Five Mystical Songs

Commissioned by Dr. Geoffrey Boers and the University of Washington Chamber Singers to be short responses to movements of an eclectic Mass these four Responsorials can be performed together or separately. The texts are extracted and adapted from William Wordsworth’s Illustrious metaphysical poem On the Power of Sound which delves deeply into the mysteries of the natural (and supernatural) world and its complex relationship with the physics of voice and sound. An expansive feeling of both joy and mystery pervades these short vignettes. Duration: 6:00 1. As deep to deep shouting through one valley calls (1:30) 2. The heavens whose aspect makes our minds as still as theythemselves appear to be (1:30) 3. A Voice to Light gave Being (1:30) 4. Break foth into thanksgiving ye banded instruments (1:30) Part of the Lee Nelson Choral Series.

Fanfares For The Festive Opening

Songs in Celebration of Singing

From I've Known Rivers

Songs for the Journey

Christe adoramus te-This five part C major motet has a Latin text from the Antiphon from the Good Friday Liturgy. Notated on five staves the soprano 1 and 2 parts have their own staves. An optional continuo part for organ is provided. Note values of the original editions have been halved for easier reading. Durations at cadences are clearly edited for precise cut-offs. The English version by Jean Lund has been updated removing archaic words such as thee and thy. Duration: 2:45

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

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 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

Black Pierrot

Commissioned by a choral society in memory of their beloved accompanist this is an SATB divisi unaccompanied setting of a poem by Edna St. Vincent Millay. The text remembers a departed friend through the seasons of the year. All of nature's elements are in mourning. A sweet tender piece not difficult for an ensemble used to singing a cappella. Duration: 3:00

Praise Now the Risen Christ

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

Praise Now the Risen Christ

Fanfare Introit and Procession for the Dedication of a Church-Peter Latona's setting of the Entrance Antiphon for the Dedication of a Church is a perfect balance of solemnity and festivity. It opens with a brass and organ fanfare (echoed later by organ alone) and a chant-like choral section. Then the antiphon unfolds—easily sung by the assembly while the verses offer some meat for SATB choir. Brass Quintet is used well throughout supporting the antiphons and decorating the verses. Appropriate also for church anniversaries the Feast of the Dedication of St. John Lateran Christ the King C or other festive liturgies. Duration: 8:00 Instrumental Parts include: Trumpets I and II in B-flat and C Horn in F Trombone I and II Timpani Part of the Cathedral Series.

This flexible setting of the Glory to God can be performed simply with cantor assembly and organ or dressed up with choir harmonies and handbells. The refrain is exuberant and memorable and the verses sung by either cantor or choir are paced to move along steadily without feeling rushed. The return of the descending fifth in the melody ties the piece together and the chromaticism adds a bit of excitement but never undermines the melody. Choirs and assemblies alike will delight in singing this exultant Gloria!

Hark I Hear the Harps Resounding-A setting for SSAA voices of the early-American tune INVITATION from William Walker's Southern Harmony. This energetic and pleasing setting features a double text option: one that is appropriate for Advent using the text Comfort Comfort Now My People and the other more widely known version for general use. Part of the Luther College Series.

A majestic Easter anthem which marries the tune EARTH AND ALL STARS to a text by Herbert Brokering a combination with which you might not be familiar but works beautifully. Burkhardt has structured a perfect hymn-anthem setting. The congregation can participate or not. Brass and timpani are optional. Fun to sing and sure to create a feeling of transcendent triumph. Duration: 3:30 Instrumental Parts include: Trumpets I and II in B-flat and C Horn in F (substitute for Trombone I) Trombone I and II Tuba Timpani Organ

The 19th-century American folk hymn tune SHOUT ON is set for SATB unaccompanied voices. The 1775 text is by Samuel Medley and includes the recurring refrain Glory Hallelujah! Sopranos divide briefly near the end otherwise this is straight SATB with very approachable writing. Bright and rhythmic this anthem is perfect for small and large choirs alike. Duration: 3:00