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

Mourning into Dancing from Suite Remembrance

A set of four contrasting “memorial dances” for unaccompanied mixed chorus, Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving, and each takes after a dance form. This movement is the final one. The text, from Psalm 30 (KJV), is set to a sprightly Gigue. This movement differs from the other three in that it is written for double SATB chorus. But the textures are light and dance-like, perhaps not requiring huge forces. Duration: 1:30A set of four contrasting “memorial dances” for unaccompanied mixed chorus, Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving, and each takes after a dance form. This movement is the final one. The text, from Psalm 30 (KJV), is set to a sprightly Gigue. This movement differs from the other three in that it is written for double SATB chorus. But the textures are light and dance-like, perhaps not requiring huge forces. Duration: 1:30

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

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

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

All Flesh Is Grass from Suite Remembrance

A set of four contrasting “memorial dances” for unaccompanied mixed chorus, Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving, and each takes after a dance form. This movement is the second of the set. The text, from Isaiah 40, is set to a courtly gavotte in a minor modality. Duration: 1:30 A set of four contrasting “memorial dances” for unaccompanied mixed chorus, Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving, and each takes after a dance form. This movement is the second of the set. The text, from Isaiah 40, is set to a courtly gavotte in a minor modality. Duration: 1:30

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

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

Todtentantz from Suite Remembrance

A set of four contrasting “memorial dances” for unaccompanied mixed chorus, Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving, and each takes after a dance form. This movement is the first. The text is by Nathaniel Schlott (1701), and it's paired with music in the form and feel of a rather jaunty Saltarello, despite the grim title! Duration: 1:30 A set of four contrasting “memorial dances” for unaccompanied mixed chorus, Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving, and each takes after a dance form. This movement is the first. The text is by Nathaniel Schlott (1701), and it's paired with music in the form and feel of a rather jaunty Saltarello, despite the grim title! 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

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

Angels Singing

“Angels Singing,” is based on the carol “Angels We Have Heard on High.” This new arrangement opens with shepherds (Tenor and Baritone soli) hearing angel voices, “o’er the mountains, guided by a Holy light.” A few angels (women’s voices) sing in the distance. The carol now shifts to full chorus. Often, the men portray the shepherds, and the women sing as angels. The Clarinet plays a featured role, enhancing the message of the lyrics. Duration: 4:30 “Angels Singing,” is based on the carol “Angels We Have Heard on High.” This new arrangement opens with shepherds (Tenor and Baritone soli) hearing angel voices, “o’er the mountains, guided by a Holy light.” A few angels (women’s voices) sing in the distance. The carol now shifts to full chorus. Often, the men portray the shepherds, and the women sing as angels. The Clarinet plays a featured role, enhancing the message of the lyrics. Duration: 4:30

Angels Singing

“Angels Singing,” is based on the carol “Angels We Have Heard on High.” This new arrangement opens with shepherds (Tenor and Baritone soli) hearing angel voices, “o’er the mountains, guided by a Holy light.” A few angels (Tenor voices) sing in the distance. The carol now shifts to full chorus. Often, the Basses portray the shepherds, and the Tenors sing as angels. The Clarinet plays a featured role, enhancing the message of the lyrics. Duration: 4:30 “Angels Singing,” is based on the carol “Angels We Have Heard on High.” This new arrangement opens with shepherds (Tenor and Baritone soli) hearing angel voices, “o’er the mountains, guided by a Holy light.” A few angels (Tenor voices) sing in the distance. The carol now shifts to full chorus. Often, the Basses portray the shepherds, and the Tenors sing as angels. The Clarinet plays a featured role, enhancing the message of the lyrics. Duration: 4:30

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

Suite Remembrance

A set of four contrasting “memorial dances” for unaccompanied mixed chorus, Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving, and each takes after a dance form: I. Todtentanz (Saltarello), II. All Flesh is Grass (Gavotte), III. If I can Stop One Heart from Breaking (Sarabande), and IV. Mourning into Dancing (Gigue)- the fourth movement is for double chorus. Duration: 8:30 Contents: I. Todtentanz (Saltarello) II. All Flesh Is Grass (Gavotte) III. If I Can Stop One Heart from Breaking (Sarabande) IV. Mourning into Dancing (Gigue)A set of four contrasting “memorial dances” for unaccompanied mixed chorus, Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving, and each takes after a dance form: I. Todtentanz (Saltarello), II. All Flesh is Grass (Gavotte), III. If I can Stop One Heart from Breaking (Sarabande), and IV. Mourning into Dancing (Gigue)- the fourth movement is for double chorus. Duration: 8:30 Contents: I. Todtentanz (Saltarello) II. All Flesh Is Grass (Gavotte) III. If I Can Stop One Heart from Breaking (Sarabande) IV. Mourning into Dancing (Gigue)

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

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

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

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

Pueri Hebræorum

The original composition by Randall Thompson (1899-1984) published in 1928 is for SSAA/SSAA Chorus. A version for SATB/SATB Chorus was published in 1986. The present TTBB arrangement remains true to the treble version, lowering all voice parts one octave. This version for double TTBB chorus is useful under a wide variety of circumstances. It could be used as a Palm Sunday introit or procession. It is a great teaching piece for a school group or TTBB choir festival. It could be doubled on a double quartet of instruments. Duration: 2:30

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

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.