The Seven Joys of Christmas - No. 3 : The Joy of Mary - Joseph dearest, Joseph mine

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.

La Cenerentola : Fantasy for Piano Solo

Although based on music from Rossini's opera, this piano solo is influenced by other Romantic composers: Chopin, Schumann, Tchaikovsky, and most of all Franz Liszt, whose transcriptions of songs and operas served as an inspiration. Duration: 11:30

She That Feareth the Lord

Featuring a text from Proverbs 31:25 30, She That Feareth the Lord is a lyrical setting extolling the virtues of being a woman who is faithful to God. Useful for any service highlighting the role of women in the church and in our lives (Mother's Day, etc.). Duration: 4:50

Trinity

This lyrical setting combines the texts Trinitie Sunday by George Herbert (1633) with Gloria tibi (Glory to you, O Trinity, all equal, one God). A charming refrain which begins the piece alternates with the Herbert text. Unaccompanied but primarily homophonic, this is a perfect anthem for Trinity Sunday. Duration: 2:30

O Heart Subdued With Grieving : Lass dich nur nichts nicht dauren, Op. 30

I Will Arise from Three Folk Hymns

I Will Arise comprises vocal lines which may be divided among the chorus according to voice range—with melody, harmony and descant designations. It might be possible to perform this song with either just men or women’s voices, or in any combination, including adding the children. A roughhewn style of singing and playing would be appropriate. Duration: 4:30

Have You Not Heard?

The composer's initial use of the "Scottish snap" rhythm becomes a recurring motif throughout the piece. Strong, almost fanfare-like declamations of the Isaiah 40 text alternate with imitative sections and soaring text painting, giving a tremendous dynamic and emotional variety to this setting. The only divisi is in the soprano and occurs fairly frequently. Duration: 3:30

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

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

Joy

This piece is a fast, joyous outburst. The initial lines, “I am wild, I will sing to the trees” set the jubilant tone. The perpetual motion of the syllabic step-wise vocal lines is punctuated by staccato chords and, eventually, high arpeggio figures in the accompaniment. The song reaches a rousing climax on the optimistic line, “Now at last I can live!” One of a set of six of Teasdale's love songs. Duration: 1:30

Joy

This piece is a fast, joyous outburst. The initial lines, “I am wild, I will sing to the trees” set the jubilant tone. The perpetual motion of the syllabic step-wise vocal lines is punctuated by staccato chords and, eventually, high arpeggio figures in the accompaniment. The song reaches a rousing climax on the optimistic line, “Now at last I can live!” Sopranos divide, occasionally into three. One of a set of six of Teasdale's love songs. Duration: 1:30

The Mystery

Sara Teasdale’s poem, The Mystery, depicts deep lasting love - “Your eyes drink of me” and “We have long been lovers”. It also raises a question - “Can I ever know you / Or you know me?” Stephen Chatman’s expressive setting begins with a unison melody, supported by modulating harmonies in the piano accompaniment, and evolves toward four-part voices. The middle section, featuring rising vocal lines in imitative counterpoint, precedes a return to the initial melody. One of a set of six of Teasdale's love songs. Duration: 2:30

The Mystery

Sara Teasdale’s poem, The Mystery, depicts deep lasting love - “Your eyes drink of me” and “We have long been lovers”. It also raises a question - “Can I ever know you / Or you know me?” Stephen Chatman’s expressive setting begins with a unison melody, supported by modulating harmonies in the piano accompaniment, and evolves toward four-part voices. The middle section, featuring rising vocal lines in imitative counterpoint, precedes a return to the initial melody. One of a set of six of Teasdale's love songs. Duration: 2:30

Jazzonia : From Black Pierrot

From the large work Black Pierrot, Jazzonia (1923) describes the scene in a Harlem café of the 1920s in which “six long-headed jazzers play,” and beautiful girls dance. After a short introductory section, the music moves into a lively ragtime—complete with drum set—that forms the background for the remainder of the piece. Altogether, it is something of a poetic and musical glance at the era of the Harlem Renaissance in which so much African-American music, art, and poetry emerged as vital forces in the arts. Duration: 4:30

Et in terra pax

Et in terra pax is a choral meditation on the dream of peace on Earth, coupled with the realities which constantly threaten such a dream. The work begins with a simple homophonic prayer. The middle section features a more agitated theme, indicating fear from enemies. This section culminates in a powerful supplication for strength and aid. The opening music returns, emboldened by a repeated plea which reaches an apex of sheer serenity. The final moments echo the continuous hope of peace on earth. -Thomas Juneau   Duration: 3:30

Black Pierrot

Commissioned by conductor Paul Crabb for the University of Missouri University Singers and the Mizzou New Music Ensemble (Stefan Freund, director) with funding from the Sinquefield Charitable Foundation through the Mizzou New Music Initiative. Based on seven poems by Langston Hughes, it is scored for SATB Chorus (divisi) and Chamber Ensemble (Flute, Clarinet, Violin, Violoncello, Percussion, and Piano). Duration: 32:30 Contents: 1. A Black Pierrot 2. Breath of a Rose 3. Jazzonia 4. Justice 5. Song for a Dark Girl 6. Silhouette 7. To a Dead Friend

Were You There?

This new arrangement focuses on the inherent drama of the text. Each verse expresses a different reaction to its question about the crucifixion. The piano accompaniment, which plays a featured role in this music, varies with the mood of the lyrics—from simple chordal support at the beginning, to harsh rhythms (“nailed him to the cross”), to rapid “sunburst” patterns (“the sun refused to shine”), to sorrowful descending lines (“laid him in the tomb”). The choral expression is articulated in similar manner to the accompaniment. Duration: 4:30

Variations on Dona nobis pacem

The singing of Dona nobis pacem is an annual holiday tradition at the Eastman School of Music. I wrote the Variations on Dona nobis pacem to play at a gathering of University of Rochester alumni in November of 2016. In creating a solo piano piece from vocal material, I introduce the tune alone, then its bass, which is similar to that of Bach’s Goldberg Variations. Nine variations and a finale follow in a variety of styles that recall Classical and Romantic-period composers. -David Evan Thomas Duration: 6:30

The Morning Train: 3. Maid of Constant Sorrow

A familiar American folk song is "A Man of Constant Sorrow." Adaptations exist for a maid of constant sorrow as well. This is a very simple melody, placed in the key of C major. The message is a mournful one. The soul is troubled, and not at rest. "All through this world, I'm bound to ramble...perhaps I'll take the very next train." Then, later, "perhaps I'll die upon this train." Some comfort is taken with the lines "I know we'll meet on God's Golden Shore." But the life on this earth is one of constant sorrow. Duration: 2:30.

i carry your heart

E. E. Cummings' poem i carry your heart could be read as a marriage vow, a joyous ode to a newborn, or even a eulogy to a lost love…it is adaptable to all kinds and levels of love. This setting is grounded in a steady quarter note ostinato which suggests the gentle tolling of bells, expressing respect and affection, both dignified and joyous in character. The accompaniment becomes subtly more animated at the poem’s two climaxes. The work ends with serene confidence, as the poet affirms the undeviating constancy and resolve of love. Duration: 5:30

Night Prayer

The text of Night Prayer was written by the Rev. John Williamson in 1987 for inclusion in A New Zealand Prayer Book. The tone of the prayer is both traditional and contemporary. Its natural and intended use is as Part of the Compline service, the final service of the day in the Christian tradition of canonical hours. This setting is in a reverent, chorale style, rising to a climax with the words, 'Let us look to a new day, to new joys, and to new possibilities.' Night Prayer was commissioned by Good Company, a chamber choir based in Cleveland, Ohio, and was premiered on May 15, 2016. Duration: 4:30

The Gale

A creative and unusual work, The Gale uses text painting, sound effects, and crafty choral writing to bring to life the text written by Abraham (“Abramek”) Koplowicz, a Jewish boy who was exterminated by the Nazis during the Holocaust. He wrote this poem during the time that his family was trapped in the Lodz ghetto. The terror of the storm represents a deeper terror, the "swallow and his wife...wondering what will come next" allegorically speaks for the people. So it is with the entire poem, which results in a powerful piece of music which is equally effective accompanied by piano or by chamber orchestra. Duration: 6:30

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

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