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To Think of Those Absent

Lord Jesus, Think On Me

Lord Jesus, think on me

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.

I Know the Thoughts I Think

Eternal Brightness: 2. Lord Jesus, Think On Me

Where Love Is, Light Will Grow from The Hill : Opera Scene

Magnificat

This Magnificat was commissioned by Choir & Organ Magazine and St. Thomas Fifth Avenue, NYC, for the debut of their newly constructed Miller-Scott organ. The work sets the traditional Magnificat text with long, flowing lines, sensuous modulations, and rich, jazzy sonorities. Duration: 4:00 This Magnificat was commissioned by Choir & Organ Magazine and St. Thomas Fifth Avenue, NYC, for the debut of their newly constructed Miller-Scott organ. The work sets the traditional Magnificat text with long, flowing lines, sensuous modulations, and rich, jazzy sonorities. Duration: 4:00

The Lord's Prayer

This simple but tender setting of The Lord’s Prayer features a cantor who intones the text on a single note, and a chorus that echoes the text with rich chords. Composed in 2010 for Stephen Kennedy and the Christ Church Schola Cantorum of Rochester, New York, for their weekly compline service. Duration: 3:15 This simple but tender setting of The Lord’s Prayer features a cantor who intones the text on a single note, and a chorus that echoes the text with rich chords. Composed in 2010 for Stephen Kennedy and the Christ Church Schola Cantorum of Rochester, New York, for their weekly compline service. Duration: 3:15

Take My Hand

Take My Hand was composed as a gift for a friend of the composer. It is a setting for medium voice and piano based on a poem by Robert Bode that celebrates the union of two lives. Rich keyboard harmonies support an arching melodic line in the voice, all in a moderate tempo. The piece is an ideal song for any wedding ceremony. Duration: ca. 2:00.

Be Thou My Vision: Homage to an Ancient Hymn

The beloved hymn Be Thou My Vision has long been part of our rich musical heritage of hymnody. The text is by St. Dallan Forgaill (6th Century Irish), and the tune is Slane (Traditional Irish) which was added somewhat later to the text. Each verse is set differently, giving variety and expressiveness to the text, which sometimes departs from the original. The composer's intent was an expansive paraphrase of the tune and text, and the result is one of the most rewarding settings of this hymn that you will encounter. Duration: 6:00

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

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.

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

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

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.

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