An Electric Triumph at the World Choral Games

About the World Choral Games

Often referred to as the “Olympics of choral music,” the World Choral Games is the largest international choir competition on the planet. Choirs from around the globe converge to perform, share cultural traditions, and celebrate their collective passion for song. To earn top honours in this exceptional gathering of talent requires meticulous preparation, outstanding artistry, and unwavering commitment to excellence.

When John Frederick Hudson was commissioned to compose a new choral work for the 13th World Choral Games in Auckland, New Zealand, he knew it had to be something truly special. Little did anyone imagine that this piece would help propel the Delaware Choral Scholars—under the expert leadership of conductor Paul D. Head—to become the top-ranked choir in the world by Interkulture. Sharing the piano bench with Lori Geckle, Hudson found himself among 250 choirs representing 42 countries, showcasing the unifying power of music.

The Power of Walt Whitman

The text for Hudson’s commissioned piece, I Sing the Body Electric, comes from the visionary American poet Walt Whitman (1819–1892). Whitman’s most extensive work, Leaves of Grass, was first published in 1855 and underwent multiple revisions until its final edition in 1891–92. Although not widely celebrated during his lifetime—he was even fired from his job for its frank and erotic imagery—Leaves of Grass has since become a cornerstone of American literature, known for its explorations of democracy, nature, and the human condition.

In Whitman’s era, the word “electric” was less about literal electricity (not widely available at the time) and more about something exciting and charged with emotion. This notion of “electric joy” underpins Hudson’s composition, aiming to capture the exhilaration and wonder of simply being alive.

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A Journey in Sound

Musically, I Sing the Body Electric unfolds through two main themes. It opens with a short rhythmic, minimalist figure in the piano—an undercurrent of intensity that pulses beneath the soaring vocal lines. There is a subtle nod to Handel’s Zadok the Priest in the grandeur and forward momentum of the choir’s entrance.

Then, a second theme bursts forth like a joyful dance, beginning with the basses and rippling through the other vocal parts. The text “I Sing the Body Electric” becomes a refrain that layers and expands until it culminates in a triumphant, bombastic finale—one that celebrates the sheer thrill of being alive in both body and soul.

A Shared Victory

Witnessing the Delaware Choral Scholars perform this piece—and subsequently win the top ranking at the World Choral Games—was an unforgettable moment for Hudson. The synergy between the choir, the conductor, and the entire musical team created an atmosphere electric with possibility, echoing Whitman’s original intent in a very contemporary way.

This composition stands as both a tribute to the wonders of the human form and an homage to Walt Whitman’s fearless spirit. It serves as a reminder that creativity and passion can transcend time, country, and competition, bringing everyone together in a shared celebration of life.

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