1 John 3

Originally called hokku, the familiar three-line verse began as the opening of a group improvisation called renga which evolved in Japan in the middle ages. Often creating spontaneously, one poet would

From a three-part collection based on poetry by American pioneers, this third piece depicts a barn dance as vocalists circle 'round the instruments, stomp, clap, and perform with general

A pull-out from the classic Carols and Lullabies collection, this traditional Spanish carol in four parts also includes English text. The accompaniment includes marimba, harp, and guitar for a truly

This handy book provides quick answers and definitions of basic terms as well as guides to Italian, German, and French pronunciation.

A familiar text from Lessons and Carols services in a brand new setting. Unexpected tonality shifts and waves of building tempos lead to a final climax of "Deo gracias!" A quintessential Advent addition to

An affectionate tribute to Czech-American composer Karel Husa, the composer's teacher at Cornell University. Two traditional Czech songs are quoted that Husa has used in his own music, as well as the

Originally attributed to W.A. Mozart, this sacred gem is a staple of the choral literature and a fine choice to develop blend, intonation and phrasing with your mixed choirs. Appropriate for Lent, communion

A triptych of pieces for harp (or piano) and SATB divsi chorus using texts by poet Christine Schenk. Her version of the "O Antiphons" provides a means of contemporary reflection on those ancient texts. The

For baritone/countertenor & cello. First printing. Composed for the Christopher Caines Dance Company. Premiered in New York, June 2004. Texts by Ezra Pound. Includes program and performance notes.

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,