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Heav'n Must Go Home

3American Hymn-Tune Settings : 3. I Will Arise and go to Jesus

Appalachian Carols: 4. Go Tell It on the Mountain

Aria and Chorale

Written as one continuous movement, the music begins with a haunting "Aria." A chromatic musical language creates a mysterious mood. The pianist and violinist trade musical motives back and forth as equal but differing partners. A brief interlude segues into the "Chorale" section, which is as soaring and reassuring as the beginning was uneasy. The two ideas create a fulfilling balance and the work ends peacefully.

Service and Strength

The well-known poet, Christina Rossetti, provides this text for Michaelmas, the Feast of Saint Michael and All Angels (September 29). Broad Anglican-styled vocal lines, harmonies and a majestic organ accompaniment illuminate the text, and a grand descant appears for the final stanza. The text is also appropriate for services when passages from the Book of Revelation are read. Duration 3:15 The well-known poet, Christina Rossetti, provides this text for Michaelmas, the Feast of Saint Michael and All Angels (September 29). Broad Anglican-styled vocal lines, harmonies and a majestic organ accompaniment illuminate the text, and a grand descant appears for the final stanza. The text is also appropriate for services when passages from the Book of Revelation are read. Duration 3:15

Aria and Fugue

The Aria features a lyrical, somewhat melancholy melody in the solo instrument which is continually supported by rich, regularly pulsating chords in the accompaniment. Contrasting sections are faster and mysterious in character, with a return to the opening idea. The Fugue is based on a subject, both lively and melancholy, in compound meter. This subject is treated with standard devices of development, including inversion and augmentation.

Aria and Fugue

The Aria features a lyrical, somewhat melancholy melody in the solo instrument which is continually supported by rich, regularly pulsating chords in the accompaniment. Contrasting sections are faster and mysterious in character, with a return to the opening idea. The Fugue is based on a subject, both lively and melancholy, in compound meter. This subject is treated with standard devices of development, including inversion and augmentation.

Aria and Fugue

The Aria features a lyrical, somewhat melancholy melody in the solo instrument which is continually supported by rich, regularly pulsating chords in the accompaniment. Contrasting sections are faster and mysterious in character, with a return to the opening idea. The Fugue is based on a subject, both lively and melancholy, in compound meter. This subject is treated with standard devices of development, including inversion and augmentation.

Serenade and Dance

In one movement with two contrasting sections, the work opens with the Serenade, which is tranquil and melodic. It is followed by the energetically angular, raucously rhythmic Dance that features a catchy tune alternating several times with contrasting melodies, all in the spirit of a lively romp. The work was premiered in April 2013 by Shannon Scott, clarinet, and Melissa Loehnig, piano, at Whitman College, Walla Walla, Washington. Commissioned by and dedicated to Joseph Juracek.

And Mists Are Carved Away

Composed in 1984 and revised in 1993, Of all the souls that stand create for baritone and piano (Catalog No. 8407) is a setting of a poem by Emily Elizabeth Dickinson (1830-1886). The music features free tonality, a consistently arpegiated accompaniment, and an angular yet lyrical melody. The same melody is used in the arrangement titled And mists are carved away for contrabass flute and piano was completed for Peter Sheridan in 2015.

We Wait for Thy Loving-Kindness, O God

This setting of the 8th and 9th verses of Psalm 48 uses the Myles Coverdale translation of the Bible (1535), and adds Alleluias, which occur three times and serve as a sort of refrain. The addition of these Alleluias provides opportunity for usage throughout the Church Year, including during Eastertide. Another unifying idea is the suggestion of a chaconne—a harmonic/melodic idea that is first presented in the opening measures. The arrival of a “triumphant” C Major in the final section is the high point of the piece, but hints of C Minor linger, along with a bit of modal ambiguity due to the presence of the D-flat in the final measures. Duration: 2:30

Back and Forth on the Ferry

The text by Edna St. Vincent Millay, speaks of a youthful all-night adventure riding the ferry back and forth with no destination in mind. There is much back-and-forth in the musical setting, to a swaying 6/8 meter. Can be sung as part of a larger collection: Passion and Remembrance. Duration: 4:00

Back and Forth on the Ferry

The text by Edna St. Vincent Millay, speaks of a youthful all-night adventure riding the ferry back and forth with no destination in mind. There is much back-and-forth in the musical setting, to a swaying 6/8 meter. Can be sung as part of a larger collection: Passion and Remembrance. Duration: 4:00

Carols and Lullabies: 4. A la Nanita Nana

Except from the classic Susa collection Carols and Lullabies. Except from the classic Susa collection Carols and Lullabies.

Oh day of fire and sun

Sara Teasdale’s poem, Oh day of fire and sun, suggests a loud, fast musical setting. The syncopated homo-phonic choral texture, with high tessituras, exudes drama and excitement: it balances the expansive gestures of the piano accompaniment. Vivid images like “Lifting into the sky” and “Diving into the sea” inspire soaring, energetic vocal lines. One of a set of six of Teasdale's love songs. Duration: 1:30

Oh day of fire and sun

Sara Teasdale’s poem, Oh day of fire and sun, suggests a loud, fast musical setting. The syncopated homo-phonic choral texture, with high tessituras, exudes drama and excitement: it balances the expansive gestures of the piano accompaniment. Vivid images like “Lifting into the sky” and “Diving into the sea” inspire soaring, energetic vocal lines. One of a set of six of Teasdale's love songs. Duration: 1:30

Lullabies and Dreams

Although the texts are adapted from poems by the Indiana poet James Whitcomb Riley (1849-1916), the poet's intent, imagery, cadence and the soulful message remain intact. The composer's wish is that these songs should be performed in a continuous manner, with no pauses between songs (beyond a natural breath) so that one unfolds seamlessly into the next.

Lullabies and Dreams

Although the texts are adapted from poems by the Indiana poet James Whitcomb Riley (1849-1916), the poet's intent, imagery, cadence and the soulful message remain intact. The composer's wish is that these songs should be performed in a continuous manner, with no pauses between songs (beyond a natural breath) so that one unfolds seamlessly into the next.

Ancient Airs and Dances : Suite No. 1

A transcription of the first suite to one of Respighi’s most famous and much-beloved works. The orchestral suite itself is a transcription of sixteenth-century lute works, of which Respighi also transcribed for piano 2- and 4-hands. The transcriber of this edition used the orchestral setting in order to match the orchestral instruments to their corresponding organ stops with as much accuracy as possible. The transciption is idiomatic and a delight to play. The first three movements are accessible while the fourth will require more practice time. The movements could be performed alone or with one another and would give an audience a unique and pleasant concert experience.Duration: 15:00

Short Pieces for Flute and Piano: Book 3

A great choice for concerts and recitals. This delightful set of intermediate pieces for flute and piano features the following movement titles: 1. A Folk Tune, 2. A Waltz, 3. A Tango

Concerto for Cello and Twelve Instruments : Additional Full Score

Full score and parts available for rental.

Everyone Sang Four Songs for Bass and Piano

The songs Homecoming and Quilt were commissioned by the West Chester University Poetry Conference, West Chester, Pennsylvania, and were premiered by baritone Robert Barefield and pianist Carl Cranmer on June 7, 2003. Entrance was written in July, 2003 for inclusion in this set of songs. The song Everyone Sang was premiered by Maris Vipulis and pianist Marc Shapiro on April 16, 1998. The four songs are each dedicated to four singer-friends of the composer. The edition for low voice was prepared especially for bass Matt Boehler. Duration: 13:00

Sonata for Flute (or Violin) and Piano (or Organ)

This three-movement work is composed in a readily accessible tonal style. Colorful harmonies and concise structural elements highlight each movement. Throughout the Sonata, melodic lyricism is a constant characteristic which will present an engaging musical experience for performers and audiences. Duration: 8:10

Concerto for Cello and Twelve Instruments : Cello/Piano Reduction (Includes Cello Part)

Additional Full Score, 1.9070AFull score and parts available for rental.

Glory, love, and praise, and honour