Composer: Leo Nestor

Composer: Gwyneth Walker

Composer: Libby Larsen

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

Composer: Gwyneth Walker

Composer: Gwyneth Walker

Composer: Gwyneth Walker

Composer: Gwyneth Walker

Composer: Gwyneth Walker

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.

Composer: Gwyneth Walker

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

Composer: Gwyneth Walker

"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

Composer: Gwyneth Walker

Arranger: Leo Nestor

The stark hymn tune VERNON from the Mennonite shape note hymnal Harmonia Sacra is set to four verses of Charles Wesley's eleven verse retelling of the story of Jacob's struggle with the angel. For Tenor Solo, SATB, and Keyboard, this music began as movement VIII of the composer's cantata Melodious Accord. (1974) Duration: 3:00

Composer: Alice Parker

This serene music is an arrangement of Scene XIV from the composer's oratorio Paradiso, which is a setting of the third part of Dante's Divine Comedy. The music is an evocation of Dante's passage into the hightest realms of heaven. The vocal parts are wordless, unaccompanied, and sublime, representing a song that accompanies his transformation of consciousness as he is surrounded by "love that moves the sun and other stars." Duration 5:45

Composer: Robert Kyr

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

Composer: Gwyneth Walker

Arranger: Leo Nestor

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.

Composer: Gwyneth Walker

Composer: Leo Nestor

Composer: Leo Nestor

Composer: Gwyneth Walker

Composer: Libby Larsen

Commissioned by Hennepin Avenue United Methodist Church in Minneapolis, Minnesota, to celebrate the service of William H. Mathis, Minister of Music and Fine Arts. It was first performed on June 11, 2017. The noble spaciousness of this wonderful poem by Catherine Cameron is set to original music expressed in the nature of an arpeggio, which can take us to the heights in just an instant. Trumpet calls echo through this arrangement: you'll find them in all the parts. For SATB chorus, sometimes in unison, sometimes in two parts, the piece moves to its soaring conclusion, "Great Creator, give us guidance, Till our goals and yours are one." Duration 2:45

Composer: Alice Parker

Composer: Gwyneth Walker

This new arrangement focuses on several, specific aspects of the lyrics, and of the "journey." Envisioning that one is walking to that land, the piano introduction, in a swing rhythm, is marked At a strolling tempo. When the chorus enters, there is a bounce to their step, with the staccato dots coming each time on the word with- Come and go with me to that land... This is a jaunty expedition. One sees one's parents waiting in that land. Loving friends are there as well. A bit of scat singing and finger snapping adds to the energy. A slower middle section, in blues style, affirms that They'll be no slavery in that land. Shackles are thrown to the ground, and freedom breaks forth. This leads to a quick and energetic return to the gospel song, with a final refrain of They'll be singing in that land, voices ringing in that land! This is very American music, in a gospel, blues, and folk style.

Composer: Gwyneth Walker

Steal Away interprets the traditional spiritual, "Steal Away to Jesus," as a song of alternating sorrow and strength. The refrains are presented quietly and mournfully: "Steal away to Jesus. I ain't got long to stay here." In contrast, the verses are sung with conviction: "My Lord calls me, calls me by the thunder." Similarly, the accompaniment varies from florid arpeggiations (for the refrains) to rhythmic chordal entrances (for the verses).

Of special interest is the use of scale patterns. In the opening refrain, and on every occurrence of the words "steal away," the scales descend, marked as falling tears, or stealing away. At the conclusion of the song, the scales rise, as the soul ascending to heaven. "My Lord calls me, calls me home." Duration: 3:40

Composer: Gwyneth Walker

A very popular setting of the most popular Quaker hymn c. 1800.<

Composer: Gwyneth Walker

Using Rilke's text"The Possibility of Being," Larsen's work mimics the bird's clear cry and children's play. Both textually and musically this work combines unusual tonal and rhythmic gestures to create a whole.

Composer: Libby Larsen

The music of this piece using the text of"St. Patrick's Breastplate," reflects the broad affirmation of God's strength and ever-presence described in the text in solid harmonic statements throughout."I arise today, through God's strength" as shown in nature and Christ. It may be sung at any time and is well-suited to the Easter season.

Composer: Libby Larsen

Composer: Libby Larsen

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

Composer: Gwyneth Walker

Composer: Leo Nestor

The traditional text with spiritual roots has been adapted by the composer. With an unadorned melody set in a simple but beautiful musical language with open, transparent harmonies, this music can be sung well by groups of many different abilities and in many situations. Duration: 3:00

Composer: Gwyneth Walker

This work is dedicated to Heather Heyer of Charlottesville, Virginia, who gave her life for our mission of tolerance. Using the traditional African American tune LET US BREAK BREAD, this arrangement is scored for SATB chorus (divisi) and piano. A new verse is added: Let us rise up together all as one, as a call for strength through unity. Duration: 3:00

Composer: Gwyneth Walker

Composer: Libby Larsen

Composer: Frank Ferko

Composer: Gwyneth Walker

Composer: Gwyneth Walker

Composer: Gwyneth Walker

For SSAATTBB chorus, this original setting of the Christina Rossetti text is rich, sustained and gracious. Challenging but satisfying to learn and sing.

Composer: Rene Clausen

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

Composer: Gwyneth Walker

"Motherless Child" is derived, in part, from the African-American spiritual "Sometimes I Feel Like a Motherless Child." The original song dates back to the era of slavery when it was common practice to sell children of slaves away from their parents. In this new adaptation, the theme of separation or alienation (away from home, apart from one's community is viewed as universal and eternal. Everyone at some time feels like a "motherless child." But as one expresses these feelings, one realizes a common bond with humanity. And one is no longer alone. Thus a more hopeful refrain is woven into the lyrics of the spiritual:"Hold on. Hold on, We are together. And we are one."

Composer: Gwyneth Walker

Arranger: Leo Nestor | Composer: Robert Burns

Gwyneth Walker has captured the changing moods of this well known African-American spiritual in an expert setting. She does so in an uncomplicated, refreshing manner that can be performed by a chorus that enjoys a challenge. The harmony is direct and diatonic, easy to assimilate and retain.

Composer: Gwyneth Walker

Composer: Libby Larsen

An assuring text from master poet Sara Teasdale, its central theme is that one can take refuge in singing. Ever sensitive to the text, Walker crafts word painting throughout with shimmering accompaniment figures, textural changes, and fanfare-like passages in the voices on the word "free". Excerpted from the larger work Sing Evermore! and available in both SATB and TTBB voicings. Duration: 2:15

Composer: Gwyneth Walker

Composer: Alice Parker

Composer: Alice Parker

Composer: Libby Larsen

Composer: Libby Larsen

Composer: Libby Larsen