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Cynthia, Opus 4/3

Vier ernste Gesänge : Four viceious Songs

What does a chorus do after they perform the Alto Rhapsody? Answer: Four Serious Songs. This arrangement includes the original piano accompaniment by Brahms. Includes Brahms's original German text and a singable English translation by Paul England (alt). Duration: 18:20 Contents: 1. Denn es gehet dem Menschen (One thing befalleth the beasts) Ecclesiastes 3:19-22 2. Ich wandte mich und sahe (So I returned and did consider) Ecclesiastes 4:1-3 3. O Tod, wie bitter bist du (O death, how bitter art thou) Ecclesiastes 41 4. Wenn ich mit Menschen und mit Engelszungen redete (Though I speak with the tongues of men, and of the angels) I Corinthians 13:1-3, 12-13What does a chorus do after they perform the Alto Rhapsody? Answer: Four Serious Songs. This arrangement includes the original piano accompaniment by Brahms. Includes Brahms's original German text and a singable English translation by Paul England (alt). Duration: 18:20 Contents: 1. Denn es gehet dem Menschen (One thing befalleth the beasts) Ecclesiastes 3:19-22 2. Ich wandte mich und sahe (So I returned and did consider) Ecclesiastes 4:1-3 3. O Tod, wie bitter bist du (O death, how bitter art thou) Ecclesiastes 41 4. Wenn ich mit Menschen und mit Engelszungen redete (Though I speak with the tongues of men, and of the angels) I Corinthians 13:1-3, 12-13

Short Pieces for Flute and Piano: Book 3

A great choice for concerts and recitals. This delightful set of intermediate pieces for flute and piano features the following movement titles: 1. A Folk Tune, 2. A Waltz, 3. A Tango

Standin' in the Need of Prayer from 3 Folk Hymns

Standin’ in the Need of Prayer is a lively tune in swing rhythm. New words are added within the lighthearted approach. It becomes evident during the singing that the choir feels that they are in the greatest need of prayer! Children’s voices are definitely envisioned as part of this rendition. Duration: 3:15

Humoresque, Opus 4/1

Organ Symphony No. 4

Jesus Christ, the Apple Tree

The 18th-century poem, Jesus Christ, the Apple Tree, found its way into an American hymnal compiled by Joshua Smith in 1784. Most often classified as a carol. A soprano soloist introduces the simple melody which is then harmonized in verse 2 and passed down to the tenor line in verse 3. Verse 4 finds the melody transposed up a third, then embellished by a soprano descant on the final verse. Duration: 2:00 The 18th-century poem, Jesus Christ, the Apple Tree, found its way into an American hymnal compiled by Joshua Smith in 1784. Most often classified as a carol. A soprano soloist introduces the simple melody which is then harmonized in verse 2 and passed down to the tenor line in verse 3. Verse 4 finds the melody transposed up a third, then embellished by a soprano descant on the final verse. Duration: 2:00

Sojourn 3

Commissioned by and dedicated to clarinetist Eugene Jones, was premiered by Mr. Jones on a concert of chamber music at East Tennessee University in Johnson City, Tennessee, on February 28, 2010. This solo is the third in a series of works by the composer titled “Sojourn” for solo instruments. The single-movement work utilizes a Silesian folk song from Schlesische Volkslieder (used in the hymn Fairest Lord Jesus) as its basis. The opening section features material in quasi-Stravinskian rhythm and meter alternating with material hinting strongly at the folk tune and its variants. Melodic material is gradually transformed to the area of D major as the fantasy-like treatment of thefolk tune begins. After a complete statement in D major, a free variation ensues, also in D major, but is interrupted just before its completion by material from the opening section. Melodic transformation back to the octatonic and hybrid pitch material follows and the piece ends with a showy ascending, then diving, flourish.

Gaudete: No. 4. Personent Hodie

Marienlieder: No. 4. The Hunter

Ringeltanze: 4. Le Petit Nouveau Ne

The Morning Train: 4. Worrisome Blues

This fourth and closing song of the set "The Morning Train" is perhaps the best known and most rousing of the set. The original title is "Worried Man Blues." But in this new arrangement, the women join in with the theme and sentiment. So, the title has been changed to "Worrisome Blues." Duration: 5:15.

Opera Aria Anthology, Volume 4 : Baritone

Beside the Lake, Opus 4/2

Ringeltanze: 3. Beautiful Star

Amo!: 3. Amo! : Madrigal

Praise Now the Risen Christ

The surprising joy of the Resurrection is conveyed through jubilant fanfares in the accompaniment and a shifting of the rhythm between 3/4 and implied 6/8 meters. As the mood softens, a more melodic section expresses the lyrics, "I know that my Redeemer liveth." After the unaccompanied chorus sings "All glorious Risen Christ" and a brief moment of silence, the piece bursts forth again with fanfares and thicker choral textures that build in excitement to the end. A perfect Easter anthem! Duration: 2:45

Psalm Cycle III : No. 4. Psalm 67

Four Songs: No. 4. The Tulip Tree

Marienlieder: No. 4. Der Jaeger : The Huntsman

Black Pierrot

Commissioned by conductor Paul Crabb for the University of Missouri University Singers and the Mizzou New Music Ensemble (Stefan Freund, director) with funding from the Sinquefield Charitable Foundation through the Mizzou New Music Initiative. Based on seven poems by Langston Hughes, it is scored for SATB Chorus (divisi) and Chamber Ensemble (Flute, Clarinet, Violin, Violoncello, Percussion, and Piano). Duration: 32:30 Contents: 1. A Black Pierrot 2. Breath of a Rose 3. Jazzonia 4. Justice 5. Song for a Dark Girl 6. Silhouette 7. To a Dead Friend

Sojourn 3 : A Clarinet Solo

The B-flat clarinet version was commissioned by and dedicated to clarinetist Eugene Jones, was premiered by Mr. Jones on a concert of chamber music at East Tennessee University in Johnson City, Tennessee, on February 28, 2010. This solo is the third in a series of works by the composer titled “Sojourn” for solo instruments. The single-movement work utilizes a Silesian folk song from Schlesische Volkslieder (used in the hymn Fairest Lord Jesus) as its basis. The opening section features material in quasi-Stravinskian rhythm and meter alternating with material hinting strongly at the folk tune and its variants. Melodic material is gradually transformed to the area of D major asthe fantasy-like treatment of the folk tune begins. After a complete statement in D major, a free variation ensues, also in D major, but is interrupted just before its completion by material from the opening section. Melodic transformation back to the octatonic and hybrid pitch material follows and the piece ends with a showy ascending, then diving, flourish.

Songs for Soprano, Volume 3