Psalm.116

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 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

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,

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

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.

This choral rendition of Proverbs 22:9 begins with a plaintive solo voice and continues unaccompanied with interweaving choral parts for your experienced singers. 

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

Rooted in the distinctive "Era of Manifestations" period of Shaker history (1837-1847), this multimovement work is based entirely on Shaker texts and tunes and reflects the visionary repertoire written at

Descending angels in the form of your sopranos and altos are accompanied by an optional heavenly harp in this anthem written with Eastertide text. The scene between the three Marys and the angels and the

This set of four pieces is written to the poetry of Sarah Orne Jewett, who lived most of her life in South Berwick, Maine and is particularly known for the local color and sense of place she

Inspired by Shaker anthems, this movement from the collection "Angel of Light" is intended for reflection and response. Sustained vocal lines are embellished with dissonant harmonies, encouraging

Bells and Grass portrays five intimate scenes, in which small things come into focus and the world recedes: a nightingale’s song echoing from a nearby wall, the bright sun and the waves of

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,

Written for Jun Mo Yang, a young tenor studying in the graduate Vocal Arts Program at the Bard Conservatory, this piece fulfilled his class assignment to seek out repertoire from a living composer whose

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

Commissioned for the 2018 National Convention of the American Guild of Organists in Kansas City, Missouri. The texts which provide the basis for this work were all written by the French poet Guillaume

Written for Jennifer Kloetzel, Cello Sonata is composed in three sections performed without pause: the first is lyrical and reaches upward, the second is a darker riff on the blues,

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