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Messiah: Hallelujah Chorus

O magnum mysterium

Dedicated to Chorus Austin (Texas), Ryan Heller, conductor. The music showcases lyrical lines for each section. For SATB (divisi) and two soprano soloists, the writing explores the great mystery of the Incarnation through the polyphonic texture of the chorus, culminating with the soloists proclaiming "Alleluia" in response. Duration: 4:00 Dedicated to Chorus Austin (Texas), Ryan Heller, conductor. The music showcases lyrical lines for each section. For SATB (divisi) and two soprano soloists, the writing explores the great mystery of the Incarnation through the polyphonic texture of the chorus, culminating with the soloists proclaiming "Alleluia" in response. Duration: 4:00

Mourning into Dancing from Suite Remembrance

A set of four contrasting “memorial dances” for unaccompanied mixed chorus, Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving, and each takes after a dance form. This movement is the final one. The text, from Psalm 30 (KJV), is set to a sprightly Gigue. This movement differs from the other three in that it is written for double SATB chorus. But the textures are light and dance-like, perhaps not requiring huge forces. Duration: 1:30A set of four contrasting “memorial dances” for unaccompanied mixed chorus, Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving, and each takes after a dance form. This movement is the final one. The text, from Psalm 30 (KJV), is set to a sprightly Gigue. This movement differs from the other three in that it is written for double SATB chorus. But the textures are light and dance-like, perhaps not requiring huge forces. Duration: 1:30

In the Name of Music

Commissioned by the Radcliffe Choral Society and the Harvard-Radcliffe Collegium Musicum, this piece was created to celebrate the awakening and life-transforming power of music, as a force that enlivens and enlightens us. The original text is by the composer. Although the original was for women's chorus and mixed chorus, this version is for SSAATBB chorus alone. Extensive instructions are provided for the ethereal aleatoric section, addressing stage placement, dynamics, use of a solo group, and how the piece should end. Duration 4:40Commissioned by the Radcliffe Choral Society and the Harvard-Radcliffe Collegium Musicum, this piece was created to celebrate the awakening and life-transforming power of music, as a force that enlivens and enlightens us. The original text is by the composer. Although the original was for women's chorus and mixed chorus, this version is for SSAATBB chorus alone. Extensive instructions are provided for the ethereal aleatoric section, addressing stage placement, dynamics, use of a solo group, and how the piece should end. Duration 4:40

Suite Remembrance

A set of four contrasting “memorial dances” for unaccompanied mixed chorus, Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving, and each takes after a dance form: I. Todtentanz (Saltarello), II. All Flesh is Grass (Gavotte), III. If I can Stop One Heart from Breaking (Sarabande), and IV. Mourning into Dancing (Gigue)- the fourth movement is for double chorus. Duration: 8:30 Contents: I. Todtentanz (Saltarello) II. All Flesh Is Grass (Gavotte) III. If I Can Stop One Heart from Breaking (Sarabande) IV. Mourning into Dancing (Gigue)A set of four contrasting “memorial dances” for unaccompanied mixed chorus, Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving, and each takes after a dance form: I. Todtentanz (Saltarello), II. All Flesh is Grass (Gavotte), III. If I can Stop One Heart from Breaking (Sarabande), and IV. Mourning into Dancing (Gigue)- the fourth movement is for double chorus. Duration: 8:30 Contents: I. Todtentanz (Saltarello) II. All Flesh Is Grass (Gavotte) III. If I Can Stop One Heart from Breaking (Sarabande) IV. Mourning into Dancing (Gigue)

All Flesh Is Grass from Suite Remembrance

A set of four contrasting “memorial dances” for unaccompanied mixed chorus, Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving, and each takes after a dance form. This movement is the second of the set. The text, from Isaiah 40, is set to a courtly gavotte in a minor modality. Duration: 1:30 A set of four contrasting “memorial dances” for unaccompanied mixed chorus, Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving, and each takes after a dance form. This movement is the second of the set. The text, from Isaiah 40, is set to a courtly gavotte in a minor modality. Duration: 1:30

Pueri Hebræorum

The original composition by Randall Thompson (1899-1984) published in 1928 is for SSAA/SSAA Chorus. A version for SATB/SATB Chorus was published in 1986. The present TTBB arrangement remains true to the treble version, lowering all voice parts one octave. This version for double TTBB chorus is useful under a wide variety of circumstances. It could be used as a Palm Sunday introit or procession. It is a great teaching piece for a school group or TTBB choir festival. It could be doubled on a double quartet of instruments. Duration: 2:30

If I Can Stop One Heart : from Breaking from Suite Remembrance

A set of four contrasting “memorial dances” for unaccompanied mixed chorus, Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving, and each takes after a dance form. This movement is the third of the set. The touching text by Emily Dickinson is set to music in the form of an expressive Sarabande. Duration: 4:00 A set of four contrasting “memorial dances” for unaccompanied mixed chorus, Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving, and each takes after a dance form. This movement is the third of the set. The touching text by Emily Dickinson is set to music in the form of an expressive Sarabande. Duration: 4:00

Todtentantz from Suite Remembrance

A set of four contrasting “memorial dances” for unaccompanied mixed chorus, Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving, and each takes after a dance form. This movement is the first. The text is by Nathaniel Schlott (1701), and it's paired with music in the form and feel of a rather jaunty Saltarello, despite the grim title! Duration: 1:30 A set of four contrasting “memorial dances” for unaccompanied mixed chorus, Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving, and each takes after a dance form. This movement is the first. The text is by Nathaniel Schlott (1701), and it's paired with music in the form and feel of a rather jaunty Saltarello, despite the grim title! Duration: 1:30

Ruth: Chorus of Moabites- : Elle s'en va!- She goes away!

Per Chorus Angelorum: No. 1. King All Glorious : O Rex Gloriae

Ruth: March and Chorus : Quelle angoisse extreme- Oh, This Sad Leave-Taking

The Snow Lay On the Ground : Nine Festive Carol Settings for SATB Chorus

The Snow Lay On the Ground : Nine Festive Carol Settings for SATB Chorus

Sound-Bite from Beijing : 4-Part Treble Chorus [divisi] Unaccompanied and opt. String Bass/Tuned Percussion

The Lord's Prayer

This simple but tender setting of The Lord’s Prayer features a cantor who intones the text on a single note, and a chorus that echoes the text with rich chords. Composed in 2010 for Stephen Kennedy and the Christ Church Schola Cantorum of Rochester, New York, for their weekly compline service. Duration: 3:15 This simple but tender setting of The Lord’s Prayer features a cantor who intones the text on a single note, and a chorus that echoes the text with rich chords. Composed in 2010 for Stephen Kennedy and the Christ Church Schola Cantorum of Rochester, New York, for their weekly compline service. Duration: 3:15

I Will Arise from Three Folk Hymns

I Will Arise comprises vocal lines which may be divided among the chorus according to voice range—with melody, harmony and descant designations. It might be possible to perform this song with either just men or women’s voices, or in any combination, including adding the children. A roughhewn style of singing and playing would be appropriate. Duration: 4:30

Let Us Break Bread Together

This work is dedicated to Heather Heyer of Charlottesville, Virginia, who gave her life for our mission of tolerance. Using the traditional African American tune LET US BREAK BREAD, this arrangement is scored for SATB chorus (divisi) and piano.  A new verse is added: Let us rise up together all as one, as a call for strength through unity. Duration: 3:00

Morning Train: 1. Going Home on the Morning Train

A haunting setting which is definitely for a reflective, memorial or commemorative type of occasion. The text is by Alfred, Lord Tennyson and is set for SATB chorus (unaccompanied, no divisi.) D minor, slow tempo, sostenuto, frequently changing meters. "So sad, so strange, the days that are no more. Dear as remembered kisses after death." Pianist performs from the piano/choral scores. Duration: 4:10

The Snow Lay on the Ground

Released in 2007, this original setting of an anonymous 19th-century text is written in verse-anthem style. The scoring for chorus, harp, and keyboard makes it an ideal companion piece for Britten’s A Cermony of Carols and Susa’s Carols and Lullabies. Equally effective with organ or piano, making it practical for use in both churches and schools. This is especially true for the three new arrangements with keyboard accompaniment only. Duration 4:00 Released in 2007, this original setting of an anonymous 19th-century text is written in verse-anthem style. The scoring for chorus, harp, and keyboard makes it an ideal companion piece for Britten’s A Cermony of Carols and Susa’s Carols and Lullabies. Equally effective with organ or piano, making it practical for use in both churches and schools. This is especially true for the three new arrangements with keyboard accompaniment only. Duration 4:00

The Snow Lay on the Ground

Released in 2007, this original setting of an anonymous 19th-century text is written in verse-anthem style. The scoring for chorus, harp, and keyboard makes it an ideal companion piece for Britten’s A Cermony of Carols and Susa’s Carols and Lullabies. Equally effective with organ or piano, making it practical for use in both churches and schools. This is especially true for the three new arrangements with keyboard accompaniment only. Duration 4:00 Released in 2007, this original setting of an anonymous 19th-century text is written in verse-anthem style. The scoring for chorus, harp, and keyboard makes it an ideal companion piece for Britten’s A Cermony of Carols and Susa’s Carols and Lullabies. Equally effective with organ or piano, making it practical for use in both churches and schools. This is especially true for the three new arrangements with keyboard accompaniment only. Duration 4:00

The Snow Lay on the Ground

Released in 2007, this original setting of an anonymous 19th-century text is written in verse-anthem style. The scoring for chorus, harp, and keyboard makes it an ideal companion piece for Britten’s A Cermony of Carols and Susa’s Carols and Lullabies. Equally effective with organ or piano, making it practical for use in both churches and schools. This is especially true for the three new arrangements with keyboard accompaniment only. Duration 4:00 Released in 2007, this original setting of an anonymous 19th-century text is written in verse-anthem style. The scoring for chorus, harp, and keyboard makes it an ideal companion piece for Britten’s A Cermony of Carols and Susa’s Carols and Lullabies. Equally effective with organ or piano, making it practical for use in both churches and schools. This is especially true for the three new arrangements with keyboard accompaniment only. Duration 4:00

Angels Singing

“Angels Singing,” is based on the carol “Angels We Have Heard on High.” This new arrangement opens with shepherds (Tenor and Baritone soli) hearing angel voices, “o’er the mountains, guided by a Holy light.” A few angels (Tenor voices) sing in the distance. The carol now shifts to full chorus. Often, the Basses portray the shepherds, and the Tenors sing as angels. The Clarinet plays a featured role, enhancing the message of the lyrics. Duration: 4:30 “Angels Singing,” is based on the carol “Angels We Have Heard on High.” This new arrangement opens with shepherds (Tenor and Baritone soli) hearing angel voices, “o’er the mountains, guided by a Holy light.” A few angels (Tenor voices) sing in the distance. The carol now shifts to full chorus. Often, the Basses portray the shepherds, and the Tenors sing as angels. The Clarinet plays a featured role, enhancing the message of the lyrics. Duration: 4:30

Angels Singing

“Angels Singing,” is based on the carol “Angels We Have Heard on High.” This new arrangement opens with shepherds (Tenor and Baritone soli) hearing angel voices, “o’er the mountains, guided by a Holy light.” A few angels (women’s voices) sing in the distance. The carol now shifts to full chorus. Often, the men portray the shepherds, and the women sing as angels. The Clarinet plays a featured role, enhancing the message of the lyrics. Duration: 4:30 “Angels Singing,” is based on the carol “Angels We Have Heard on High.” This new arrangement opens with shepherds (Tenor and Baritone soli) hearing angel voices, “o’er the mountains, guided by a Holy light.” A few angels (women’s voices) sing in the distance. The carol now shifts to full chorus. Often, the men portray the shepherds, and the women sing as angels. The Clarinet plays a featured role, enhancing the message of the lyrics. Duration: 4:30

The Snow Lay on the Ground

Released in 2007, this original setting of an anonymous 19th-century text is written in verse-anthem style. The scoring for chorus, harp, and keyboard makes it an ideal companion piece for Britten’s A Cermony of Carols and Susa’s Carols and Lullabies. Equally effective with organ or piano, making it practical for use in both churches and schools. This is especially true for the three new arrangements with keyboard accompaniment only. Duration 2:15