 2011

“A delightfully varied work…”

Michael Ching appeared again on stage to accompany clarinetist James Williams for R. Michael Daugherty’s Numinous Ignotus. A delightfully varied work in three movements, the 1987 piece explores the clarinet’s unique register shifts. Ching began with percussive chords, while the clean-toned Williams played snatches of high treble melodies. In the meditative movement that followed, the piano adopted an engaging waltz rhythm and the clarinet played liquid runs. The third movement brought both instruments together. Suddenly the tempo paused, as the clarinet struck a few experimental high notes, and then dashed to the closing.

Lee Lourdeaux, Durham Morning Herald, Tuesday, August 4, 1987
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