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This setting of the anonymous "O Magnum Mysterium" text consists of three sections.  The first in G minor features individual or paired vocal lines that introduce each intense and mysterious new phrase. The middle section begins at "beata virgo" (blessed is the virgin) and introduces a new eighth-note theme in a style similar to the opening. The final Alleluia section sees the return of the original key and theme but this time at an exuberant tempo reflecting the joy brought to all humankind via this sacred mystery.

O Magnum Mysterium

SATB Octavo

Cantate Domino is an animated polyphonic setting of the first two verses from Psalm 96: "Sing to the Lord a new song."  The first verse is set in a canonic style with pairs and trios of voices in lively imitation.  The second verse is a energetic fugue using related themes.  (The work is intended to be performed a cappella but a keyboard reduction is provided for rehearsal convenience.)

Cantate Domino

This Spanish language setting of Jn 15:911 (As the Father has loved me so I have loved you) was written for two dear friends' wedding in Mexico City.  It seeks to express the joy of love both human and divine.

Como el Padre

Written for a friend's funeral, this anthem draws upon both the famous Gregorian chant and a modern Universalist hymn (the tune Nina) for thematic material.  The scoring contains extensive divisi in the soprano and bass parts; performance duration runs about 5:30.

In Paradisum

The word "tocsin" means: an alarm bell or warning signal.  As the text wrestles with the pain resulting from imminent loss of a loved one, it is apparent that alarm is intended for both the narrator and the reader. A melancholy C-minor theme represents the mother in the poem and recurs throughout the work. Gloomy excursions to B-flat minor and related keys paint the foggy harbor scene.

Tocsins

The "Salve Regina" chant is among the most well-known Gregorian melodies worldwide. This setting features prominent quarter-note motives and draws out varied tonal colors by spotlighting different subgroups of the chorus for different lines of text. Unlike more traditional versions, this setting repeats the prayer's closing triplet: O clemens; O pia; O dulcis Virgo Maria (O merciful, O saintly, O sweet Virgin Mary) thus intensifying the veneration.

Salve Regina

Based on the text from the Gregorian antiphon for Christmas day, the Cavallaro setting of Hodie uses original themes. It is scored for 8-part mixed chorus in which half the singers establish tonality using a recurrent ostinato theme on the word "Hodie" (today) while the other half nobly declare the antiphons message to the world: "The Christ child has arrived!"

Hodie

<p>This setting of the famous love poem by Sara Teasdale (1884-1933) was commissioned for the retirement of Frances Slade, founding director of Princeton Pro Musica, Princeton, N.J.</p>

I Would Live in Your Love

A unique setting of a text from Psalm 32, for SATB and double bass (cello or organ may substitute).

While I Kept Silent

Easter anthem based on the Gregorian Chant theme

Victimae Paschali Laudes

This work is based on the unpublished poem by American poet (Princeton, N.J.) Nick Wolf, on the death of his son.  The poet writes, When your oldest child dies: a man of faith, a dear person, in the prime of life, you remember his joy: we sailed together on blue oceans (islands passed in glorious flower); we warmed ourselves by pot belly stoves. But here I am, weeding around his grave, and seeing clearly the fine times, and like lightning his death is final, my life is poisoned - he will not return. Others of no value are here. Why not at least an embrace, or a word?This a cappella work is scored for 6 voices, and performance time is 8 minutes.

Poison

A short penitential rite (with optional organ accompaniment), suitable for ecumenical or mixed congregations.

God Forgive Us

Suitable for choir investitures and celebrations of music directors, this short anthem is an SATB setting (in Latin) of Psalm 29(30):12-13, which I translate: "You have turned my mourning into rejoicing; you have taken away my sackcloth and robed me with gladness, so that my glory might sing."

Psalm 30

This polyphonic setting of the Kyrie, Sanctus-Benedictus, and Agnus Dei, is suitable for liturgical use.  The well-known chant theme serves as the cantus firmus in each of the three movements.  Approximate performance times are: Kyrie 2:00, Sanctus-Benedictus 2:45, Agnus Dei 2:45.

Missa Brevis Orbis Factor

Silver Medal Award winner in the ChoralNet Showcase Dare of August 2015 in response to The Road Not Taken, and dedicated to ChoralNet founder Dr. James D. Feiszli, who provided the spark.  The work deals with persistent regret at a possibility that was offered, but not chosen.

Contemplation

SATB setting of the Canticle of Mary, from the gospel of Luke.

Magnificat

This 7'30 setting of the full Kyrie text is based on the Gregorian chant of the same name.  Written in a largely renaissance polyphonic style, but with the addition of some modern harmonic elements, it is suitable for either liturgical or concert use.

Kyrie Cunctipotens Genitor Deus

Among the earliest known Old High German poems, this prayer originates from the Wessobrunn Abbey, a Benedictine monastery in Bavaria.  The text praises creation, and affirms the eternal existence of the One almighty God throughout all time.  This anthem is suitable for liturgical use, and runs about 6 minutes.

Oratio

<p>"Lost and Found" consists of three poems from Nicholas Wolf's published anthology of the same name. The first movement "Chartres" emphasizes that great deeds are made up of numerous tiny decisions to act. The second, "Two Questions" sets the shortest poem in the volume as a slow fugue. Finally, "Loss" begins with an ordinary domestic scene of goldfinches at a feeder, and then explores themes of introspection and self-worth.</p>

Lost and Found

Lyricist Dee Dee Miles wrote the text to "Will You Please Stand" with the Princeton Pro Musica (PPM) in mind. The opening sets the first four words on a troika of D's and an octave leap. Stylistic fragments reminiscent of Handel, Orff, Brahms, and American spirituals illustrate references many choral singers will recognize. By special request the final phrase was set as a four-voice fugue.

Will You Please Stand

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