Sigma Alpha Iota

26 Spring 2026 • sai-national.org Album Reviews SING TO THE WORLD Dan Locklair Phoenix Consort with Iain Farrington, directed by Adam Whitmore Convivium Records Released January 2, 2026 Art begets art. This is an idea that is subconsciously understood by all artists. Whether working in tandem, or serving as inspiration, art and its many forms are the pinnacle of human expression. Sing to the World, SAI Composer's Bureau member and Friend of the Arts Dan Locklair's collection of secular choral works, is a demonstration of this universal truth. Each piece is either inspired by or directly lifts its text from poems by notable poets, all centered around the theme of music. The work of Phyllis Wheatley, the first Black woman to publish a book of poetry, makes an appearance in what is my personal favorite on the album, "An Hymn to the Morning," the third movement of the title work. Through the Phoenix Consort, especially soloists Beth Yates, Emma Kerrigan, Matthew Holloway Strong, and Alexander Lee, the piece uses the stanzas of her poetry as verses to the African-American spiritual "My Lord What a Morning." From Walt Whitman to Henry Wadsworth Longfellow, Robert Frost to William Butler Yeats, Locklair's signature compositional style adds a whole new layer to classic poetry, such as the whistling in "Tapestries." Locklair and the Phoenix Consort expertly capture the emotion embedded in the poetry. "...fallen star," the second movement of The Lilacs Bloomed, is one such example. Inspired by Walt Whitman's Memories of President Lincoln, itself a mournful response to the assassination of the titular politician, this movement is a heart-crushing obituary reflected in the accented piano notes and singing made to sound like crying. However, both composer and ensemble are also unafraid to have fun. Chamber music can be seen as ostentatious and snobbish by some. But humorous in nature and delivery, the bouncing "EPITAPH" is meant to be performed at the end of the thoughtful changing perceptions. And I won't lie, my inner twelve year old chuckled at the name of "The Musical Ass," a fun retelling of a fable about a donkey who finds a flute, and brags after sniffing into it and accidentally playing a note. Diverse, flexible, and accessible, Dan Locklair's collection of musical poetry is a perfect introduction to secular choral works for those interested in dipping their toes in the genre. Sing to the World is available for streaming on major platforms, and for purchase through major retailers. For more information, visit conviviumrecords.co.uk. WICKED: FOR GOOD (ORIGINAL MOTION PICTURE SCORE) John Powell, Stephen Schwartz Republic/Verve Records Released December 5, 2025 When I first resolved to review music from both Wicked films, I thought I would be reviewing two song compilations. But when the track list for Wicked: For Good's soundtrack was released, this was my reaction to a glaring omission: "WHERE IS THE FINALE?" I wasn't the only one. However, our fears were assuaged at the reveal of the track list for Wicked: For Good's score album. There it was, in all its glory—the second to last track on the album. I decided then and there that I would do something different this time around: I would review the score of the second film, rather than the soundtrack. I am so glad I did. From its humble beginnings, film has had a symbiotic relationship with music. Unique to the other, yet united to move the viewer, the two art forms have grown to be inextricably linked. One advantage to adapting a stage musical—especially one as embedded in theatre history and popular culture as Wicked—is that a film composer can take existing leitmotifs and expand on them. Take the movie and soundtrack's opening piece, "Building a Golden Road." Elements common in superhero movie themes build up to a reprise of the beginning of "No One Mourns the Wicked," reflecting Elphaba's entrance and the vision she has of herself as a hero for Animals. Compare this with "Monkey Freedom," where the reprisal of the iconic theme from "Defying Gravity" embodies the freedom that Elphaba chose for herself, and is now being given by her to the Wizard's flying monkeys. The score also taps deep into wells of emotion, such as "Tin Woodman." Moving from sorrowful and somber to insidious and menacing, the music reflects the feelings of the titular character as he is transformed from flesh and bone to steam and metal. However, the most gut-wrenching part of the album, and the film itself, is "The Melting." Featuring a choir softly singing lyrics from "No One Mourns the Wicked," the piece gives a glimpse of the inner turmoil of Glinda as she watches her best friend supposedly die. Her heart is crushed, as is the listener's. Pair with "Into the Closet" for double the angst. And yes, the finale is present on the soundtrack. However, Wicked fans will notice that it is quite different. Opening with an intimate and loving reprise of "As Long As You're Mine," the piece moves into a determined middle section with the orchestra echoing the rhythm of "What Is This Feeling?" Finally, we round out with a piano rendition of the chorus of "For Good," before we transition to Ariana Grande and Cynthia Erivo's moving vocals. Shoutout to the orchestra and choral ensemble for helping to make the final reprise of the closing notes of "No One Mourns the Wicked" sound triumphant. And to paraphrase Christopher Walken, I have a fever and the only prescription is more timpani.

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