Clayton Horath

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This fun arrangement of a timeless winter classic was composed somewhat on a whim. I wanted to explore the text of the lesser-known verses of this song, and it led me down a playful road that I hope is as fun for you as it was for me to write.

Jingle Bells

SATB Octavo

A setting of Psalm 124 for unaccompanied mixed voices, this piece
  embraces the imagery of the text--from the waters overwhelming souls to the
  birds freed from the snares of the fowler.

If it had not been the Lord

The words "blessed" and "happy" were the inspiration
  point for this somewhat playful setting of Psalm 128.

Blessed is everyone that feareth the Lord

SAB Octavo

This setting is based on CHRIST LAG IN TODESBANDEN. It interposes the darkness of Christ's death with a joyful Alleluia that celebrates his resurrection. Appropriate as an anthem during the Easter season.

Christ Jesus lay in death's strong bands

SSAA Octavo

This setting of the text of the familiar carol seeks to look deeper into the words, without being restrained by the well-known tune. This piece is the second of a three-movement work, also available, but is perfectly suited as a stand-alone piece.

Silent Night

Based on the prophesies of Isaiah, the "O" Antiphons have a rich history in the music of the church. These texts form the basis of the hymn O come, O come, Emmanuel, or Veni Emmanuel. The antiphons were historically used in conjunction with the Magnificat on the days leading up to Christmas. Unknown if intentional, the first letter of each of the descriptors of Christ, when taken in reverse order (or, from closest to Christmas to furthest), spell out the acrostic "Ero cras," or, in English "I am coming." Using this idea, the tune of Veni Emmanuel appears, one phrase at a time, through the seven antiphons, following the "Ero cras" order.

Veni: the "O" antiphons

SSAA Vocal Score

This setting begins and ends with the traditional Polish carol tune, but adds a middle verse, using "Bryn Calfaria," which acts as a type of minor reflection of the traditional carol tune.

Infant holy, infant lowly

This four section work tells the story of life, love, and loss: a
  flirtatious wager, an enamored teenager, the journey home that always seems
  to take longer than the journey from home, and the reminder of our mortality
  as friends and loved ones pass away.

Four Epigrams of James Russell Lowell

This playful setting of Psalm 125, for mixed voices, flute and piano,
  reminds singers and listeners alike that trusting God to provide brings
  immense joy.

They that trust in the Lord

This setting of PICARDY beautifully paints the text. Using an alto (or soprano) soloist with mixed voices, "Let all mortal flesh" is sure to create a vivid picture during Advent or End Times worship.

Let all mortal flesh keep silence

Carol of the bells was conceived after hearing an exquisite setting performed by Libera, an English boys choir. The use of "Gloria in excelsis" in their arrangement was very exciting to me, and I wanted to incorporate that kind of idea into my own setting. I also felt that by bringing the first phrase of the Westminster chime tune would set the stage for a mysterious and intimate setting.

Carol of the bells

In setting this, one of the most well-known and well-loved Christmas carols, I wanted to use the lesser-known Normandy tune that is associated with the text. The haunting minor melody of this tune fits the quiet nature of the text beautifully. Because of the changing perspective in the third verse textmoving from an observational narrative to a personal supplicationI decided to transition into the tune by William Bradbury, a tune that begins as a parallel major restatement of the Normandy text.

Away in a manger

This setting of the text of the familiar carol seeks to look deeper into the words, without being restrained by the well-known tune. This piece is the first of a three-movement work, also available, but is perfectly suited as a stand-alone piece.

Angels we have heard on high

I love Christmas carols. But, the ones that are so familiar that we can sing all the words, even after hearing just an introduction as we walk out of the department store, tend to lose the power and wonder of their texts. This set of pieces was written in an attempt to reconnect not to the tunes that we can sing without thought, but to the texts of these beautiful carols. The words are all there, but the familiar tunes will not be heard in these settings. I wanted to find the hidden music and bring forward the message of these texts in a new way.

Explorations on three carol texts

This cycle for chorus and piano revolves around the prophecies of Isaiah concerning the birth of Jesus. As I was exploring the Biblical texts, I began looking for poetic reworkings of the texts as well. I came across Sister Christine Schenk's Advent, and immediately contacted her about using the text. I then asked Jennifer G. Knoblock, a poet that I truly respect and have worked with several times, if she would write the text for the final movement. This allowed for the three central Biblical texts to be bookended by poetic restatements of Isaiah's prophecies. The music of this work is structured around the idea of two adjacent notes or chords working against each other to create tension and a complex harmonic palette.

Isaiah hath foretold it

SATB Vocal Score

A setting of Psalm 134 for mixed voices, soprano solo and piano. This
  text has a beautiful buoyancy that is emphasized through the use of mixed
  meter.

Behold, bless ye the Lord

This setting of Psalm 127 for mixed voices and piano paints a musical
  picture of the text--from the frenetic vanity of the builders to the calm
  image of sleep and the heritage of offspring.

Except the Lord build the house

This setting of Psalm 121, for mixed voices and piano, was inspired by a
  vacation to Colorado, seeing mountains in the distance--first appearing as a
  mist of blue-grey on the horizon; then becoming more clear and defined.
  Musically, this setting emerges out of an almost undefined musical haze into
  a clearer and clearer image as the text progresses.

I will lift up mine eyes

A setting of Psalm 120 for unaccompanied mixed voices. This piece
  embraces the dichotomy of desperate sadness and hope, peace and war, that
  exists within the text.

In my distress I cried unto the Lord

This famous text, from the Sarum Rite, is a simple prayer asking that God
  be in every aspect of our lives.

God be in my head

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