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In Spring

A short song cycle using a solo (unaccompanied) voice to vocalize the fanciful and magical poems of E. E. Cummings with glissandi, whistling, ghostly whispered notes and long melismas drawing out the sounds inside words, stretching them like taffy…all these types of extended techniques are added to beautifully sung lyrical phrases to capture the playfulness and variety of the season of Spring.

A Prayer in Spring

Nocturne of Remembered Spring

Spring from Madrigals for the Seasons

Variations on Outburst of Spring Triumphant : A Theme of Ludwig Diehn

This work is built on a theme of the late Virginia composer, Ludwig Liehn. Commissioned for the 2009 Mid-Atlantic Regional Convention of the American Guild of Organists, it has six movemements: Intrada (2 versions are printed), Ostinato, Celestes, Aria, Interlude, and Toccata. The first five movements are varied in style and mood. The final movement is a fiery toccata. This accessible and captivating piece has been featured on American Public Media's "Pipedreams" program, and recently received its European premiere at the Cathedral of Notre Dame in Paris. Duration: 10:00

How Lovely Is Your Dwelling Place

The text of How Lovely Is Your Dwelling Place is taken from Psalm 84:1–4 (NIV). The piece is an attempt to portray the beauty of the heavenly place where our Lord dwells. It is so lovely that the “soul yearns, even faints” to be in presence of the Lord. The opening statement returns near the middle of the piece and then again at the end. The climax comes at “O Lord Almighty, my King and my God,” followed by the worship of those dwelling in God’s house. Written for and premiered by From Age to Age in the spring of 2019 as part of their Made in Minnesota concerts. Duration: 4:30

My People Are Rising

This text is part of a longer work by Mohja Kahf titled My People Are Rising: An unfinished poem begun in Spring 2011 for an unfinished Revolution begun in March 2011. It speaks so viscerally of the tragic events in Syria that it was impossible to imagine setting it with Western harmonies. And so the composer began an exploration of Arabic music, with its quarter-tone scales, its lack of vertical chordal structure, its abundantly ornamented heterophony. Since quarter-tones are not a part of our Western choral training, the scales are tempered a bit (resulting in a fair number of augmented seconds) and a violin is added to the melodic mix for pitch support. The voices and violinare accompanied by a doumbek player, who is highly encouraged to improvise: the written notation is only there as a guide. This piece is dark, dramatic, and powerful, yet not without triumph. Duration: 8:30