| Listen | Score | Title | Voices | Solos | Accomp. | Dur. | Lyrics by | Year |
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Chanukah Tonight! | SATB (opt. div.) | piano | 2’45 | David Avshalomov | 2011 | ||
| Order This» | Quick glimpse of the legend, tradition, and observance of the Jewish Festival of Lights. Exuberant syncopated setting building up to the bright celebration on the eighth night. (Also for high solo voice) | Lyrics» | Notes» | |||||
| Chanukah Tonight! (orch) | SATB (opt. div.) | strings | 2’45 | |||||
| Order This» | Version with string orchestra accompaniment | |||||||
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I Bend the Knee of My Heart | SSAATTBB | a cappella | 5′ | Canticle 14/ Menasseh | 2006 | ||
| Order This» | ACDA Silver Platter Award 2012 for Choral Repertoire of Outstanding Quality. Broad artful expression of awe at Gods’ power and the unworthiness of a famous sinful Old Testament king. Starts slow, solemn, moves ahead to final fervent peroration on “I will praise you without ceasing all the days of my life.” Commissioned by Richard Beatty for the Anglican Chorale of Southern California, James Person, Director. PROJECT : ENCORE of Schola Cantorum on Hudson has found “I Bend the Knee” to be of exceptional merit. Its panel of internationally -known conductors has selected it for inclusion in their database of recommended choral music at www.projectencore.org |
Lyrics» | Notes» | |||||
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Kedushah | SATB | T or S | piano, fl | 5′ | Trad | 1997 | |
| Order This» | Formal, serious blessing, ecstatic end, operatic solo part. Commissioned by Cantor Mark Saltzman, Sha’arei Am Synagogue for the High Holy Days. | Lyrics» | ||||||
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The Mixed Blessings | SSAATTBB | bar and/or low T | handbells (or vibr, glock) | 13′ | Matthew/Luke | 2010 | |
| Order This» | Ritualized, dramatic dialectic illuminating the paradoxical contradictions of the two sets of Blessings (and Woes) attributed to the Christ. Formalized semi-medieval quasi-Anglican-style start and end, one angry climax, one romantic climax on the word God. Punctuations, ostinatos, flashes of divine light from handbells. | Lyrics» | Notes» | |||||
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O Euchari Columba | SSATTB | brief S1 | a cappella | 6′ | Hildegard von Bingen | 2006 | |
| Order This» | Ecstatic meditation on the virtues and works of a little-known saint. Quiet, slow mystical medieval start and end, fast buildup to quasi-Orthodox climax, gentle denouement like the start. Commissioned by Coro Oddyssea, Gonçalo Lourenço, conductor, Lisbon, Spain | Lyrics» | Notes» | |||||
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Praise the Lord! | SSAATBB | org, opt. sus. cym | 5′ | Psalm 150 | 2008 | ||
| Order This» | Wild, slightly modern, fast, rhythmic (5/8) setting of Psalm 150, with a “Bulgarian Jazz” organ solo middle. Big bright ending. Commissioned by the choir of Westwood United Methodist Church, Los Angeles for their retiring director Gina Shaw. Parts predominant practice MP3s also available. | Lyrics» | Notes» | |||||
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This Sacred Space | SSAATTB | brief A | organ, 2 tpt 2 tbn, timp (3 dr) | 5’30 | Holy, Holy, Holy, other lyrics by David Avshalomov | 2008 | |
| Order This» | Tonal consecration anthem with congregational hymn, showy organ part. Mystical start, buildup to big bright celebratory Alleluia ending. | Lyrics» | ||||||
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Where You Go, I Will Go | SSAA | brief S, A | a cappella | 13′ | Ruth and Naomi | 2003 | |
| Order This» | Mini-oratorio on the story of Ruth and Naomi. Dramatic, expressive, epic-narrative style, tender ending. Commissioned by Chris Rhodes, Santa Monica HS | Lyrics» | Notes» | |||||
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A Cradle Song | SATB | a cappella | 3’15 | Wm. Blake | 2001-2 | ||
| Order This» | Sweet Lullaby with a middle twist; slow, soft and steady. Subject: Baby’s/Christ’s innocence, mother’s worry. Good for single voices also. | |||||||
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Holy Thursday I | SATB | a cappella | 2′ | Wm. Blake | 2001-2 | ||
| Order This» | Hopeful, steady Hymn. Subject: Processional of orphaned children into St. Paul’s Cathedral. Long-melisma final cadence. | |||||||
| On Another’s Sorrow | SATB | a cappella | 1’30 | Wm. Blake | 2001-2 | |||
| Order This» | Sweet sentimental variation-Hymn, moderate speed. Subject: Compassion (ours and Christ’s). Good for single voices also. | |||||||