Exodus 17

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,

Close harmonies and a lyrical melody paint the sense of longing one feels after losing a loved one. An exploration of dissonance and resolve, this a cappella piece provides comfort in a time of

Number four in the series of four Appalachian Carols set for both mixed and treble voices. The complete set contains Wondrous Love; The Cherry Tree Carol; Jesus, Jesus Rest Your Head; and Go Tell it on

Number one in the series of four Appalachian Carols set for both mixed and treble voices. The complete set contains Wondrous Love; The Cherry Tree Carol; Jesus, Jesus Rest Your Head; and Go Tell it on

Number three in the series of four Appalachian Carols set for both mixed and treble voices. The complete set contains Wondrous Love; The Cherry Tree Carol; Jesus, Jesus Rest Your Head; and Go Tell it on

Number two in the series of four Appalachian Carols set for both mixed and treble voices. The complete set contains Wondrous Love; The Cherry Tree Carol; Jesus, Jesus Rest Your Head; and Go Tell it on

A beautiful Christina Rossetti text about love gained and lost. Simple, moving choral writing in a quiet, reflective piece.

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.

This is an old Quaker hymn dating back to the 1800s in the United States. References to the persecution of Friends may be heard in the lyrics, yet faith and courage prevail. This arrangement emphasizes the

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

The King shall come when morning dawns
And light triumphant breaks,
When beauty gilds the eastern hills
And life to joy awakes.

This popular Mexican folk song tells the tale of La Llorona, "The Weeping Woman." The tuneful melody pairs well with the other parts, and intuitive part-writing makes this accessible to treble choirs.

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

A traditional memorial text with spiritual roots has been adapted by the composer in a setting that is simple and honest. With an unadorned melody set in a beautiful musical language with open, transparent

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

The opening lines, "Listen, I love you. Do not turn your face / Nor touch me" reflect the somber feelings encompassing Sara Teasdale's poem. Paired voices initially express contrapuntal melodic lines

This setting of Sara Teasdale's whimsical poem pertaining to a brown-thrush, love, and kisses emulates the meaning, strict rhythm, rhyme, and strophic structure of the text. The soft rolled chords of the

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 -

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

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