First let's have On This Mountain, the piece just done at the New Voices @ CUA Festival in D.C. (This isn't that performance, but the premiere). It's for soprano, flute, oboe and piano And here is Prayers in the Night Sky, for orchestra. Maybe stretching the religious theme a bit. And while we're on religion, here's a religious piece of quite a different bent: Ritual for the Mother, for women's voices with flute and harp. Not sure I should be spreading paganism, but it is what it is. And Huntress for orchestra is also a bit Old time Religion too, I'm afraid.

Hi folks, Here are some recent performances of choral works of mine, from the Cleveland Chamber Singers concert of 10/18: Ave Maria Mass for 5 Voices: Kyrie Gloria Sanctus Agnus Dei

Here's a recording of my recent choral work, The Beatitudes, from a concert given 8/28/11 at immaculate Conception Church, Cleveland.

This isn't for 7 trumpets; it's for organ, just like Ezra Sims' String Quartet #2 isn't for string quartet. It's a Book of Revelations reference. This is NOT played on the organ of St. Anne's, Mosely, UK, by the famed Irish/Arabic organist Finn Ali Mack, a Hauptwerk artist. There are a few infelicities in stop management, but I still think it works pretty well. If you're like a real organist and want to play this, drop me a line.

We haven't had a podcast here (or anything else) for awhile, so why not some of my chorale preludes, ably played by Todd Wilson? Down Ampney O Haupt voll Blut und Wunden 40 Days: a prelude on Heinlein

Around noon, I had a brief visit from James Flood, President of the Foundation for the Sacred Arts and music teacher at The Lyceum, whom I had just met Friday as a library patron. He stopped in to tell me that, after being judged by Susan Treacy, William Mahrt, and Richard Rice (and who better to judge me here below?), my _Mass in Honor of St. Maximilian Kolbe_ has been awarded First Prize ($4000) in the International Sacred Music Competition for Composers. The public premiere will be on August 14 by the choir of the Basilica of the National Shrine of the Immaculate Conception, Washington DC, under Dr. Peter Latona. A bunch of my buds had done a demo in February, which I've been sitting on pending results of the contest. Since we have those, there's no need to hide it anymore. So here it is! Thanks to all those who made it possible (including and especially God). Penitential rite Glory to God Gospel accamation Holy holy Memorial acclamation A Memorial acclamation B Memorial acclamation C Great Amen Lamb of God

Here's my Sonata for Flute and Piano from several years back, as played by the incredible Katherine DeJongh and Eric Charnofsky on 2/28. It's one track, but two movements: "Depressive" and "Manic".

Here's a piece I sorta wrote for my stepson Stephen Morgan (except he never got a chance to play it). It's kind of a test piece, showcasing things that a reasonably adept non-pro sax player should be able to do. Saxophonist is Thomas Lempner, pianist Ms. Morikawa I. II. Ballad and Chorus III.Rondo with Leftovers UPDATE: For some strange reason, none of these links are working. I'm sending a letter to the Case Blog-Gods for help, but until then, don't frustrate yourselves clicking on the links above. UPDATE 1/7: I finally got the upload to work. by using Firefox instead of Safari. Sorry I didn't get to it sooner, and thanks to all interested parties for your patience.

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