“Intuition, Emotion, Surprise, Beauty, Melody. Put all these together and you have the brilliance of David Brunner’s music – surprising melody, beautiful emotions. David has an intuitive gift for moving us – it comes from a deep heart.”

Nick Page
Composer/Song Leader

Newsletter Sign Up
  * Your Email:
  * Enter the security code:







The third and final movement of the three Ecstatic Songs, on texts by Mirabai, was written for
the inaugural performance of the women's ensemble mirabai, conducted by Sandra Snow. 
All three movements were recorded by the ensemble as the centerpiece of their premier
recording.  This movement has musical material that seems familiar, melodic gestures
similar to those of the previous movements, and the reappearance of the solo cello as
the longing in Mira's voice.  There is a sense of resolve in her words, a steadfastness and
determination, culminating in the repeated phrase "Mira belongs to Giridhara",
(Sanskrit for "holds the mountain") the One Who Lifts All. Mira's matter-of-fact
final statement reflects her awareness of, and unconcern for, others' opinion:
"And everyone says she is mad." SSAA chorus, soprano solo, cello, tabla and jangle stick. 
Boosey & Hawkes 48024248


I picked up Make Harding's A Little Book of The Green Man in a cathedral bookshop in
England quite a few years ago and have loved his poem on one of the opening pages. 
There's a mysterious quality about this face in the leaves, this laughter in the forest,
this king in the wood.  Who is this man hidden in the rafters of so many cathedrals and
civic buildings of long ago?  He's usually interpreted as a symbol of rebirth, representing
the cycle of new growth each springtime.  He's secretive, curious, playful, enigmatic. 
The music is rhythmic and angular, impish, darting here and there, with a bit of fanfare
each time his name is announced. SSA chorus with piano.  Boosey & Hawkes 48024247


This interpretation of Psalm 148 by Stephen Mithell has been "on my list" as a text I'd like to
set for a long time.  The 25th anniversary of my friend Ben Lane as Cathedral Musician at the
Cathedral Church of St. Luke in Orlando seemed like the right time.  The angular nature of the
asymmetrical rhythms and constantly changing meters bring vibrancy and momentum,
shifting harmonic centers create unpredictability and surprise, and the bold, declamatory
nature of the text a power and strength.  I like the imagery of so many things offering praise:
bodhisattvas and angels, electrons and galaxies, weather and landscapes, creatures of all
kinds -- all made in the image, goodness and light of the Unnamable God.
SATB chorus with piano.  Boosey & Hawkes 48024153


John Gillespie Magee, Jr. lived just 19 years.  He was a member of the Royal Canadian
Air Force when the Spitfire VZ-H he was flying was descending at high speed through a
break in the clouds and collided mid-air with an Airspeed Oxford trainer, just below the
cloud base at 1,400 feet over the hamlet of Roxholme, Lincolnshire, England,  His popular
poem High Flight describes the delirious feeling of wheeling and soaring, and an intimate
connection with the divine. SATB chorus with piano.  Boosey & Hawkes 48024254


On June 12, 2016, everything changed in Orlando.  The tragedy at the Pulse nightclub
affected everyone overnight.  Five days later, tens of thousands of people gathered at
Lake Eola downtown for a remembrance.  The mood, though somber, had a festive air
as neighbors, friends, and strangers, gay and straight, young and old, Sikhs, Muslims
and Christians, gathered together to bear witness.  There were improvised memorials,
flowers, and rainbows everywhere.  And there was a very profound awareness that we
all belonged to each other.  My friend and muse Scott Lounsbury wrote an exquisite poem
that expresses everything I had hoped for.  This is not a song of sadness, but comfort;
not of despair, but hopefulness; not of loneliness, but of community. SATB chorus with
piano.  Boosey & Hawkes 48024152


There is a charming quality about these old words that I connect with. I like reading and
hearing them. And I must confess that I have always felt that Elizabeth Poston's setting of
this text was one that could not be improved upon. It is loveliest of all. I have, however, long
thought of composing something new on these words. This is my humble offering.
SATB chorus with piano.  Boosey & Hawkes 48023940 


This well-known text attributed to Mary Elizabeth Frye has been an inspiration for a number
of composers and a consolation to those that sing and hear it.  As a reader, I am attracted to
the lines that speak of what I am, rather than what I am not.  I am... diamond glints on snow,
sunlight on ripened grain, ,gentle autumn rain, the swift uplifting rush of quiet birds, ,the soft
star that shines. There is a comfort in this inter-being, in knowing that all things are only one.
SSA chorus with piano.  Boosey & Hawkes 48023941


I was inspired to write these tiny unison pieces for an elderly friend on some of his haiku.  Of
his many poems I chose seven about the seasons to form a little set that I've called "moments"  
I like the asymmetrical nature of this number and it's fortuitous "lucky" attributes!  They are
little glimpses, written as single line melodies, short phrases with no text repetition, and only a
bit of accompaniment.  Sparse, yet fully there.  Like haiku.

trampled spring grass, spring green garden, summer heat, beach of white sand, drizzling rain,
leaves of autumn, winter full moon

Unison chorus with piano. Boosey & Hawkes 48023696 


The mixed chorus version!  The original treble version was written for the opening of Tampa
Children's Chospital at St. Joseph's in Tampa, Florida, on a beautiful text by Louise Driscoll.  
Within your heart keep one still, secret spot where dreams may go, and, sheltered so, may
thrive and grow where doubt and fear are not.  O keep a place apart, within your heart, for
little dreams to go!
Boosey & Hawkes 48023656


The renowned Bengali poet Rabindranath Tagore lived from 1861 to 1941 and was the first non-
European to win the Nobel Prize in Literature in 1913.  His elegant verse was the inspiration for
this piece for mixed chorus.   
The verse is lyrical and the music melodically oriented, with a
prominent violin obligato and rich harmonic language.  SATB chorus with piano and violin.
Boosey & Hawkes 48023352.  


Songs of Faith was commissioned as a gift from Carla Neeld to celebrate the 50thanniversary
of St. Mark Presbyterian Church in Newport Beach, California, and premiered there in 2012.
The text is by Thomas H. Troeger, the J. Edward and Ruth Cox Lantz professor of Christian
Communication in the Yale Divinity School, whose well-known poetry appears in the hymnals
of most denominations.  
Tuneful melodies of broad contours and long-breathed phrases
characterize this setting. Though scored for piano, the accompaniment could be adapted
for organ with  equal effect.  SATB chorus with piano.
Boosey & Hawkes Cathedral Series 


 This work was written for the Contra Costa Children's Chorus, in celebration of Founder and
Artistic Director Iris Lamanna on her retirement.  William Jay Smith's poem has a simple
elegance that I found immediately attractive, and I was intrigued by the subtitle A Pavane
for the Nursery
. A pavane is, historically, a sedate and dignified couple dance in a slow duple
meter, which I hoped to suggest in a broad feeling of two.  The 6/8 meter lends a gentle
rocking feel, suggestive of a nursery lullaby, as do the accompaniment figures in the piano.  
The repetition of the simple counting of "one, two... one, two..." and echoes of this figure in
the oboe become a soft and tender lulling to sleep.  The message is simply "I'll love you forever."
SSA chorus, oboe and piano. Walton Music HL00144547.


This commission for the Celebration (FL) Community Chorus was initiated by their conductor
(and my student) Kristopher Schave, in memory of Paul Temple Patterson, long-time member
of the chorus and friend to the Celebration community.  The text is by Bessie Rayner Parkes,
poet, essayist and journalist, who was one of the most prominent English feminists and
campaigner for women’s rights in Victorian times. For her, music is everywhere – in birds,
flowers, winds and waves --  but mostly in earnest human voices raised in charity and for
the cause of truth.  This “grateful incense” mingles together and floats, in one sacred chord,
up to God.  The melodic phrases have gentle contours and the singing style is lyrical.  
SATB chorus and piano.  Boosey & Hawkes 48023476.


This is a festive work, composed for the opening of the Natalie L. Haslam music center at
the University of Tennessee.  The UT Chamber Singers, conducted by Angela Batey, sang
the first performance in the Haslam hall on September 12, 2013.  After the opening
unaccompanied chant in the women’s voices, the music, though clearly based on the
chant melody, takes on a highly rhythmic, asymmetrical and angular character, with
a bright and resonant quality.  The brass quintet is supportive of the singers and
interjects with bright fanfare passages and rhythmic punctuation.  
For SATB chorus, 2 trumpets, horn, trombone and tuba.
Boosey & Hawkes 48023459.


My friendship with and admiration of Lori Lovell, choral director at Maitland Middle
School, was the inspiration for this work.  She came to me with (yet another!) idea
for a grand collaboration, this time involving singers from her choirs, along with
instrumentalists from her colleagues' band and orchestra groups, for a performance
scheduled at Riverside Church in New York City.  In addition, her poet friend Stacy
Barton had written words that I found imaginative and full of wonder.  The text,
excerpted from Stacy’s larger poem, forgotten dreams, beautifully describes yearning,
dreaming, and the sensation of flying, a childhood dream I had on more than one
occasion and can still feel.  “When I was small I think I flew; as a child I’m sure I
knew of ancient myths, forgotten dreams, all flown on wings of song it seems
My attention kept returning to the initial phrase “music came and startled me”,
which seemed the perfect title.  The full orchestration for strings, winds, piano and
light percussion, is colorful and of moderate challenge, though the piano version works
nicely, as well.  There is a gentle lyricism and a dance-like quality throughout, with
buoyant, lifted phrases and a sense of wonder and possibility.  For two part treble
chorus with piano. (chamber orchestra version also available).  
Boosey & Hakwes 48023353.


All Saints Episcopal Church in Pasadena, California is a vital and dynamic parish and
a congregation called to social responsibility and action.  When the opportunity arose
to write a piece for the Trouvères youth choir, in commemoration of the 125th 
anniversary of the church, the words of Langston Hughes came immediately to
mind, as an appropriate text for the occasion and the people of All Saints.  
For SAB chorus with piano.  Boosey & Hawkes 48023334


An invitation from Tim Sharp to write a piece for his Miami Children's Chorus, players
from the New World Symphony and Dance Now! Miami --a young and innovative 
contemporary dance troupe -- to be performed in the magnificent Frank Gehry 
designed New World Symphony Center in Miami Beach, was too good to be true.  
I knew this choir and had written for them before (Yo le Canto todo el DiaPsalm 150
Sir Brother Sun) but did not know the dancers and what they might create with, and
because of, my music.  Their elegant and nuanced choreography satisfied me in every
way.  It was gorgeous.  The texts by Tagore and Rumi resonate with vibrancy and have
attracted me for a number of years.  Though excerpts from longer poems, they seem to
belong with each other.  "The sky full of sun and stars, the world full of life, and in the
midst of this, I find myself.  So, surprised, my song awakens... Stop the words now, open
the window in the center of your chest, and let the spirits fly in and out!  We have fallen
into the place where everything is music."
  I particularly like the last line.  What good
fortune!  For SSA chorus with piano.  (chamber orchestra version also available).
Boosey & Hawkes 48023332.


At last, the mixed chorus version! My love for Wendell Berry’s poetry dates back ten years
when I chose this text for the 2000 ACDA Brock Commission for children’s chorus.  Since
then it has been rescored for four partmen’s chorus, premiered by the Turtle Creek Chorale,
Timothy Seelig, conductor, and thismixed chorus version, which was suggested by Mike
Grant and written for his choir, theSymphonic Choir of Smoky Hill High School in Aurora,
Colorado.  It premiered in January 2010 atthe Colorado Music Educators Association
conference. There is also an instrumentalarrangement for solo winds, string quartet and
piano, which was written for the YoungWomen’s Chorus of Kentucky, Rob Paugh, director,
and premiered by them at the KentuckyMusic Educators association conference in Louisville
in 2002.  I am touched by Berry’scontemplative voice and the inspirational nature and
reverence in each and every word, a profoundsincerity and respect for the wonder of life
and the circles that bring it round.  ForSATB chorus with piano.  Boosey & Hakwes 48023331.


Rumi was a 13th century Persian poet, theologian and mystic, whose words speak often of union with the beloved from whom he has been cut off and the longing to restore it.  His universal messages of love and spiritual journey have an appeal across time and cultures and this text seemed perfect for this work in celebration of the wedding anniversary of Kyla and John Gulliver.  The original version was for solo soprano, but the addition of the alto voice adds color, while maintaining a delicate texture.  Each phrase is a simple presentation of the text, fairly short and syllabic, with a buoyancy and gentle lyricism.  Highly impressionistic harmonies and frequently shifting key centers provide a floating quality.  The text is full of lovely sensations: carving gems, dressing the earth, feeling the breeze, scattering gold dust, lighting our path to love.  For two part treble chorus with piano.  Boosey & Hawkes 48023326


The SSA version! The original mixed chorus setting has been popular with choirs and
audiences across the country and this new treble version has a beautiful resonance for
women's voices. David Rayl, who initiated the original project in memory of David Nott,
says this is an "extremely sensitive setting of an extraordinarily beautiful poem.  This is
the sort of piece that speaks directly to the heart of the singer and the listener."
Boosey & Hawkes #48023319  


The SSA version of this popular piece.  The old round Viva la Musica is the source of the text
and the syle was inspired by Viva Tutti and other, similar well-known, robust songs.  
Vigorous singing with a dance-like quality and energetic feeling of rhythm.  
Boosey & Hawkes #48023333


Grace was commissioned by the Sloan Creek Middle School A Cappella Treble Choir and their
director Christina Chapman, in memory of Daniel Phillips and for performance at the 2013
national ACDA convention in Dallas, Texas.  Oliver Wendell Holmes' poem is a sturdy 
hymn-like text of four-line verses, each verse melodically different, though similar in lyricism.
Despite references of "brief, bright moments fading fast", "sorrowing hours" and "all we mourn,
all we keep", the poetic and musical mood is not dark, but warm and hopeful.
Boosey & Hawkes #48023074 


I have, on a number of occasions, set the words of Bill Worrell, a Texas sculptor, poet, and
in his words "Texas' most unknown songwriter."  A few years ago Worrell sent me a home
recording of him singing If I Could Fly, accompanying himself on the guitar, with a pinon fire
crackling in the background.  On every other occasion, I have newly composed music to his
words, but was moved by the honesty of this gentle melody and so, offer this arrangement
of his musical ideas.  Two part treble chorus with piano.  Boosey & Hawkes #48023042 


The long-awaited second work in the Ecstatic Songs cycle, Don't Go is a companion
piece to All I Was Doing Was Breathing, which premiered at the national ACDA
convention in Oklahoma City, sung memorably by Sandra Snow's Michigan State
University Women's Chamber Ensemble.  Mira's voice is given to a soloist who
expresses longing through sinuous, spinning melodic material.  The choir is a rich
landscape setting the modal framework and shaping moments of intensity and
longing to support the vivid text.   SSAA chorus with mezzo soprano solo,
pakhawaj, Tibetan finger cymbals, brass bowls and elephant bells. 
Boosey & Hawkes #48022954


I take delight in Scott Lounsbury’s poems, so turned to him with a request for this
commission for the 2013 Mississippi ACDA All-State Honor Choir.  I wanted something
about creativity and in a few short days he delivered Brainstorm – a tour de force of
whirling images, imaginative turns of phrase and a rhythmic insistency that doesn’t stop. 
Everything I wanted!  On first reading, bits of rhythm suggested themselves and I rushed
to scribble them down.  There’s an angularity about this, an urgency, a playfulness, an
electricity, a propulsion, and a vocal enthusiasm for the way these words roll off the tongue. 
SATB divisi chorus with piano.  Boosey & Hawkes #48022971 


My friend Eric Wilkinson and his fantastic singers at Wando High School live in an area
which has a close connection to the sea.  Charleston, South Carolina is a charming city
that I’ve visited a number of times and I’m always aware of the air and atmosphere, the
proximity of the water -- its sound and smell – and the city’s wonderful seafood.  When
Eric suggested looking at texts that had to do with water and living near the water, this
well-known poem of John Masefield came immediately to mind. There’s a rocking nature
in the gently undulating melodic gestures and recurring rhythmic ideas that will inform
your performance with regard to tempo, articulation, dynamic shading and expression. 
SATB chorus with piano.  Walton Music #00116958


The commissioned work for the 2012 Sing-A-Mile-High Children's Choir Festival in Denver. 
Lewis Carrol's text is filled with curious words which evoke fantastic images.  The music is
all about dramatic story-telling -- angular melody, strongly defined rhythm, and some quirky
bits of harmony combine to provide singers the opportunity to use text and tone to bring the
spectacle to life. It was a special joy to collaborate with Yvonne Farrow, whose creative
choralography brought a fanciful theatricality to the premiere, as the chorus of 290 singers
took on the character of the townspeople, the mayor, and the young hero, and took flight
en masse as the dreaded Jabberwock!  It was highly imaginative and great fun! 
For SSA chorus with piano.  SSA chorus with piano.  Walton Music #00116954


George Herbert's text from the poem Christmas, also used in Vaughan Williams' Hodie,
has a pastoral quality (flocks, shepherds, pastures, streams) and a personal association
("My soul's a shepherd too"), the concluding stanza culminating in strong and joyful
conviction ("Then we will sing, and shine all our own day...").  Lyrical solo phrases,
homophonic and animated passages all serve to illuminate the text and there are many
tempo related opportunities for expressive singing. The Mississippi College Singers premiere
was conducted by James Meaders.  SATB chorus with piano.  Boosey & Hawkes #48022757


The old round Viva la Musica is the source of the text and the style was inspired
by Viva Tutti and other, similar well-known, robust songs. SATB a cappella chorus. 
Boosey & Hawkes # 48022619


The Fellowship of United Methodists in Music and Worship Arts commissioned this
as the second work in the Lloyd Pfautsch memorial anthem series, for premiere at their
2009 national convocation.  On a text by Guillaume de Machaut ("For the saints can only
sing when the music sings in them
.") and Charles Wesley's sturdy O For A Thousand
Tongues to Sing
.  SATB chorus with organ.  Boosey & Hawkes #48022583

YO LE CANTO TODO EL DIA for Men's Choir!

The treble and mixed chorus versions of this popular piece have long been best sellers
and this has a distinctive color that fits perfectly!  TTB chorus with piano. 
Boosey & Hawkes #48021243


Let me know if you'd like a complimentary copy of these or any other works.