No upcoming public events are currently announced.
An orchestral-choral work for orchestra, gospel choir, and band
The title draws from a scholarly distinction between the familiar Hallelujah and its more precise rendering, Hallelu Yah, a direct imperative to praise Yah, the covenant name of God. Rooted in a free paraphrase of Psalm 150, this work is a living commentary on the most exuberant of all the Psalms, calling every instrument, every voice, and every living soul into praise.
"Let everything that has breath praise the Lord."
The piece unfolds in ternary form, opening with a solo voice, piano, and a hushed choir before erupting through a fanfare-like orchestral passage into a full choral statement. A metric modulation then sweeps the music into a driving 12/8, the rhythmic heartland of West African communal praise, richly colored by instruments drawn from Igbo and broader West African traditions.
The string section plays pizzicato throughout the African praise section, enumerating the bell rhythm that drives the groove and evoking the plucked string sounds of northern Nigeria. The flute is written in several passages to replicate the oja, the revered Igbo end-blown flute heard in both sacred and secular settings.
You are invited to participate. When the 12/8 section arrives, listeners are warmly encouraged to clap along with the bell rhythm alongside the performers. Your participation is not merely welcome — it is part of the score.
During the introduction, the lead vocal and choir declaim these ancient Igbo names of God in call and response:
| Ogaranya ngadanga | The All-Wealthy One |
| Eze ndị Eze | King of Kings |
| Dike na-agha | Mighty Warrior |
| Amam'amasiamasi | The Unfathomable One |
| Igwe | The Exalted Heavenly King |
| Ebubedike | Glorious Warrior |
This work is dedicated with love and grief to Rose Isiagu, beloved sister and the composer's fiercest champion, who passed from this world on October 15, 2022, the eve of her birthday — and to Daniel Koops, whose memory is held tenderly by all who knew him. May this music be, in some measure, worthy of them both.
Born in Kaduna State and rooted in Affa, Enugu State in eastern Nigeria, Dr. Isiagu trained at Obafemi Awolowo University and is fluent in Igbo, Yoruba, and Hausa, earning the affectionate title Mr. Nigeria. He founded the 70-piece Running Fingers Music Resources Orchestra in Lagos, toured Europe with the Angels Choir (2007), and has led choirs on three continents. His doctoral research on a traditional music from his village of Igbobuagu informs every aspect of this work. Hallelu Ya, Praise The Lord! is his first official orchestral commission in the United States.
