Ephesians 5

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

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

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

Based on the familiar German hymn HERLIEBSER JESU, this unaccompanied motet offers a sublime musical experience for congregations and audiences alike during the season of Lent. Anchored by a homophonic

All Await was commissioned by Trinity Presbyterian Church, Berwyn, Pennsylvania, in celebration of the church's 150th anniversary. Nancy Gifford was asked to compose a celebratory piece for this

The second movement from a set of four contrasting memorial dances for unaccompanied mixed chorus. The text, from Isaiah 40, is set to a courtly gavotte in a minor modality. Suite Remembrance,

This selection is a gentle lullaby based on an old Welsh folk song. With limited divisi towards the end, it has beautifully lyrical writing and will be a warm and welcome addition to any concert.

American Triptych presents aspects of spiritual experience as expressed by three North American poets: Americans E. E. Cummings and W. S. Merwin, and Canadian Bliss Carman. The first movement, i thank

American Triptych presents aspects of spiritual experience as expressed by three North American poets: Americans E. E. Cummings and W. S. Merwin, and Canadian Bliss Carman. The second movement, a modern

American Triptych presents aspects of spiritual experience as expressed by three North American poets: Americans E. E. Cummings and W. S. Merwin, and Canadian Bliss Carman. The third movement, Mariner's

This piece from the set Madrigals for the Seasons conjures up vivid images of autumn: the fading of summer flowers, the colors of the leaves, the browning of the fields. The musical setting is

This concise setting of the Ave Maria text has the flavor of a folk song with flowing choral lines and a complementary piano accompaniment.

This setting illustrates a modern yet straightforward setting of a well-known communion text. Voice parts are divided at times and the sopranos have a few places that are challenging tessitura. The interior

Chancel choirs will find light work in this rich and lilting setting of Romans 10:14-15 featuring a soaring flute, soprano solo, and deliberate repetition of the word "beautiful."

Written for the Choir of the Church of the Advent in Boston, Massachusetts, this piece was composed for the wedding of John Sterling Lambert and Susan Tighlman Bisson at the Advent on October 12, 2002. The

This movement from the larger work At the Water’s Edge, which celebrates the landscape of the seacoast region of New England and its ties to the inhabitants, is set for treble

This is a song of hope - of building a bridge between the Israeli and Palestinian peoples. Their respective trees, Jaffa Orange in Israel and Olive on Arab lands, reach out their branches as hands across

With text from the Book of Common Prayer (1662), and named for the commissioning choir of the Church of the Redeemer in Bryn Mawr, Pennsylvania, this setting of the Responses introduces a colorful,

Based on African American poet Paul Laurence Dunbar's (1872-1906) Sympathy, the "caged bird" - represented in the music by a twittering flute - desperately seeks freedom: "A prayer, a

"When I first began to look at medieval Latin texts for Carmina amoris, the epigrams, marginalia, and love letters I found by clerics and nuns from the fourth to the thirteenth centuries were a revelation.

This final movement of Songs for the Journey is set to the traditional Irish blessing, "May the road rise up to meet you."