Philippians 3

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,

Close harmonies and a lyrical melody paint the sense of longing one feels after losing a loved one. An exploration of dissonance and resolve, this a cappella piece provides comfort in a time of

A very poignant song. Phrases such as "Hush little baby, don't you cry, you know your mama was born to die," or "Oh my brothers, I must leave you here behind," view the approach of death in terms of those

Number four in the series of four Appalachian Carols set for both mixed and treble voices. The complete set contains Wondrous Love; The Cherry Tree Carol; Jesus, Jesus Rest Your Head; and Go Tell it on

Number one in the series of four Appalachian Carols set for both mixed and treble voices. The complete set contains Wondrous Love; The Cherry Tree Carol; Jesus, Jesus Rest Your Head; and Go Tell it on

Number three in the series of four Appalachian Carols set for both mixed and treble voices. The complete set contains Wondrous Love; The Cherry Tree Carol; Jesus, Jesus Rest Your Head; and Go Tell it on

This lively work incorporates a sprightly piano accompaniment with the wonderful poem Recuerdo by Edna St. Vincent Millay, along with body movements, to create a real mood piece that is fun and

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

Number two in the series of four Appalachian Carols set for both mixed and treble voices. The complete set contains Wondrous Love; The Cherry Tree Carol; Jesus, Jesus Rest Your Head; and Go Tell it on

The third in a set of three songs titled Love Was My Lord and King! based on the poetry of Alfred Lord Tennyson. For TTBB chorus and chamber orchestra or piano. Commissioned by the Orpheus Male

A moving setting of this gripping and emotional text. In this setting, the composer captures the solemnity of the text throughout the thoughtful choral writing, comforting those who are left to grieve.

William Blake's text is set for treble choir in this sprightly, unaccompanied number. Surprising harmonic shifts and flowing polyphonic lines paint this text about spring.

This dreamy and lyrical setting of Adam Christensen's poem is lent poignancy from a tender cello part. The text imagines harps warming the winter night as a modally inflected melody hearkens to an earlier

This is an old Quaker hymn dating back to the 1800s in the United States. References to the persecution of Friends may be heard in the lyrics, yet faith and courage prevail. This arrangement emphasizes the

Originally commissioned by the ACDA, Walker's setting of the E.E. Cummings poem has long been popular on the festival circuit for treble and mixed choirs. An additional voicing for tenor-bass choirs is now

This piece is a fast, joyous outburst with the initial lines "I am wild, I will sing to the trees" setting the jubilant tone. The perpetual motion of the syllabic stepwise vocal lines is punctuated by

This popular Mexican folk song tells the tale of La Llorona, "The Weeping Woman." The tuneful melody pairs well with the other parts, and intuitive part-writing makes this accessible to treble choirs.

This is a rousing a cappella arrangement with impressive vocal effects that depict the text. Sixteenth-note flourishes and antiphonal responses appear throughout and portray a brass-like character.

A traditional memorial text with spiritual roots has been adapted by the composer in a setting that is simple and honest. With an unadorned melody set in a beautiful musical language with open, transparent

In this fragment from Christina Rossetti's poem Mirage, the poet commands her breaking heart to "lie still and break," the grief of a lost love changing her life and the world forever. This