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 to “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
IF I COULD FLY
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
SHALL I SILENT BE
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
VIVA LA MUSICA!
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 MUSIC SINGS IN THEM
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.