A New Release:
SONUS’ ‘Let My Love Be Heard’
Marking a decade of boundary-pushing choral artistry, SONUS returns with a new EP, Let My Love Be Heard, that captures both the ensemble’s evolution and its unmistakable emotional core. Over the past ten years, the Nashville-based group has built a reputation for luminous straight-tone singing, immersive performances, and a deep commitment to connection through sound. Their latest release not only reflects that journey—it expands it. Featuring works by contemporary choral icons Eric Whitacre and Jake Runestad alongside a striking new composition by SONUS’s own composer-in-residence, the EP serves as both a celebration and a bold step forward.
“This EP feels like a moment of maturity for us.”
In this interview with MCR, SONUS’ Timbre Cierpke reflects on the milestones that shaped their first decade, the science and spirit behind their newest work, and the collaborative philosophy that continues to define their voice.
MCR Staff [MCR]: This EP celebrates SONUS’s 10-year anniversary. Looking back, what moments or milestones have most defined the ensemble’s identity over the past decade?
Timbre Cierpke [TC]: One of our most formative experiences was our collaboration with Bang of a Can and Julia Wolfe. We were invited to perform Wolfe’s Pulitzer Prize winning work, Anthracite Fields, for Big Ears music festival. Performing such a challenging work with world class musicians in front of such a rapt crowd was deeply thrilling for us.
Our work with Rachel Grimes was also pivotal for us. In recording on her folk opera, “The Way Forth”, we were asked to sing in many different styles, and proved that flexibility. However, it was clear how much the choir shines when asked to sing in our signature straight-tone, pure sound.
MCR: “Dum Spiro, Spero” (While I breathe, there is still hope) draws inspiration from a scientific study on synchronized heart rates in choirs. How did that research shape the musical structure or emotional arc of the piece?
TC: When delving into this study, I was struck with the fact that singers experience the most sense of calm when singing unison, and they heart rates showed greater synchronicity in those moments. I had been struck by a particularly beautiful unison note on our previous record on the piece “Ubi Caritas” by Ola Gjeilo, so I build the opening passage of my piece around that note. The choir starts in a scatter of notes, then slides down to this sustained unison note, then blossoms out, painting an image of new beauty coming from that sense of connection and stillness.
The sense of connection the we get from singing together is something I want to fiercely protect. That connection creates hope and safety and a sense of home. I also feel that hope itself is a fierce energy, one that you choose and nurture. You can hear that ferocity in the climactic moments of the piece.
MCR: SONUS chose works by Eric Whitacre and Jake Runestad—two composers central to modern choral music. What significance do these pieces hold for the group at this stage in its journey?
TC: We chose to include a work by Eric Whitacre because he was a choral first love for many of us. His crunchy, luscious chords give us so much joy. Jake Runestad’s piece “Let My Love Be Heard” is deeply emotional for us, and represents our musical intention to always be vulnerable. That openness and vulnerability makes deeper and more honest music.
MCR: How does the new EP reflect the growth or transformation of SONUS since your last release?
TC: This EP feels like a moment of maturity for us. Our cohesion and connection has grown deeper, and the musicality is blossoming through it. We also are moving forward into pioneering new music. This album marked the beginning of my being the composer-in-residence for SONUS, and I will continue to write new music for the choir each season. We are also partnering with more composer to premiere new works.
MCR: As both conductor and composer, how do you navigate the balance between leading the ensemble and creating new works for it?
TC: Honestly it feels very simple to both lead and create music for SONUS. I know and love each person and voice in this group. It feels very natural to know how to write for those voices, and how to make them shine. It feels like a very connected process.
MCR: SONUS emphasizes collective leadership. Can you describe how that collaborative approach influenced the production of this EP?
TC: We encourage members of the choir to listen actively, make suggestions, ask questions. There are moments in these songs that have been shaped by different members of the choir throughout our rehearsal process.
MCR: The ensemble is known for its emotionally immersive performances. What do you hope listeners experience or feel when they hear Let My Love Be Heard?
TC: I hope that listeners will sit with this music and really let it wash over and through them. There is something about this kind of music that can truly transport you, open you up to yourself. I will say honestly that I cried listening back to these mixes for the first time (and a few more times after that), especially to “Dum Spiro, Spero” and “Let My Love Be Heard”.
MCR: “Dum Spiro, Spero” explores themes of connection, breath, and shared humanity. How did the choir respond to working on such a conceptually rich piece?
TC: The choir immediately attached to the introspective and therapeutic nature of the piece. They understood exactly what it was supposed to feel like, and poured themselves into it. I felt so much energy coming from them, working to bring it to life with me. It was incredibly gratifying.
MCR: SONUS has performed in venues and festivals ranging from The Nashville Parthenon to Big Ears. How have these varied performance environments shaped the choir’s artistic direction?
TC: SONUS really excels in resonant spaces. Our yearly partnership with the Parthenon for our Christmas concert has allowed us to take on very big, daring pieces that need a lot of acoustic reverb. Venues like Big Ears shows us how much of an audience there really is for the type of experience we provide. It encourages us to keep going, keep expanding.
MCR: What does the next decade look like for SONUS? Are there new musical directions, collaborations, or projects you’re excited to pursue following this EP release?
TC: I am so excited for our future. Each year the choir matures, deepens, and binds more tightly together. We are already mixing a new EP, featuring 3 premieres by female composers (Rachel Grimes, Emily Mason, and myself). We have also become a 501c3 and are working very hard to find sponsors, supporters, and grants to allow us to record longer albums, travel, and pioneer new music. We have a project coming out with a major artist soon that we can’t talk about yet (wink), and will also be working on a project soon that will be composed by myself and Jad Abumrad. We are hoping to partner with more composers to premiere new works, and are so excited for what’s to come.
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