This Alleluia uses only the one word without the customary accompanying sentence referring to a specific occasion or vers. Musically it begins with a rapid, rich sounding 16th note repeated figure in the organ, soon joined by the brass choir and men's voices. The organ figure becomes slower and softer leading to a tempo half as fast as the beginning. Both the voices and brass assume a quiet, meditative quality accompanied by solo stops on the organ. This expands to a fervent forte with a subsequent diminuendo, suddenly becoming the same tempo as at the beginning, with a jazzy 7/8 figure in the brass. The voices take over for a brief time leading to a Gregorian Chant-like section for the voices accompanied by simple chordal figures in the organ. We return briefly to a slow, meditative quality in the brass and voices with a solo flute stop in the organ, finally returning to the beginning tempo with the same opening 16th note figures in the organ. The voices and brass, meanwhile, recap th

The Asperges me is sung in the modern Roman liturgy as part of the rite of blessing and sprinkling of holy water on Sunday outside of the Easter season (Easter through Pentecost). The text would be suitable as an anthem for Lent (particularly Laetare or Refreshment Sunday) or for other times when the Scriputral readings mention water. Duration c.1:30

Of special significance are the qualities of vocal orchestration in this motet. The principle of contrasting high and low sonorities may be effected in this piece by grouping the top three and bottom three voices on opposite sides of the stage (or auditorium), thereby creating the antiphonal effect which is fundamental to this music. The publication contains scholarly performance notes with text and translation. Music is barred between the staves with accented syllabels of text in bold type.

Duration 3:00

Utilizing a poem by Lawrence Ferlinghetti, this piece is completely improvised with detailed performance directions included. The chorus members evenly space themselves around the perimeter of the auditorium with the seven soloists on the stage. The singers pass sounds around the hall, from one to the other, as well as perform many sections tutti. The final performance effect is to be a musical/dramatic reading.

A song to Spring with the opening words Spring has now unwrapped the flowers... With the innocence of the children's voices against the full SATB choral sould and the sonorous brass, the lushness of spring is spread throughout the piece.

Duration 6:00

The Children's Choir of St. Cyril's, directed by Ms Susan Mills, offered a unique opportnity for the writing of a Mass for Full Choir, Children's Choir and instuments. The Irish Harp (also known as the Celtic Harp) was chosen as the sole accompaniment because of the lovely, soft sound of the strings, as opposed to the more bright sound of a standard harp. Two instruments are used because of the lack of tuning pedals on the Irish Harp and the need for an enlarged tonal pallet from that of a single Harp. It was also an opportunity to write a part for Boy Soprano - such a lovely sound when combined with the Celtic Harp.

Country: Ireland

Text is in Russian (phonetic) with a translation and pronunciation guide. The story is about a soldier dying on the battle field and telling the Black Raven to fly home to his mother and sweetheart to tell of his love for them. Russian Folksong.

Duration 4:30

The text for Christ Has No Body was suggested to me by Father Eben MacDonald. During a recent hospitalization I was visited by Father Mac and at that time I asked if he had any favorite Liturgical Text that I could set to music for our choir to sing in our Parish. He introduced me to an extraordinary poem by Saint Teresa on which I eagerly started to work. The result is a lilting setting with smoothly interacting vocal lines challenging only insofar as very legato singing is required. As indicated in the score the accompaniment should be be smoothly flowing. -Dale Jergensen

The mood of this piece ranges from subdued and reflective to one of joy and celebration as the ringing of the bells on Christmas day signals the hope for peace and goodwill to all men.

From the Continental Harmony of 1794. Anonymous text: Arise and hail the sacred day, Cast all low cares of life away... Music is as originally printed by Billings except for the use of modern notation and a line of text for each voice; however, the piano reduction reverses the positions of the tenor and soprano parts, and should the conductor elect, this piece may be performed in this manner. Contains editors performance suggestions.

This rhythmically dynamic composition uses the complete Latin text, but has been conceived as a concert piece for good choral ensembles. It received its first performance by the Los Angeles Master Chorale and was subsequently used on tour by the Roger Wagner Chorale. Note: A full orchestra score exists, but is not available at this time.

Duration 4:37

Commissioned by Cantori Domino, this setting of the anonymous text has a Tudor or English feel throughout the whole piece. Piano or Chamber Orchestra: Flute 1 & 2, 2-3 oct. Hanbells, Harp, Percussion and optional Bass.
Duration 3:00

Winner of the 2005 California ACDA Composition Competition. Commissioned by Richard Basal for his friend and accompanist, Louise Basal. The energetic and demanding piano part gives this Hodie a special vitality for this splendid and time-honored text. The contrasting middle section with its chant-like movement sets up the big ending.

Duration 4:40

Special liturgy of St. Mark and peculiar to Venice. Scholarly performance notes with text and translation. Music is barred betweeen the staves with acented syllabels of text in bold type.

Duration 2:47

The opening figure in the piano is a sort-of whoo-whoo of a train whistle and the rhythmic figure starting in m. 6 is supposed to be descriptive of a steam engine chugging along the track. Thomas H. Johnson, in his Introduction to Final Harvest, a collection of Dickinson poems, posits that Emily used dashes as a musical device and capital letters as a means of emphasis. He further writes that she deliberately fractured grammar to achieve special effects. I like to see it lap the Miles is testimony to Johnson's analysis and apparently celebrates that exciting form of transportation in the 19th Century, the railroad.

Text is in Tagalag with translation and pronunciation guide. song is about a young man (Ondo) and a young womnan (Inday), marriage and a feast featuring Philippine vegetables. Original folksong material collected by Priscilla Magdamo Abraham. Philippine folksong.

Duration 2:42

Country: The Philippines

Using the poem"A Hymn for Lazarus" by Kim Norton Rich,"Lazarus, Come Out!" is cast in a Gospel type setting with rhythms typical of this genre of choral music. c. 4:30

This Christmas Carol combines text from B.M.G. and the composer (D.R.J.) and is cast in a verse/chorus form. The piece can be either accompanied or sung a cappella. Duration c. 6:00

Written in memory of Bill Feuerstein, a long-time friend of the composer, this tender, sentimental piece tugs at the heart strings. Duration 2:41

Having performed Maurice Durufle's Messe "Cum Julilo" for men's voices and organ many times I always thought it would be fitting to write a similar mass, but for women's voices and organ. As in the Durufle work, Missa Lux et origo is based on Gregorian Chant. Sometimes the vocal line follows the chant exactly, at others it deviates but always "in the style of..." keeping the Gregorian character throughout. I am pleased that the premiere performance is to be conducted by Jeannine Wagner, daughter of the famed Roger Wagner, at whose feet I learned what I know of Gregorian Chant. -Dale Jergenson

Missa Populi (Mass or Music of the People) came about as a result of a desire to combine the elements of contemporary musical expression with that of the current Catholic Liturgy. The only deviation from current practice is the setting for the Credo which is not usually set to music in the Masses of today. It uses the concept of the old beatnik coffe house poets reading their poetry to a background of some sort of music, mostly jazz. It is noteworthy that the Credo was composed in the Bartok Cottage in Saranac Lake, New York on July 21st, 2005.

Nunc Dimittis was written for the Fall, 2004 tour of Cantori Domino to York, England and performance during Evensong at York Minster. The accompanying Magnificat was written shortly before the completion of the Nunc Dimittis. Whereas the Magnificat was written to be boisterous and celebratory in its rendition, the Nunc Dimittis, utilizing the Gregorian chant as the main theme, evokes a more prayerful attitude with its softer tonalities and rhythms, then ending with a Gloria Patri, similar to the one contained in the Magnificat.

Text is in Italian with translation and pronunciation guide contained in the notes. This famous art song is treated in a traditional style with suggestions for synthesizer (keyboard) sounds.

Duration 2:45

Country: Italy

Triple Chorus of Mixed Voices. Text includes phrases from several Psalms, e.g., Psalm 99 Clap your hands! Sing this psalm... Music is barred between the staves with accented syllables of text in bold type.

"The recent passing of two of my dearest friends, Mary Garcia, Choir Mother for the St. Cyril's Parish Choir and Coleen Zeizer, long time friend and vocal associate in the Cantori Domino Choral organization are memorialized in this piece. Chief Dan George captures with great poignancy the tenderness and hope for strength in the sorrow we experience for our dear ones that have moved on. The images in my mind of the stars, flowers and tears all contributing to a great silence are strong indeed. There is no need for survivors guilt. We simply carry on, knowing in our hearts that we have tacit approval from our very special, compassionate friends." -Dale Jergenson. Performance time: c. 2:20

This arrangement uses MIDI Organ registrations, but may be performed by a standard pipe or electronic organ if desired. The use of Guitar and Flute gives a feeling of old world with a contemporary folk sound. Old French Carol.

Duration 2:46

"The Song of the Red Dove" was composed in the immediate aftermath of September 11; it is dated September 25, 2001. Often divisi, the choral writing is particularly intricate in the middle section with interweaving sixteenth note runs simulating the flames (that) stain the white moon red in what at times is an eight-part texture. The dynamics are varied throughout, but the only fortissimo comes at the vocal high point of the middle section (...through endless night...), and the opening and closing A sections describing the strange red dove are marked no louder than forte (in the opening measures) and piano (at the close). The text comes to us from the poet, Kim Rich. It was expressly written to commemorate the awful tragedy that was 9/11. Kim, working in a nearby building was an eyewitness to the monstrous event. She barely escaped with her life.

This Train was first arranged for the Los Angeles Master Chorale Outreach Ensemble in the mid 1980's. It was revived and rearranged to include a children's chorus for the Gregg Smith Singers third concert in their 1999 New York City Series which was held at St. Peter's Church in Manhatten with the Central Park East Elementaqry School Choir and, of course, the Gregg Smith Singers. The piano part is written to simulate the feel of a banjo as the primary accompanying force. The children's chorus part at the end, as indicated in the score, contains an optional divisi into three parts. If desired, sopranos from the SATB chorus may sing any of these notes. American Folk Song
Duration 2:30

Country: American Folk

Measures 1 through 9 (the opening incipit: Vidi aquam and the following 8 measure introduction) have been added. The original piece was for chorus and organ, no strings. It seems likely that if strings happened to be available, they would have been utilized in a manner consistent with what is contained in this arrangement. Vidi aquam is sung in the modern Roman liturgy as part of the rite of blessing and sprinkling of holy water on Sundays during the Easter season (Easter through Pentecost). It is also the suggested text for the sprinkling of holy water during the dedication of a church. With its many alleluias, the text would be especially suitable as an anthem for the 50 days of Easter.