[Hebrews] 1

In Sara Teasdale's poem After Love, the opening line "There is no magic any more" establishes the theme of vanishing love. This setting of the poignant text, in the dark key of D-flat major,

This lively work incorporates a sprightly piano accompaniment with the wonderful poem Recuerdo by Edna St. Vincent Millay, along with body movements, to create a real mood piece that is fun and

The third in a set of three songs titled Love Was My Lord and King! based on the poetry of Alfred Lord Tennyson. For TTBB chorus and chamber orchestra or piano. Commissioned by the Orpheus Male

A moving setting of this gripping and emotional text. In this setting, the composer captures the solemnity of the text throughout the thoughtful choral writing, comforting those who are left to grieve.

William Blake's text is set for treble choir in this sprightly, unaccompanied number. Surprising harmonic shifts and flowing polyphonic lines paint this text about spring.

The message of this piece is that even in the darkest times, music can lift the soul. One can sing softly, and one can sing forcefully with determination, but one must always sing with passion!

Originally commissioned by the ACDA, Walker's setting of the E.E. Cummings poem has long been popular on the festival circuit for treble and mixed choirs. An additional voicing for tenor-bass choirs is now

This piece is a fast, joyous outburst with the initial lines "I am wild, I will sing to the trees" setting the jubilant tone. The perpetual motion of the syllabic stepwise vocal lines is punctuated by

This is a rousing a cappella arrangement with impressive vocal effects that depict the text. Sixteenth-note flourishes and antiphonal responses appear throughout and portray a brass-like character.

Utilizing the traditional African American tune, this artistic setting focuses on two central images: breaking bread together in communion and fellowship, and falling on one's knees in prayer. Both images

In this fragment from Christina Rossetti's poem Mirage, the poet commands her breaking heart to "lie still and break," the grief of a lost love changing her life and the world forever. This

Extracted from "Bethesda Evensong," this is a lyrical setting of the traditional text along with an excerpt from the Prayer of St. Francis. Beginning in unison, the piece expands to two parts

This work in three movements: Evening Song; The Cloths of Heaven and She Walks in Beauty uses texts from the past - Sydney Lanier, William Butler Yeats, Lord Byron, and Song of Solomon -

Percy Bysshe Shelley's deeply moving poem about love and loss is matched with rich, resonant sonorities in the choral writing and the accompaniment. A beautiful program piece for treble voices.

This text is part of a longer work by Mohja Kahf titled My People Are Rising, an unfinished poem begun in spring 2011 for an unfinished revolution begun in March 2011. The work speaks so viscerally

This expressive setting of Sara Teadale's poem The Mystery, which depicts deep lasting love, begins with a unison melody, supported by modulating harmonies in the piano accompaniment, and evolves

This second movement of Two Suffrage Songs is based on the spiritual Sit Down, Sister! The upbeat nature of the music reflects the energy and motivation of the strong women

In this winning setting of the venerable text, there are unison declamations, imitative passages, and a soaring descant to close. The organ part is equally lovely, in one place providing bird-like motifs.

Phillips Brooks, a priest at Trinity Church, Boston, wrote this famous carol after a visit to Bethlehem in 1865; three years later, his organist Lewis Redner set it to music. This arrangement uses three of

The syncopated homophonic choral texture, with high tessituras, exudes the drama and excitement called for in Sara Teasdale's poem, and it balances the expansive gestures of the piano accompaniment. Vivid

An assuring text from master poet Sara Teasdale, its central theme is that one can take refuge in singing. Ever sensitive to the text, Walker crafts word painting throughout with shimmering piano

This a cappella setting of the liturgical text is mostly homophonic and showcases lyrical, flowing lines that continue to bloom and blossom throughout the work. This work evolves and grows in tension