A partial listing of publications brought to press, championed and/or commissioned by Drew.
Where this icon 
appears next to a piece, click on it to hear a short sound clip of that piece.
Clips are in MP3 format unless noted otherwise.
Click here to view Drew's own compositions and arrangements.
A New Commandment (SATB, Pno/Org)
Pub.: Curtis Music Press #C9308
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Originally for double choir unaccompanied, I asked Paul to pare it down to SATB choir (non divisi) with soloist and accompaniment. I thought he would balk, but he gave it a shot. The result is an anthem that is simple enough for the average church choir, but beautiful enough to perform in a concert.
Recording coming soon. |
Ah, Holy Jesus (2-Part Mixed, Org)
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I was a student of Dr. Childs' as an undergraduate at Concordia College. He has since retired, but still directs a small church choir. He often writes anthems for them which accomodate their often smaller-than-ideal numbers. This is one of those pieces. Recording coming soon. N.B. Not to be confused with the composer of similar name, David N. Childs. |
All My Heart This Night Rejoices (SATB, Piano)
Pub.: Curtis Music Press |
John likes to use the flat-7 chord, giving his music a mixolydian feel, a harmonic tool I am fond of and use in my own compositions. He also has a good sense of rhythmic momentum, and writes well for the choral instrument. When this piece landed on my desk, I knew it was a good fit for my series. Recording coming soon. |
All My Joy (SATB, Piano)
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My colleague Cara Tasher and I are both big supporters of living composers and champions of music of our time. When we were co-conductors of the University Men's and Women's Choruses at the University of Cincinnati, we started a composition contest called the New Music Reading Session. We advertised the contest, reviewed submissions, and selected two works to be read by the U. C. Choruses. This was one of the two selected. Recording coming soon. |
The Broken Ground (SSAA div)
Pub.: Ooolitic Music |
In 2003, while on faculty at Augustana College, Rock Island, IL, I wrote a grant to the Arts & Humanities Curriculum Fund to form the New Choral Music For Women’s Voices Commissioning Project. I wanted to give my students the experience of working with composers (other than me), and the joy of premiering a new work. The grant was awarded, and the first composer I wanted to commission was Malcolm Dalglish. The process we used for the commission was an interesting one, because it involved the input of a professor from outside the music department, and it also involved the students in the process. First, I asked Malcolm to send as many poems as he could that he might be interested in setting. Second, I asked a professor in the Augustana College English Department to look over the poems, eliminating any that he felt were of questionable quality (not surprisingly, all of the poems were top notch, and none needed to be nixed). Third, Malcolm and I worked together to narrow the selections to three poems. Fourth, the members of the Jenny Lind Singers voted on the poems, choosing this text by Kentucky farmer-poet Wendell Barry. The project culminated in a concert of Malcolm's music. Malcolm came to campus to work with the students, coach the performance of the commissioned work, and accompany the choirs on his dulcimer. It was a very satisfying experience, and the piece is excellent. Listen to the recording of the premiere performance by the Jenny Lind Singers (Drew Collins, cond.): |
Desert Rose
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Desert Rose is the only piece of mine in the Drew Collins Choral Collection. Shortly after signing the contract, I decided that I wanted my choral series to feature the works of other composers. Plus, I prefer going through the same submission process as every other composer, without getting a "by." I'm very proud of this work, however, and am glad to see it in print. It is tightly constructed using a recurring motive and other constructive elements. Despite this, I hope the listener’s focus will be the message of the text. The impressionistic treatment of phrase elision, staggered releases, "sliding" rhythms, and open harmonies combine to create a "mystical" and "timeless" effect for the audience. If desired, Desert Rose may be performed with instruments subtly doubling the individual voice lines. Recording coming soon. |
He Never Failed Me Yet (SSA, Piano)
Pub.: Hal Leonard #08744616 |
This is such a favorite of mixed choirs, I thought it was about time to make a version available for treble voices. I asked Robert Ray permission to work on an arrangement for treble voices, and he agreed, stating his preference that this version be published in "the original key." Ray told me that he originally composed the piece in C major, but the editor back when it was published suggested the lower key of B-flat major. So, I really only made three changes: I omitted the bass voice, re-wrote the tenor part in non-transposing treble clef, and transposed the whole thing up to C major. Otherwise, this is entirely Robert Ray's work. To use this in a situation where a mixed choir and treble choir combine, simply pick either B-flat major or C major, and make sure the accompanist has the appropraite copy. Stand the low altos next to the tenors, and let 'er rip! |
Hosanna, Loud Hosanna (SATB, Piano)
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Another relentless anthem from John Siler. John's style is the kind that I like: a perfect blend of flash and substance. It is interesting to listen to, but is a great marrige of text and music. Recording coming soon. |
Japanese Garden (SSA, Piano, opt. Clarinet) |
Matt met poet David Bengtson during his first years of public school teaching. They collaborated on a couple of compositions, including this one. The text describes a Japanese Garden in Little Sauk, Minnesota. Matt captured the text perfectly in this setting. The original scoring included clarinet, but to make the publication as flexible, I convinced Matt to let us classify the obbligato part as optional, and to include a part for 'C' instrument. Clarinet was the original instrument, but flute, oboe or violin would work beautifully as well. The part might be better said to be "greatly preferred" rather than "optional," at least by me; Matt has the clarinet quoting melodic fragments from other parts of the piece in a way that adds a beautiful and colorful thread to the texture. Recording by the women of The Singers: Minnesota Choral Artists (Matthew Culloton, cond.): |
The King Shall Come When Morning Dawns (SA(T)B, Org)
Pub.: Neil A. Kjos Music Co. #6320
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Matt Phelps and I met at graduate school at Cincinnati Conservatory. When I mentioned this new choral series I was starting, he sent me this anthem, which he had written for those Sundays when his choir was unexpectantly lacking in numbers. The tenor part is optional, making it a versatile addition to any choral library. |
Let All Mortal Flesh Keep Silence (2-Part Mixed, Org, opt. Flt)
Pub.: Neil A. Kjos Music Co. #6324
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One of my favorite holiday carols in an expressive and practical arrangement by Doug Denisen. The flute is optional, but it adds a wonderful color. |
Let All the World in Every Corner Sing (2-Part Mixed, Org)
Pub.: Neil A. Kjos Music Co. #6321
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A fresh, interesting anthem for church choirs of any size. The text is the classic text b George Herbert. |
Mad World (TTB, Pno, Ob) Pub.: unpublished |
Josh was kind enough to do this arrangement for the University of Cincinnati Men's Chorus in my second year of conducting that group. The song is from the movie Donnie Darko. Josh's harmonies are simple but fun to sing, the oboe part haunting, and the words poignant (perhaps especially so for college students). The guys loved singing it, and the audience loved it, too. It was the most cost-efficient commission I have ever taken part in: Josh agreed to do it for $5 and a bag of Cheetos! His recent success has made his rates go up considerably since then...I'm glad I got in on the ground floor. |
Make a Joyful Noise (SATB div)
Pub.: Curtis Music Press |
This is a great concert opener. For this reason, I strongly considered it for my Concert Series. But it is also a good fit for worship services, and I ultimately leaned in that direction. Accessible to the above average church choir, it features options for soloists, and an optional accompaniment. So, it is a versatile addition to any choral library. |
None Other Lamb (SATB div, Org)
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This anthem is just plain beautiful. It is perfect for concert or worship (Advent or Lent). A perfect marriage of text and music. |
Of the Father's Love Begotten (SATB)
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This is one of my favorite holiday hymns. And, I enjoy works that have their origins in monophonic chant. Clemens' arrangement combines both of these loves. Plus, James has an innate sense of how to write for the choral instrument. I have been a fan of his music for a while, and am pleased to have one of his works in my series. Recording coming soon. |
Psalm 100 (SATB, 4-hand Pno)
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The original SSA voicing of Psalm 100 is one of René Clausen's most endearing and enduring works. It is a favorite of All-State choirs, high school and middle school treble choirs, and children's choirs. When I suggested to him that, given its popularity, it might work well if arranged for mixed voices, he heartily agreed...then suggested that I be the one to arrange it! I was glad to do it, and am proud that it is now available to mixed choirs everywhere. Listen to the promo recording here (courtesy, Shawnee Press): |
Requiem Motet (SATB div.)
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Daniel Moe has been a mentor to me since 1994. I was a sophomore in the Concordia Choir when he served as René Clausen's sabbatical replacement. Dr. Moe had been in that choir as an undergraduate, singing under the legendary Paul J. Christiansen. A few years later, when Paul J. passed away, Dr. Moe sat down and wrote this piece as an homage. A few years later, Dr. Moe and I resumed our student-teacher relationship when he came to Boston University to serve as sabbatical replacement to Ann Howard Jones. At that time, he expressed to me that this piece had been refused by 1 or 2 publishers, but had enjoyed performance by the National Lutheran Choir. I asked if I could edit the score for him in a way that might be more attractive to a mainstream U.S. publisher. He agreed. I halved the meters and rhythms (he had originally notated it in 3/2), changed a few dynamics, added a singable English translation, and put the score on 4 staves instead of 2. He loved it, and we walked together down the street to the E. C. Schirmer offices. It was accepted for publication, and has sold very well. Dr. Moe was kind enough to credit me in the publication, and it was the first time I saw my name in print in a piece of published music! It has since been recorded by the Richard Zielinski Singers among other notable groups. Recorded by the National Lutheran Choir (David Cherwien, cond.): |
Take, O Take Those Lips Away (SSA, Pno)
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A beautiful setting of this favorite Shakespeare text for treble chorus. |
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Two Georgian (TTB)
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Two short folk songs from the Republic of Georgia. Like Wales, Georgia has long been known for its male choruses. These folk songs are not difficult, though some time will need to be spent on coaching the language. But it's worth it: they are enjoyable to sing and to hear. |
What Child Is This? (TTBB, solo)
Pub.: Curtis Music Press #C9304
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Jim arranged this for the Harvard Glee Club. I am such a fan of Jim's style (which I lovingly characterize as stile antico meets folk, not unlike some of Alice Parker's hymn arrangements), I was happy to made it the first piece published in the Global Perspectives series of the Drew Collins Choral Collection. It is a haunting arrangement, and a challenge best suited for high calibre male choruses. I hope someday that Jim might revoice this work for mixed voices. The publication includes the holiday text, "What Child Is This," as well as the original text attributed to Henry VIII, "Greensleeves." Recording by the Harvard Glee Club (Jameson Marvin, cond.): |
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When Shall I See? (2-Part Mixed, Pno/Org)
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A beautiful anthem by one of choral music's revered composers. Highly recommended for choirs of any size. |
