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

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.

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

Written  as a melodic vehicle for the alto saxophone, Amendment offers flowing lines ornamented with grace notes reminiscent of Impressionist days gone by. Mayernik's work is brief, but

Kohn embarked on discovering and arranging lesser-known folk songs from the American tradition in this set of 15 folk songs. Each is a mini-drama with a story to tell; someone is traveling, working or

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

This canticle based on texts taken from the Gospel of Luke is designed like a triptych painting. Fashioned like a visual art triptych, the "left panel" or Prologue of the piece proclaims

Rooted in a distinctive period of Shaker history (1837-1847), this multimovement work reflects the visionary repertoire written at that time.  Three movements (Sound of Salvation; Heavenly

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