OK, first we'll have the Missa Oculi Virginis. It was commissioned by Louis Hill for the choir of St. James Anglican Catholic Church, to serve as an easy Latin Ordinary for Marian feasts. It is based on the tune "Farley Castle" by Henry Lawes, which is found in The English Hymnal (217) paired to a text by Bishop T. Ken which begins "Her Virgin eyes saw God incarnate born"; hence the the title "Virgin Eyes Mass". The melody is used as a chorale in the tenor voice, as a source of motives, in retrograde, and briefly as a cantus firmus. The Credo is not set. The total duration is six and one-half minutes. Not the best of all possible performances, but it gets the point across. Kyrie Gloria Sanctus Agnus Here, for the upcoming season, is a setting of a poem by Robert Herrick, Christmas Ceremonies, sung by the Old Stone Singers. Quite a different mood entirely.

To start with, some anonymous Elizabethan PG13 silliness, My Love in Her Attire, sung by Mr. White. Now, I set some Poe. I don't know if Poe was a mighty poet, or if these are just mighty po' songs. But here are all 3 of the Three Mighty Poe Songs from 1997, as sung by Mr. White with Paul Gothard at the piano: To Helen Eulalie Eldorado And finally, here are Three Songs for Bain (1994), which are meditations on death by Watts, Millay, and Whitman, written in memory of my teacher Bain Murray, and sung here by Andrew White (it might have been Paul Gothard on piano again...I forget which performance this was.) I. After Psalm 90 (Watts) II. In the Grave No Flower (Millay) III. Whispers of Heavenly Death (Whitman)

Here are some miscellaneous songs of mine. First, a setting of Psalm 23. The flutist here is Allison Ballard, in her high school years. She later went on to become a student at Case (and circ assistant at Kulas Library). Next, while we're being religious, here is Adoration of the Shepherds, sung by Andrew White. The poem is by Akron-area poet Brooke Horvath. I found out later that there's a whole cycle of these...I could create my own Marienleben. Now, a nice little love song, Be Still As You Are Beautiful, sung by Allie Laurie. The going gets weird with the next two. Lost Mistress with Sisters is a rare setting of one of my own poems, which happens more rarely nowadays since I'm a retired poet (and no longer a hormonally-deranged young man). That's Allie Laurie too. Then we have The Defiled Sanctuary, text by Blake, sung by Andrew White. The only other composer I know of who set this was Havergal Brian, and Andy thinks my setting is better.

I recently got approached by a couple kids at Pittsburgh State who search-engined up my trio for violin, alto sax, and piano, found it here, and want to do it. Way cool! So I am inspired to get more of my stuff out here on da innerwebz. So first we have my piece for brass quintet Chasmalim, which is published by Hoyt Editions (maybe still). The Chasmalim are the order of angels assigned to the sephirah Chesed. They correspond to the planet Jupiter and are in charge of good humor. This is by the Parergon Brass Quintet While we're onto Joviality (and Hoyt Editions) here are the 3 movements of my Terzetto Joviale, played by the Mariah Wind Trio. I. Sonata & Allegro II. Duets & Choruses III. Promenade & Fugue And next, while we're doing stupid light pieces for winds, how about Picnic Music? This is the original recorder version, not the subsequent flute quartet. It was recorded by me and a bunch of buds, so don't expect Amsterdam Loeki Stardust, 'kay? I. (no title) II. Cage is Dead III. Reel: the Humours of Tremont

It's been awhile... Here is a performance of 3 motets from my Responsoria (1998) by Cantores Cleveland, at Christ Episcopal in Shaker Hts, 2/22/09. I. In Monte Oliveti III. Ecce vidimus eum VII. Eram quasi agnus innocens

Here's my somewhat madrigalian setting of Psalm 137 (Vulgate), sung by Cantores Cleveland (Lisa Rainsong, Barbara Margolis, Evan Bescan, Greg Heislman)

Some folks may be interested in my new gig, and how that's going. I meant to record the Evensong for Charles I, but I forgot to charge the Minidisc, and it was totally dead. But I had it ready for Monday. Blend isn't all it could be here either, and the first high note in Adorna is wildly sharp. But all in all, it's pretty decent for an 8-person choir. Adorna Gabriel Faure: Messe basse. Kyrie C. V. Stanford: Nunc dimittis in Bb