This is a song of hope--of building a bridge of peace between the Israeli and Palestinian peoples. Their trees (Jaffa Orange in Israel, Olive on Arab lands) reach out their branches as hands across the sky. The musical setting presents the opening verses in dialogue between women's and men's voices. A combative middle section introduces words such as oppressor and jailor. Reference is made to poisoned gases and scud missiles. And then the music heals. There is a shift to the major tonality. The voices soar with the phrases "let us build a strong bridge of jasmine understanding, where each shall sit with her child, and none shall make them afraid." Duration: 4:00

This is a prayerful, homophonic setting of texts from three sources: Psalms 4:8, Psalms 5:8, and the final line from John Greenleaf Whittier's "Divine Compassion." Set for SATB chorus (divisi) unaccompanied, the music is approachable and sensitive. Moments of reflection give way to moments of grandness, "Only by your Grace, not by my merit, no praise be mine." The piece ends quietly, "Let me keep a heart that still can feel, and eyes that still can weep." In today's world, a prayer for us to remain sensitive to suffering is never out of place. Duration: 1:45

Welcome to the House of the Lord starts with the outer elements, coming into the church. Welcome light, welcome beauty, welcome wonder. The focus then turns inward, to the personal gifts of healing and comfort. And, as we welcome the many aspects of faith, we realize that, one blessing at a time, we are welcoming God!

In This Still Room is a musical setting of the poem by Quaker poet John Greenleaf Whittier (1807-1892). Although these lyrics are inspired by the Quaker Meetinghouse, the "still room" may also refer to the moments of silent prayer and meditation within any worship service. "I find it well to come for deeper rest to this still room."

To celebrate a place, a spirit, and a faith, one sings "Alleluia! Amen!"

Based on a poem by Sidney Lanier (1842-1881,) this journey into the future parallels Noah's journey on the Ark. The music opens with lines which flow like waves. The oboe has an octave motif which signifies reaching out in search across the waters. A quiet middle section expresses the dove being released on a quest for new land. The closing lines create beautiful imagery, "Thou art only a tiny and quiet dove, but thine eye is faith, and thy wing is love." A lyrical, expansive setting for SSAA chorus, oboe, and piano. Duration: 3:15

Words adapted from the hymn There's a Wideness in God' Mercy by Frederick W. Faber. Duration 2:15

Based on the plainsong hymn "Of the Father's Love Begotten."

"This musical setting of the well-known Dylan Thomas poem focuses on the strength and certainty of the message- though death may claim the mortal life, the spirit of humanity endures. Thus, the piano introduction and the first entrance by the chorus are marked 'grandly and triumphantly.' The musical language is often loud and forceful. Harmonies are bold- either spare (open fourths and fifths) or blunt (added seconds). The softening sonorities of thirds are rarely heard, especially in the opening verse. However, richer and gentler chords are chosen to express the life-affirming sentences:

The poetic text primarily portrays the darkness and decay of death. And yet, with these few gloriously transcendent lines, the enduring spirit is celebrated. Thus, the final 'no dominion' is victorious." -Gwyneth Walker

Cello part included.

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 (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

This choral arrangement of a vocal work is a love song with alternating women's and men's voices that culminates in a rich 4-part harmony with the text"...ours together as our lives entwine." It may be sung at any time and is well-suited to weddings.

Be Thou My Vision has a dimension of an entreaty to the Lord, as if asking for the Lord's presence to be there at all times. Thus, the phrase "Be Thou" repeats as a background during the singing. Even the opening piano introduction speaks the two-note pattern which will fill the entire song. The men's and women's voices are paired in dialogue throughout much of the music. Duration: 4:00

Gentle, flowing beginning leads to a rhythmic conclusion rarely heard by most congregations. This movement requires a little more rehearsal time than the others from this set, but it is well worth the effort.

Single diatonic melody with optional harmony (divisi in last 6 measures only). Perfect for children or the choir with limited rehearsal time. This piece would be a fine addition to any evening service.

Extracted from"Bethesda Evensong," this is a lyrical setting of the traditioinal text along with an excerpt from the"Prayer of St. Francis." Starts out in unison expanding to two parts half-way through, and becomes three-part at the very end. Moderate difficulty.

The texts for Blessings from the Children are found in the collection In Every Tiny Grain of Sand - A Child's Book of Prayer and Praise by Reeve Lindbergh. For the first song, The Blessing of Light, the lyrics are taken from a traditional Scottish blessing and adapted by the composer. The second and third songs use familiar sacred texts as adapted by Reeve Lindbergh. c. 4:00

The texts for Blessings from the Children are found in the collection In Every Tiny Grain of Sand - A Child's Book of Prayer and Praise by Reeve Lindbergh. For the first song, The Blessing of Light, the lyrics are taken from a traditional Scottish blessing and adapted by the composer. The second and third songs use familiar sacred texts as adapted by Reeve Lindbergh. c. 4:00

"Born in Bethlehem" is a numbers song, similar to "The Twelve Days of Christmas." Each group traveling to the Nativity, or associated with Jesus, is presented in ascending numerical order, from one to twelve. ("One for the little bitty Baby...Twelve for the Twelve Apostles") Once the complete set has been introduced, the numbers are performed in reverse order, in a frantic race (prestissimo) from twelve to one. This is an energetic song! The Clarinet plays a featured role, enhancing the message of the lyrics. For example, the phrase "Children, go where I send thee" is matched by the Clarinet scampering up a scale as children setting forth on a trip. And the next line, "How shall I send thee?" has the Clarinet/children coming back down the scale, returning home. Duration: 4:15

Traditional Shaker words

Written for children and women. At the end, there is a 4-part round (two parts for the children answered by two parts for the women).

Traditional Shaker words

Choir anthem celebrating the Transfiguration of Christ and our hope of glory.

Touching the Infinite Sky is a choral adaptation (for Men's Chorus with Tenor Soloist) of the composer's solo song cycle, Songs from the High Sierra, for High Voice and Piano. The original songs were completed in 2014. The new work was commissioned by Louisiana State University for the Tiger Glee Club, which premiered the music on October 3, 2016 in Baton Rouge, Louisiana.

The new choral adaptation employs the additional voices as an expansive background to the soloist. As the chorus joins in the accompaniment sonorities, a sense of space and depth is created, well-suited to songs about the wilderness. The chorus also shares melodic material with the soloist, in dialogue or in unison.

Eternal Brightness is a set of three choral works which revisit 'old favorites' in the hymn repertoire... Sweet Accord presents the Isaac Watts text in a rousing Colonial New England style of angular melody and four-square rhythm. The second movement employs both the familiar words and melody (Southwell). The setting is a cappella in the spirit of gentle and reflective expression. The Beauty of the Earth is celebratory.Hymn tune SOUTHWELL
Duration 3:45

Eternal Brightness is a set of three choral works which revisit 'old favorites' in the hymn repertoire... Sweet Accord presents the Isaac Watts text in a rousing Colonial New England style of angular melody and four-square rhythm. The second movement employs both the familiar words and melody (Southwell). The setting is a cappella in the spirit of gentle and reflective expression. The Beauty of the Earth is celebratory. Duration 4:00

A celebration of life, unity, and music, this is a setting of a poem by the 19th-century British author John Addington Symonds (1840-1893). The text speaks of the future with hope: "A loftier race then e'er the world has known shall rise." The healing and transforming power of music is essential to this hope. "When every life shall be a song, then all the earth is a paradise." Throughout, the message is triumphant: "These things shall be! "The musical expression alternates between added-tone chords (representing building for the future) and melodic phrases for the more tender passages of the poem: "we will be gentle, brave, and strong "). Commissioned and premiered by the Boston Gay Men's Chorus. Duration: 3:30

Focuses on the transcendence of faith over sorrow and of peace over suffering and pain.

Beginning with a soprano solo of the familiar text, this work quickly turns to a unique and effective use of repetition, both musically and vocally. It"ends" in a series of continuous"for ever"s that suggest eternity.

"Freight Train" combines the speed of the train with nostalgic remembrance of places traveled. "There's one more place I'd like to see...to watch those Blue Ridge Mountains climb while I ride Old Number Nine." The rider, perhaps a drifter, feels the most at home when riding the train. For his final resting place, he wishes to be buried where he can hear the train rumbling by. The accompaniment (the train) is particularly lively and mobile in this song. Duration: 3:00

From Dusk to Dawn tells the story of the Liberian women protesting the civil war which engulfed their country until 2003. The musical language for this choral setting is rhythmic, energetic and powerful. The voices sing, "Gather, gather," in repeated 8th notes, as the calls for protest gain in strength. Tremolo chords in the accompaniment bring increased energy. The final section is emphatic, with accented chords in the voices and piano to express "Mighty women!"

A train whistle (high notes in piano or piccolo) is heard in the distance. Then, the train draws closer as the music grows in dynamics and tempo. By the time that the chorus enters, the music is filled with energy. This is a celebratory song of going home "to the Promised Land ... (where) all my sins been taken away!" Duration: 4:10

"'Good Shepherd' was composed for William and Curt Sorensen, brothers and tenor soloists with the choir of the First Congregational Church of North Guilford, CT. Bill Sorensen, raises sheep. Thus, the topic of the 'Good Shepherd' seemed most appropriate.
This anthem is based on the traditional hymn, 'The King of Love My Shepherd Is,' with music and lyrics adapted by the composer. Interspersed with the preexisting material are short phrases, musical settings of lines from the Saint Patrick Breastplate: 'God before me. God beside me. God behind me. God above me.'The intent in combining these sources is to speak of God's presence guiding (as a 'Good Shepherd'), surrounding (as in the St. Patrick lines), infusing the spirit (living in my heart) and even manifested in our beloved livestock!" -Gwyneth Walker