Love Me

Stephen Chatman’s setting of Sara Teasdale’s whimsical poem pertaining to a brown-thrush, April, love and kisses, emulates the meaning, strict rhythm, rhyme and strophic structure of the text. The soft rolled chords of the harp-like piano accompaniment highlight the lilting 6/8-meter, folk-like melody, and consistent homophonic choral texture. The repetitive lines, “Love me, love me, love me!”, and “kiss me, kiss me, kiss me!”, inspire the musical refrains. One of a set of six of Teasdale's love songs. Duration: 1:45

Love Me

Stephen Chatman’s setting of Sara Teasdale’s whimsical poem pertaining to a brown-thrush, April, love and kisses, emulates the meaning, strict rhythm, rhyme and strophic structure of the text. The soft rolled chords of the harp-like piano accompaniment highlight the lilting 6/8-meter, folk-like melody, and consistent homophonic choral texture. The repetitive lines, “Love me, love me, love me!”, and “kiss me, kiss me, kiss me!”, inspire the musical refrains. One of a set of six of Teasdale's love songs. Duration: 1:45

Listen, I love you

The opening lines, “Listen, I love you. Do not turn your face / Nor touch me.”, reflect the somber feelings encompassing Sara Teasdale’s poem. Paired voices initially express contrapuntal melodic lines enhanced by underlying harmony and slow syncopation in the piano accompaniment. The middle and final sections, imbued with sad words such as “let me ease my heart,” “with broken wing” and “Forget that I am speaking,” evolve beautifully within contrasting tonal regions, supported by undulating keyboard arpeggios. One of a set of six of Teasdale's love songs. Duration: 2:00

Listen, I love you

The opening lines, “Listen, I love you. Do not turn your face / Nor touch me.”, reflect the somber feelings encompassing Sara Teasdale’s poem. Paired voices initially express contrapuntal melodic lines enhanced by underlying harmony and slow syncopation in the piano accompaniment. The middle and final sections, imbued with sad words such as “let me ease my heart,” “with broken wing” and “Forget that I am speaking,” evolve beautifully within contrasting tonal regions, supported by undulating keyboard arpeggios. One of a set of six of Teasdale's love songs. Duration: 2:00

After Love

The opening line of Sara Teasdale’s poem, After Love, “There is no magic any more,” establishes the theme of vanishing love. Stephen Chatman’s setting of the poignant text, in the key of E flat major, emphasizes the natural rhythm of the words, mixed meters, and irregular phrase lengths. The climax of the melody embraces sustained, intense vocal lines in contrary motion supported by an undulating piano accompaniment. One of a set of six of Teasdale's love songs. Duration: 1:45

After Love

The opening line of Sara Teasdale’s poem, After Love, “There is no magic any more,” establishes the theme of vanishing love. Stephen Chatman’s setting of the poignant text, in the dark key of D flat major, emphasizes the natural rhythm of the words, mixed meters and irregular phrase lengths. The climax of the melody embraces sustained, intense vocal lines in contrary motion supported by an undulating piano accompaniment. One of a set of six of Teasdale's love songs. Duration: 1:45

She Walks in Beauty : From Love Shall Live Forever

Part of the collection Love Shall Live Forever. "She Walks in Beauty" begins with a piano introduction allowing time to enter the poetic world of Lord Byron. A simple melody is accompanied by steady, walking rhythms. Although the original poem speaks only of the woman (beloved)- reverently, objectively- this new interpretation inserts a verse to include the man (lover), thus creating a love song for a couple. He walks in courage...they walk in beauty, O love! The piece concludes with a quote from the Song of Solomon (Set Me As A Seal). Duration: 3:00

If Ye Love Me

If Ye Love Me was composed as a reflective commentary on the well-known motet by Thomas Tallis (1505 1585). Homophony predominates in the first section but with clusters rather than the traditional harmonies used by Tallis. Later, the texture reduces to a very simple four-voice contrapuntal texture as a brief reference to Tallis’ style. The chorus then divides into two groups with one group continuing the counterpoint which is now expanded into a more active and complex style. The second group of voices returns to the homophonic style, but now in widely expanded harmonies. Thus, the motet concludes with homophony and counterpoint sounding simultaneously. Duration: 2:00

More Love from Songs for the Journey : Organ/Choral Score

More Love

God As Ribbon of Light

When All That's Left of Me Is Love : From Songs for the Journey

This movement from Songs for the Journey has a text adapted from the poem "Epitaph" by Merrit Malloy, "When all that's left of me is love, give me away." Duration: 3:00

Y berenjenas con queso : And eggplant with cheese

Baltazars protagonist is in a quandary as to which of his appetites is stronger: his love of Inez or her cooking. Is the way to a mans heart through his stomach?

Love! Yes! : Songs on the poetry of E. E. Cummings

Love Yes – Sånger baserade på E.E. Cummings poesi Love Yes är en samling vokalverk komponerade för hög röst, med texter hämtade från den innovativa och uttrycksfulla poesin av E.E. Cummings. Cummings dikter är kända för sin unika användning av språk, interpunktion och typografi, vilket ger en rik källa för musikalisk tolkning. Specifikationer: Instrumentering: Hög röst och pianoackompanjemang Svårighetsgrad: Medel till avancerad nivå Innehåll: Flera sånger med varierande karaktär och tempo Förlag: [Förlagets namn, om tillgängligt] ISBN: [ISBN-nummer, om tillgängligt] Fokusområden: Teknik: Utveckling av vokal kontroll, artikulation och uttryck Musikalitet: Utforskning av dynamik, frasering och känslomässigt djup Stil: Integration av moderna musikaliska element med klassisk vokalteknik Användning: Idealisk för recitaler, tävlingar eller som en del av undervisningsrepertoaren för sångare som vill utforska samtida vokalmusik baserad på litterära mästerverk.

Do You Love for Beauty? : Liebst du um Schönheit

Do You Love for Beauty? (Liebst du um Schönheit) is the second of Mahler's Rückert songs arranged by Stanley M. Hoffman for mixed chorus, the first one being Into This World I Came As a Lost One (Ich bin der Welt abhanden gekommen), 5755. This latest arrangement features a new English singing translation by the arranger, and sumptuous Romantic harmonies inspired by the piano accompaniment provided by the composer. Duration: 2:50

Songs of Love and Solace : Four Poems of William Butler Yeats

Songs of Love and Solace – Fyra Dikter av William Butler Yeats Songs of Love and Solace är en samling vokalverk komponerade för hög röst, baserade på fyra utvalda dikter av den irländske poeten William Butler Yeats. Yeats poesi är känd för sitt djup, skönhet och känslomässiga resonans, vilket gör den idealisk för musikalisk tolkning. Specifikationer: Instrumentering: Hög röst och pianoackompanjemang Svårighetsgrad: Medel till avancerad nivå Innehåll: Fyra sånger med varierande karaktär och tempo Förlag: [Förlagets namn, om tillgängligt] ISBN: [ISBN-nummer, om tillgängligt] Fokusområden: Teknik: Utveckling av vokal kontroll, artikulation och uttryck Musikalitet: Utforskning av dynamik, frasering och känslomässigt djup Stil: Integration av klassiska och moderna musikaliska element Användning: Idealisk för recitaler, tävlingar eller som en del av undervisningsrepertoaren för sångare som vill utforska vokalmusik baserad på litterära mästerverk.

Love Shall Live Forever

The texts for this set of three songs are mostly from the 19th century, but the sentiments are ageless. The special imagery in each of the poems finds its way into the musical setting. Evening Song features moonlight sparkling on glimmering waves. The Cloths of Heaven has the lover yearning to give his beloved beautiful gifts. She Walks in Beauty provides a strong close to the set, with a quote from the Song of Solomon (Set Me As A Seal) as a coda. Duration: 9:00 Contents: 1. Evening Song 2. The Cloths of Heaven 3. She Walks in Beauty

Beloved, Let Us Love One Another

Written for the Choir of the Church of the Advent in Boston, Massachusetts (Dr. Edith Ho, director), this piece was composed for the wedding of John Sterling Lambert and Susan Tighlman Bisson at the Advent on October 12, 2002. The bride and groom are both singers who have worked closely with the composer, and the composer and choir offered this short work, drawing on various wedding and musical texts, as a gift to the couple during the wedding liturgy.

Love Unfolding

Love Me

More Love

Love Me

Love Letters

More Love

Brotherly Love

Arise, my love