Christopher M. Wicks: Biography, Catalogue, Publications

Christopher M. Wicks holds a MM in composition from the University of Montreal, and a MM in organ from the University of Oregon.  He is a Fellow of the American Guild of Organists, which is the highest professional certification offered by that organization, and studied for two years as an undergraduate at the Eastman School of Music in Rochester, New York.  He finished his BA in Music at Marylhurst University near Portland.  Besides composing and playing the organ, Christopher loves to cook and enjoys matters poetical.   In fact, besides recognition in several poetry contests, he has self-published seven poetry books:  Death Comes for Her Majesty (a verse play, 2019), 365 Sonnets (2016);  Weeping in Joy, Praise in Sorrow (2012);  Sing to Wake the Dead (2010), New Sonnets, Bilingual and Otherwise (2005);  My Voyage to Chartres and Other Poems (2003);  and Barbaric Poems (translations of poems by Leconte de Lisle).  These are no longer available through Mr. Wicks, but copies show up on Amazon and such from time to time.  He can be reached via email at CHRISTOPHERMW at WAVECABLE dot COM.

Besides the availability of many self-published works by Wicks at Sheet Music Plus (see

the following companies have published music by Christopher Wicks:

Concordia Publishing House in St. Louis, Missouri (Lutheran church music):   Three Preludes on Swedish Hymns, a cycle of organ pieces, dedicated to Kajsa Folke, 2017

For 2018:  Three Verses of “O Morning Star”, for organ, dedicated to Sarah Graves Garner

For 2019:  Three Lenten Chorales, a cycle of organ music (after “Jesus, Refuge of the Weary”;  “On My Heart Imprint Thine Image,” and “Drop, Drop Slow Tears”).

For 2020 (forthcoming):  “Three Advent Meditations” for organ (after “Fling Wide the Door,” “Rejoice, Rejoice, Believers,” and “Comfort, Comfort Ye, My People”).

PRB Productions in Albany, California (music for early instruments):  www.prbmusic.comTwo Doucaine Sonatinas, for medieval bassoon and keyboard, although also playable with other solo instruments.

Edition Lyrique of London, England:  www.editionlyrique.comProcession, for solo basset clarinet, and Three Wordless Airs for basset clarinet and string quartet, from the Anton Stadler Composition Competition, through clarinetist Marc Naylor.

Imagine Music Publishing of Medina, NY (general):  www.imaginemusicpublishing.comMissa Brevis for SATB choir a cappella, Canon for String Orchestra, and Sonatina for Solo Harp.

Holben Publishing of Long Beach, Calif. (brass music):  www.holbenpub.comBrass Quintet No. 1; Brass Quintet No. 2; Concertino for Tuba and Strings; Concerto for Horn, Strings and Percussion;  Concerto for Trumpet and Strings;  Introduction, Canon and Coda for Eight Trombones;  Two Movements for Trombone and Piano;  Awakening and Praise Song for Brass Sextet and Organ

World Library Publications of Chicago, Ill. (Catholic church music):  www.wlp.jspaluch.comSong of the Passion for choir, keyboard, solo instrument and assembly;  Anthem for the Transfiguration;  Anthem for the Annunciation of the Lord

Augsburg Fortress of Minneapolis, Minn. (Lutheran church music):  www.augsburgfortress.orgCome Away to the Skies, for SAB choir with keyboard.

Wayne Leupold Editions of N. Carolina (general church music):  www.wayneleupold.comVariations on ‘The Holly and the Ivy,” for organ, in the periodical “The Organist’s Companion”

Bellmann Musikverlag of Halle, Germany:  www.bellmannmusik.deA Small Cosmos for Solo Harpsichord, in an anthology of contemporary harpsichord music. 

MUSIC by CHRISTOPHER M. WICKS (b. 1975, Silverton, Oregon, USA)

as of October 27, 2018.  Opus 1 to Opus 680

1.  “Cantata for Pentecost” after Acts 2: 2-4, for chorus, organ and four percussionists.  1990

            8 min.  Never performed.

            This piece was one of my first efforts in the use of modernist compositional techniques.  At the time, I was listening to a great deal of vocal music by Britten and Stravinsky.  My process was very painstaking and detail-oriented, involving trying every vertical sonority at the organ before notating it.

2.  “Four Songs of Winter” for mezzo-soprano voice, and alto flute in G.  Poems by Millay. 1991

            8 min.  Premiered by Kerry-Anne Kutz and Josée Desautels at University of Montreal, March 1998.

            This was initially a cycle of five songs, but unfortunately I have lost my only copy of the first, “West Country Song,” although I do have a recording for it.  The poems have to do with the bleakness of winter:  “That Chill Is in the Air,” “Thanksgiving Dinner,” “This Time of Year Ennobles You,” and “Not So Far as the Forest.”  The irregular rhythms and meters show the influence of Messiaen, whose organ music I was beginning to play at the time.

3.  “Seven Pieces for Piano,” aka Klavierbüchlein. 1991.

            10 min.  Premiered by self in studio class of Douglas Humphreys at Eastman School of Music, 1994.

            These seven pieces, like the “Preludes” of Claude Debussy, each bear a phrase following an ellipsis at the conclusion of the piece.  Each has to do with nature, especially with the forests which are typical of our area of the Pacific Northwest.  The final piece suggests to me a sunset on a gray day.

4.  Piece for Organ, 1992.

            6 min.  Never performed.

            This was a medium-length piece without cantus firmus, the first which I composed as a university composition student, in Redlands under the direction of Barney Childs.  Unfortunately, I have lost my only copy of it.

5.  Suite for Oboe.  Unaccompanied.  1.  Gavotte, 2.  Air,  3.  Gigue. 1992

            5 min.  Premiered by Jennet Hearne at Eastman School of Music, Spring 1994.

            Although the subtitles of this piece suggest Classical-era dances, the pitch language makes fairly strict use of Schoenbergian dodecaphonic technique, which I was studying under Barney Childs and from the book by British composer Reginald Smith Brindle.  I find a certain enjoyable playfulness in the result.

6.  Ach, wie nichtig, ach wie flüchtig for mezzo-soprano and baritone, unaccompanied.  Text from a chorale.  1992

            5 min.  Never performed.

            This duet, continuing my explorations of dodecaphonic technique, set a German chorale text about the futility of human existence.

7.  Variation Rondo for flute, clarinet and bassoon.  1992

            4 min.  Premiered by Amy Nelson, Charles Miles and Mary Grybeck at Eastman School of Music, Spring         1994.

            This trio also used strict dodecaphonic technique, and employs a variant of a traditional Classical formal design.  I enjoyed coaching the Eastman players on bringing out as much expression as possible from the lines.

8, Melancholy Hymn on an original poem, for a cappella SATB chorus.  1992

            Lost and never performed.

            The original poem which this set was an ironic prayer to an indifferent God, expressing despair and depression.  Barney Childs described it as “all but blasphemous,” but he was impressed by my continued strict use of Schoenbergian dodecaphonic technique.

9,  Das Lied der Schwermut, for four-part choir and chamber orchestra, on a text by Friedrich         Nietzsche (from “Thus Spake Zarathustra.”)  1992

            10 min.  Never performed.

            This was my last dodecaphonic piece for a while.  The poem, by Nietzsche, is placed in the mouth of a poet who degrades himself due to his lowly calling, thinking that he will never attain a philosopher’s Holy Grail of “truth.”  I was studying orchestration, and this was my only orchestral piece at this point, and I was listening frequently to the Webern cantatas.

10.  Chorale Variations on “Komm, Gott Schöpfer, heiliger Geist.”  Solo organ.  1992

            7 min.  Premiered by self in studio class of David Higgs at Eastman School of Music, 1993.

            This piece returned to a more tonal/modal language, perhaps comparable to Hindemith.  I eventually reworked part of it as the Pentecost movement of my “Six Wind Quintets for the Seasons of the Liturgical Year,” op. 100.

11.  Tom O’Bedlam’s Song;  setting an anonymous 17th-c. English ballad text.  Voice and piano;  or voice and string sextet.  1992

            6 min.  Premiered by A. Hai-Ting Chinn in concert at Eastman School of Music, February 1994.

            This was the first piece which I composed as a full-time, matriculated student at the Eastman School of Music in Rochester, New York.  The anonymous poem is supposed to be the ravings of a mental patient begging for alms.  The compositional style is reminiscent of Hindemith.

12.  Four Preludes on Wesleyan Hymn-Tunes.  1.  Azmon,  2.  Candler,  3.  Lucas, 

            4. Lenox.  For organ. 1992

            6 min.  Premiered by self in studio class at Eastman School of Music, 1993.

            These chorale preludes are based on the Methodist hymns “O, For a Thousand Tongues to Sing,” “Come, O Thou Traveler Unknown,” “Come, Let Us Anew Our Journey Pursue,” and “Blow Ye the Trumpet, Blow.”  They are more dissonant than what is often expected in worship, but enjoyable to play.

13.  Four Songs on Poems of Edna Millay for soprano, flute, oboe, horn, violin, two violas and cello.  1.  O, little rose-tree, bloom!  2.  What lips my lips have kissed,  3.  Mariposa,  4.  Huntsman, What Quarry?  1992

            10 min.  First three premiered with A. Hai-Ting Chinn on Composers’ Forum at Eastman School of

            Music, February 1994

            For the ensemble for this piece, I employed a string quartet with two violas, instead of two violins, and used one wind obbligato instrument for each of the first two movements (flute, then oboe), only the strings for movement 3, and all of the forces for the fourth movement.  These songs are characterized by an increased lyrical richness in relation to some earlier pieces of mine.

14.  Carol for Saint Stephen’s Day, for chorus and organ, after a tune and text from the “Oxford Book of Carols.”  1992

            4 min.  Privately recorded at Eastman School.

            This piece was composed in response to a request from my teacher Samuel Adler, that I arrange an ancient carol for chorus and organ.  I chose one about the martyrdom by stoning of St. Stephen, celebrated on December 26.  It was recorded with myself at the organ, and a student octet of Hai-Ting Chinn, Renée Favand, Katia Escalera, Lynne McMurtry, Joel Kunkel, Nathaniel Webster, Jeremy T. Gill, and one other tenor.

15.  Lines from the Conclusion of “Phaedra”, for soprano and harp. Poem by Racine.   January 1993

            2 min.  Premiered by A. Hai-Ting Chinn at Composers’ Forum at Eastman, March 1993

            This piece sets the final six lines spoken by Phaedra in Racine’s tragedy of that name, in the original French, while she is dying after taking poison.  It was my first piece to be performed on the Eastman Composers’ Forum.

16.  Leap now into this quiet grave for mezzo-soprano voice and alto flute.  Poem by Millay.

            March 1993

            2 min.  Premiered by Hai-Ting Chinn and Julie Tunstall in concert at Eastman, February 1994.

            I left this piece in my room at the time of my first suicide attempt in March 1993.  With graceful, suave lines, it expresses the despair of the outcast soul.

17.  Concerto for Trumpet and Strings, in three movements.  Published by Holben Publications.    

            Privately recorded with Frédéric Gagnon, trumpeter, 1998.  10min.

            This piece has to me the air of a work by a mid-twentieth century American such as Copland or William Schuman.  The second movement contains two successive fugal expositions, with the subject appearing in the trumpet in rhythmic augmentation, and the third movement has a poignant air of profound disappointment.  It is centered on the key of C.

18 Variations for Organ on the Plainchant “Vexilla Regis.”  2005

            Premiered in worship at First Christian Church, Salem, Oregon.  2008.  8 min.

            This is a set of variations on a plainchant for Palm Sunday, known in English as “The royal banners forward go.”  The individual sections are usable in worship, or the entire set as a prelude or gathering music. 

19  Four Variations for Contrabass.  1993

            Premiered by Michael Watson in studio class at Eastman, 1993.  5 min.

            In this piece, the unadorned, unvaried melody never appears, but the four variations share intervallic content and contour in such a way as to suggest a common origin.  I found it an interesting challenge to compose multiple stops for an instrument tuned in fourths.

20  Brass Quintet No. 1 in two movements.  1993

            Premiered by student quintet at Eastman in concert in Howard Hanson Hall in 1993.  7 min.

            The first movement has an angry, persistent tone, with quick repeated tones, and interlocking figures based on dissonant trichords such as the (014).  The second movement opens with a lyrical melody with an American folkish sound, although it is original.  It also includes some fugal imitation.

21  Trio for Organ, Cello and Oboe.  1.  Chorale variations, 2.  Fuga scherza.  1993

            Premiered at Eastman in jury-recital, Spring 1994.  7 min.

            The opening movement is in three sections, each emphasizing one of the three instruments in the trio.  No particular chorale is clearly stated, but the intervallic content vaguely suggests the ‘Austrian Hymn.’  The fugue has twelve entries, each on a different tone of the chromatic scale, following a pattern of alternating ascending fourths and descending minor thirds.

22  Two Illuminations for soprano, baritone and sextet of instruments.  Poems by Rimbaud.  1993

            Premiered at Eastman on Composers’ Forum, dir. Christopher Bailey, March 1994.  7 min.

            The two poems in this cycle, “Royalty” and “Barbarous,” set in the original French, have the phantasmagoric quality often associated with this poet.  The piece makes fairly strict use of dodecaphonic technique, except for some repetition of segments within rows.

23  The Trojan Women for three sopranos and nine instruments.  Text from Euripides.  1994

            Premiered at Eastman on Christopher Bailey’s composing and conducting concert, Spring 1994.  10 min.

In this five-movement piece, one soprano sings text associated with the character Hecuba, queen of the fallen city of Troy, whereas the others sing parts associated with the prophetess Kassandra and the princess Andromache.  The work uses the original Greek text, and the musical language is rife with inverted canons and octatonicism.

24   Anouilh’s Antigone, for mezzo-soprano and strings.  1994

            8 min.  Never performed.

This piece sets passages from the twentieth-century French playwright Jean Anouilh’s re-telling of the ancient tragedy by Sophocles.  It was the winner of the 1994 Bernard Rogers Prize, granted by the department of composition at the Eastman School of Music.

25  Three on Poems of Leconte de Lisle.  1.  A un poète mort,  2.  Poème barbare,  3,  Midi, roi des            étés.  Soprano, three flutes, two clarinets, two trumpets, four violins.  1994

            10 min.  Never performed.

This piece, with an orchestra entirely of treble instruments, increasing with each movement, sets three poems by the pessimistic nineteenth-century Frenchman Leconte de Lisle.  The first movement, setting a sonnet mourning the death of the poet Théophile Gautier, was inspired by my grief in hearing of the recent death from AIDS of my former organ teacher, Samuel John Swartz.

26  Rondo in D for Violin and Piano.  1994

            10 min.  Premiered by Marisa Polesky (first movement only) in concert at Eastman, 1994.

The score for this piece is lost, but it was recorded.  Due to the Eastern European identification of the dedicatee, Marisa Polesky, the pitch language includes octatonicism and quotes from a Hungarian folk melody, and the rhythms are inspired by some of the Bulgarian folk rhythms used in the piano music of Bela Bartok.

27  Three Movements for Flute, Percussion, and Organ.  1994

            8 min.  First movement only podcast by Palomar Ensemble from Chicago, 2004.

At this time, many opening movements which I composed were characterized by the alternation between two opposing moods, with variations at each appearance of each mood.  This is the case with the opening movement of this piece, eventually read and recorded with a pianist and cellist playing the organ part.  The pitch language is jagged and unpredictable.

28  Quartet for Violin, Oboe, Bass Clarinet and Bassoon.  Two Movements. 1997

            6 min.  Premiered in concert at University of Montreal, March 1998.

Both the score and recording for this piece are missing.  It was read privately by the University of Montreal’s Nouvel Ensemble Moderne, and also played in a recital of my own.  The first movement includes an atonal fugue.

29  Sonnet for tenor and string quartet, on a poem by Wordsworth.  1997

            3 min.  Privately recorded by Gaétan Sauvageau, tenor at U. of Montreal, 1998.

The sonnet which this sets is known as “Lines composed on the beach near Calais,” and Wordsworth wrote it about strolling there with his illegitimate daughter.  In it, he surmises about the holy thoughts which dwell inconspicuously in the hearts of the young and innocent.  The piece is mostly in the Dorian or Aeolian modes.

30  Concertino for Cello, Double Reeds and Harp.  1.  The Aulos and the Lyre, 2. Estampie, 3.  An             Wasserflüssen Babylon.  1994

            8 min.  First movement only recorded with Rafael Hoekman, cellist at Univ. of Montreal, 1998.

In the first movement of this piece, the winds play jagged, dissonant music based on the (016), and the harp more peaceable material based on the trichord (025);   the cellist, torn thus between the Dionysian wind music against which Plato warns us, and the morally edifying lyre music which philosophers favor, utters his own complaint.  The second movement is inspired by Renaissance dances, and the third movement has as cantus firmus a chorale based on Psalm 137.

31  Piano Trio No. 1.  1.  Four Miniatures, 2.  Double Rondo.  1994

            7 min.  Premiered at University of Montreal, March 18, 1998.

The four miniatures of the first movement explore a variety of textures, and the fourth makes a veiled reference to a Provençal folk song called Rossignolet du bois.  The second movement is a rondo with two refrains, which appear at times alone, at times together, according to a pattern of large-scale symmetry.

32  Symphony No. 1 for Chamber Orchestra.  1.  Intrada,  2. Canzona, 3. Fuga.  1994

            6 min.  Never performed.

The first and second movements of this highly dissonant piece alternate contrasting material as discussed in the note for op. 27, above.  The third movement has a highly motile fugue subject, and the entries follow a pattern of ascending fourths and descending minor thirds.

33  The Emanuel Notebook, a collection of concise keyboard pieces.  1995

            20 min.  Premiered as a cycle in recital at Trinity Lutheran Church in Silverton, 2000.

This collection of brief pieces was composed while a patient in the Emmanuel Hospital Burn Ward in Portland, Oregon, while recovering from an injury.  Employing common practice tonality, most are dances, but a few are fugues of two to four voices.  They are fair Gebrauchsmusik for religious services.

34  Overture for large orchestra.  1995

            4 min.  Premiered by Marylhurst Symphony Orchestra, April 1997.

The premiere of this piece was part of my Senior Project for my BA in Music, concentration Composition, from Marylhurst College near Portland, Oregon.  The piece is in a seven-part rondo form, with the first and third couplets containing a whimsical reference to a “musette” from one of J.S. Bach’s English Suites for keyboard.

35  Chanson for Viola and Piano.  1996

            3 min.  Premiered with Eadie Anelli at Mt. Angel Performing Arts Center, 2005.

This piece has a tone of modernist lyricism, including a melodic cell more fully developed in my fourth violin sonata (op. 530).  It has elements of both atonality and the key of F Minor.

36  Sonatina for Piano in three movements, 1996

            6 min.  Premiered by self in studio class at Marylhurst, 1997.

The opening movement of this piece uses sonata-allegro form, and the mode of G Dorian.  The second movement is through-composed and slow, and the third movement is a five-part rondo in G Major.

37  Rondo for Flute and Harp, 1996

            4 min.  Premiered by Rosemary Wood in degree recital at Marylhurst, 1997.

Here, I continue with the juxtaposition of Classical formal designs with a more modern pitch language, but the G Dorian of this piece is less predictable and more fluid than in the sonatina which is the previous opus number.

38  Sketch for Harp, 1996

            2 min.  Privately recorded by Karen Almquist, 1996.

This very brief piece is a tender diversion in E Phrygian.

39  Sonata for Violin and Piano No. 3.  1996

            7 min.  Premiered by Mzuri Robertson, violinist in degree recital at Marylhurst, 1997.

The first movement is a sonata-allegro form with much octatonicism, and the opening violin melody is a twelve-tone row using several (013)s.  The second movement is a Barcarolle centered on A and in a five-part rondo form.  The third movement is also in a five-part rondo form, but has a wild and exuberant mood, with much octatonicism and many disassociated triads.

40  Essay for Violin.  Unaccompanied.  1996

            2 min.  Premiered by Mzuri Robertson, violinist in degree recital at Marylhurst, May 10, ’97.

This piece is centered on D, but the modes shift unpredictably.  Influences include Hindemith and Bartok.

41  Mass for Organ No. 1.  1.  Prelude, 2.  Offertory,  3.  Communion,  4.  Postlude.  1996

            6 min.  Premiered by self at degree recital at Marylhurst, May 10, 1997.

The chorale melody Komm, Gott Schöpfer appears at times in this cycle of organ pieces, intended for use in church services, as do canons and a variety of modes.

42  Mass for Organ No. 2.  1.  Prelude, 2.  Offertory,  3.  Communion, 4.  Postlude. 1997

            6 min.  Premiered by self at degree recital at Marylhurst, May 10, 1997.

The chorale melody Komm, heiliger Geist, Herre Gott appears at times as cantus firmus in this cycle, as do canons and a variety of modes.

43  Piece for Two Flutes and Piano.  Two movements, 1997.

            7 min.  Never performed

The first movement is a slow introduction, and the second movement sends the flutes swirling about like dervishes of dissonance, anchored occasionally by passages which could set the chorale text Gott sei gelobet und gebenedeiet, but which do not actually quote that chorale melody.

44  Prelude and Fugue for Two Pianos, Four Hands.  1997

            4 min.  Premiered by self with Adam Whiting, pianist at Marylhurst, May 10, 1997.

This piece, centered on A, and using mostly a minor mode, is inspired by pieces in this genre by such composers as Shostakovich. 

45  Three Latin Psalms for baritone and piano.  1997

            5 min.  Premiered with self as baritone, Marylhurst, May 10, 1997.

The three Psalms are no. 6 (“Lord, do not rebuke me in your wrath”), no. 63, and one verse of Psalm 31 (“Lord, into your hands I commend my spirit”).  The pitch language is free twelve-tone, with sojourns in more consonant practices, as the expression of the text seems to ask.

46  String Trio in two movements.  1997

            6 min.  Premiered by Mzuri Robertson, Shauna Keyes and Adam Whiting, Marylhurst, 1997

The first movement is octatonic or atonal for extended passages.  The second movement is a slow, five-part variation rondo of which the refrains are varied at each appearance.

47  étendues de la nuit et de la lumière for large orchestra.  Four movements. 1997

            12 min.  Never performed.

The four movements of this piece address the struggle of light and darkness in the universe.  F# Minor emerges as the key of light, whereas the darker passages are characterized by quick, swirling textures of dissonance and jagged lines.

48  String Quartet No. 1 in three movements, 1997

            6 min.  Premiered on March 18, 1998 in concert at University of Montreal.

The first movement is highly dissonant and confrontational, and the second movement is calmer and softer, but based on disassociated triads.  The third movement is a very concise fugue with a subject which is wide in range, quick, and harsh.

49  Three Arabesques for oboe and three cellos.  1997

            6 min.  Never performed.

In this piece, centered on A but exploring a variety of modes, the oboe twirls around gracefully like a ballerina, while the three cellos support her like three gallant dancers standing behind.

50  Concertino for Tuba and Strings, in two movements, for Patrice Tremblay.  1998

            8 min.  Privately recorded with Patrice and string players at University of Montreal, 1998.

Described by the University of Montreal’s tuba instructor as “very colorful and expressive,” this piece’s first movement contains much octatonicism and also whole-tone scales, and the second movement, in a slow 7/4 meter, has a lyrical tuba melody across descending repeated gestures in disassociated triads in the string ensemble.

51  Quartet for Violin, Clarinet, Cello and Bassoon.  Two movements.  1998

            7 min.  Privately recorded at University of Montreal, 1998.

This quartet, for an unusually heterogeneous ensemble, alternates in the first movement material reminiscent of fugal writing rhythmically if not melodically, and insistent hammering sonorities exploring quick contrasts of loud and soft.  The second movement is slow and centered on A, with Aeolian, Dorian, and Phrygian elements.

52  Organ Piece in one movement.  1997

            4 min.  Premiered in arrangement for two pianos with Micheline Gagnon and self, student         composers’ concert            at University of Montreal, Fall 1997

This piece is fantastical, like an inspired improvisation.

53  Contemplations for mezzo-soprano, flute, violin and piano.  Poems by Anne Bradstreet, six       movements.  1998

            10 min.  Privately read with mezzo Chantal Denis.

To set the bucolic musings of a colonial Puritan with an atonal pitch language may seem like an odd choice, but I found it effective in this case.

54  Concerto for Flute and Chamber Orchestra.  1.  Arlequin,  2.  Colombine,  3.  Boufonnerie.  1998

            7 min.  Read and recorded by Nouvel Ensemble Moderne in Montreal, dir. Lorraine Vaillancourt

The three movements of this concerto are inspired by characters from the traditional commedia dell’ arte, with expressive features corresponding to Arlequin’s quicksilver whimsy, Colombine’s feminine grace, and Pierrot’s buffoonery.  Each movement is a variant of arch, “Bogen” or rondo form.

55 Three Pieces for Piano:  1.  Thoughts in Solitude,  2. Duophony,  3.  Orange Glow on the          Horizon.  1998

            6 min.  Premiered by self in student composers’ concert at Univ. of Montreal, 1998

The first movement is entirely through-composed and atonal.  The second movement contains only the tones E-flat and A throughout, and the third movement has a near-omnipresent augmented triad built on B-flat.  A delicate, thoughtful tone prevails in the first and third movements, but the second is agitated.

56  String Quartet No. 2.  One movement

            3 min.  Privately recorded by Montreal students.

This concise piece features rhapsodic-sounding writing in the first violin, over repeated five-note figures in the lower strings, emphasizing first the whole tone scale, then other, more dissonant sonorities.

57  Three Pieces Inspired by Poems of Emily Dickinson.  Violin, clarinet, cello, piano.  1998

            6 min.  Read and recorded by Nouvel Ensemble Moderne, 1998.

These three movements relate to the poems “Mine, by the right of the white election,” “I heard a fly buzz when I died,” and “If I shouldn’t be alive when the robins come.”  The ensemble is a subset of the traditional “Pierrot” ensemble used from Schoenberg’s work “Pierrot Lunaire,” performed around this time at the University of Montreal.

58  Antigone, opera in one act.  Libretto in French or English, and available in versions with full orchestra, chamber orchestra, or piano reduction.  1998

            40 min.  Never performed.

This opera was the pièce de résistance of my master’s thesis at the University of Montreal, telling the story adapted from the ancient Greek tragedy by Sophocles.  I wrote about it extensively in the essay submitted as part of the thesis.

59  Suite for Violin and Piano.  Three Movements.  1999

            6 min.  Premiered by Mzuri Robertson with self, Marylhurst studio concert, Summer 1999

All three movements of this piece are in five-part rondo or three-part Bogen forms.  The first movement, in a jaunty 5/8, is often in G Dorian.  The slow second movement has chains of eighth-note thirds, with an atonal profile, ascending and descending much of the range of the solo violin, and the quick third movement features highly dissonant sonorities and sequences with an increasingly frenetic mood, but closing with a decisive cadence on G Major.

60  Concertino for Violin and Strings.  Three movements.  1999

            5 min.  Premiered by Daniel Crane, Marylhurst Symphony Orchestra, dir. Lajos Balogh.  2001

This piece is centered on the note A.  In the first movement, insistent repeated octaves, alternating with jagged gestures, in the refrains of the five-part rondo formal design give way to more free explorations in the couplets.  The second movement uses a F-centered Locrian mode in some gentle oscillations in the ensemble, while the soloist plays less tonal melodies departing from expectations by way of whole-tone motions.  The third movement is the most tonal, but interpolations of brief passages centered on E-flat, a tritone away from the tonic, occasionally jar convention.

61  Piano Trio No. 2.  Three movements.  1999

            6 min.  Privately read and recorded in Montreal

This piece, dissonant in a playful spirit, includes two outer, faster movements framing a middle one, in which seventh chords with minor thirds and major sevenths abound in the bass of the piano, in a 5/4 meter.  The third movement features some deft imitative writing.

62  Three Psalms for SATB choir a cappella:  29, 67, 134.  1999

            6 min.  First movement premiered by Silver Song Chorus, dir. Debra Huddleston, at First Presbyterian

            Church in Woodburn, Oregon, June 1999

These Psalms are mostly tonal, but occasionally move into some modal mixture and quartal sonorities.  After the premiere, the Silver Song Chorus sang these while on a tour to Vienna and Salzburg, Austria.

63  Two Alleluias for Organ.  Chant-based pieces for Easter and Pentecost.  1999

            7 min.  Premiered by self in composers’ concert at Marylhurst University, 2000

Each of these pieces is in an arch form, and the middle section has as cantus firmus a Gregorian chant setting of the word “Alleluia,” as is appropriate for the season mentioned in the subtitles.  The first piece is more modal, but the second is more adventurous harmonically.

64  Clarinet Sonata No. 1.  Three movements.  1999

            8 min.  Mvts. 2 and 3 premiered by Bruce Schroeder in composers’ concert at Marylhurst University, 2001

The second movement of this piece is an A-centered barcarolle, lyrical and dulcet.  The third movement is a rondo with a piquantly dissonant harmonic profile.

65  That Slender Thread, an opera for many singers and chamber orchestra.  Not currently available in well-edited form.  Marilyn Hall, librettist.  1999

            50 min?  Never performed

The final duet from this opera was read and recorded in a private session at Marylhurst University, with soprano Judith Weed and the composer as baritone.  The libretto by Marilyn Hall (d. 2008) concerns itself with a frustrated housewife whose life is turned around when she saves a child from being hit by a car.

66   Variations for Organ on the Huguenot Psalm “Rendez à Dieu.”  2005

            7 min. Premiered in worship at First Christian Church, Salem, Ore., 2008

This is a sectional set of variations on the Genevan Psalter’s setting of Psalm 118.  These sets of variations of mine tend to feature canons and pantonalism.

67 Six Songs for Women’s Chorus, poems by Millay.  A cappella, 1999.

            10 min.  Three of them premiered by Silver Song Women’s Chorus at Silverton United Methodist Church

            (Eastern Star fundraising event), 2001

These part-songs employ a language very much like tonal common practice.  They are accessible and vigorous.

68  Variations for Piano on “A la claire fontaine,” a French folk-song.  2000

            10 min.  Premiered in Composers’ Concert at Marylhurst University, 2000.

The folk-song on which these are based is a tender tune of lost love from Quebec.  The several variations explore many textures and techniques.

69  Variations for Organ on the Huguenot Psalm “Ne veuilles pas, ô Sire.”  2005

            7 min.  Premiered in worship at First Christian Church, Salem.  2008

This is a sectional set of variations on the Genevan Psalter’s setting of Psalm 6.  The cantus firmus appears in several registers, and in canon.

70  Ave maris stella for SATB choir a cappella.  2000

            4 min.  Premiered by Marylhurst Concert Chorale, June 2001.

This setting of the traditional Marian Latin prayer is in a seven-part rondo form.  It is homophonic and mostly in A Aeolian.

71  Several brief anthems for mixed chorus and organ (assorted, for the choir at St. Edward’s in Silverton),  2000

            Premiered over a period of a few years by the choir of Saint Edward’s, dir. C. Wicks

These fairly simple anthems address a variety of seasons and occasions in the church year, with such source texts as the “Ave, Regina coelorum,” Psalm 95, Psalm 98, the German poem for Pentecost “Sonne der Gerechtigkeit,” the canticle “Song to the Lamb,” and the Benedictine hymn ‘Adoro te devote.’

72  Kubla Khan, for speaker, flute, clarinet, viola and cello.  Poem by S.T. Coleridge, 2000

            Premiered in student composers’ concert at Marylhurst.  6 min.

This piece calls for a narrator to speak Coleridge’s poem in rhythm while the instruments provide musical comment.  It is centered on A and begins in Aeolian, though also with Dorian and Phrygian inflections.

73  Spielmusik for Violin and Oboe.  Three movements.  2000

            3 min.  Premiered in slightly adapted version at Beneroya Hall, Seattle, 2004.

This brief piece was premiered by two young clarinetists in Seattle.  It begins in a major key, but then explores more modal inflections, especially Mixolydian.

74  Overture to “The Duchess of Malfi” for chamber orchestra.  2001

            8 min. Premiered by Daegu Contemporary Music Orchestra, dir. Hong-ki Choi, December 2006

The various sections of this piece correspond to situations and moods in John Webster’s seventeenth-century play mentioned in the title.  A faintly neo-Renaissance ambiance coexists with the piece’s modernity.

75  Two Bird-Songs for Soprano and Flute:  1.  The Humming-Bird (Dickinson), 2. On Thought in Harness (Millay).  2001

            5 min.  Premiered by Judith Weed and Phyllis Louke for Marylhurst Composers’ Concert, 2001

These songs both address birds as metaphors for liberated thought, and limitless capacities of the human soul.  The music demands agility and vigor from both the soprano and flutist.

76  Sonata No. 1 for Oboe (now VIOLIN) and Piano.  Three movements, 2001

            25 min.  Premiered by Ann van Bever and Debra Huddleston

This piece uses the traditional formal designs of the Classical sonata, for the opening movement, a slow arch form for the second movement, and a rambunctious rondo for the third.  The first movement’s first theme is in A Aeolian, and the second theme is actually more active.  The development section contains large-scale sequences in which other sequences are embedded.

77  Sonata No. 2 for Oboe (now VIOLIN) and Piano.  Three movements, 2001

            15 min.  Premiered by Ann van Bever and Debra Huddleston

This sonata also uses traditional sonata formal designs.  The second movement, however, has several phrases in the solo oboe, each longer than the one before, adding new material each time, and also incorporating varied versions of melodies already heard in the previous phrases.

78 Three Pieces for Piano (Polychordal Bliss, Sketch with Grundgestalts, Habanera)

            6 min.  Never performed

In this three brief sketches, the first is polychordal, as the title implies, and also slow and delicate.  The second uses (015)s and (025)s in such a way as to call attention to common contours which they can yield, with an almost jazzy collection of harmonies.  The third movement, loosely in C Minor, is reminiscent of a Caribbean dance.

79  Dreams of a Child for solo piano (three movements), 2001

            6 min.  Recorded by Debra Huddleston, 2002

These three pieces are each based on trichords.  Two are dissonant (“Unquiet Dreams” and “Mysterious Dreams”) and the third more calming (“Placid Dreams”).  They evoke the world of introspection in childhood.

80  Scenes from the Napoleonic Wars for solo piano (24 mvts. in all major and minor keys)

            30 min.  Recorded for YouTube by self.

Each of these twenty-four pieces has a whimsical subtitle having to do with the conflicts of the western world and Mother Russia in the days of Napoleon.  The pieces are semi-tonal, but their decisive cadences make it possible to assign tonalities.

81  Sonata for Piano.  Three movements.  2001

            20 min.  Recorded by Debra Huddleston, 2002.

The first theme in the first movement’s sonata-allegro form features triads in a pandiatonic D Dorian leaping about, and the second theme goes into a gigue-like F Lydian.  After a sweet song of melancholy for the second movement, the third movement re-uses material from the lost third movement of my second violin sonata, op. 26.

82  Variations on “Resignation” for organ.  2001

            9 min.  Premiered in worship at Jason Lee United Methodist Church, Salem, Ore., 2001

This is a sectional set of variations on the American folk hymn “My Shepherd Will Supply My Need,” derived from Psalm 23.  Mostly in C Major or closely related modes on C, it makes extensive use of canonic procedures.

83  Rondo for Oboe and Orchestra.  2001

            4 min.  Premiered by Paul Wallace with Marylhurst Symphony Orchestra, 2001

The introduction to this piece, with its parallel major triads as a motif playing out in middleground and foreground, was inspired by a choral warm-up which the Marylhurst choir often sang.  The theme of the refrain, over time, adds, then subtracts sharps and flats which alter the C-centered mode, not in the key signature, but only as accidentals.

84  Trio for Flute, Violin and Clarinet.  Three movements.  2001

            6 min.  Premiered for Marylhurst Composers’ Concert, 2001

The first two movements are more atonal and unpredictable, and the third movement is a robust rondo centered on G with many Mixolydian inflections.

85  Concerto in D for Violin and Orchestra.  Two movements.  2001

            16 min.  Premiered in substantial excerpt with Dolores D’Aigle, violinist and Marylhurst

            Symphony Orchestra, April 2003

The first movement uses a sonata-allegro form.  The second theme of this movement accompanies the lyrical violin melody with even pizzicato eighth notes in the strings and little two-note comments here and there, unpredictable, in this or that wind instrument.  The effect is wry.  The second movement is a rondo gigue, largely in D Mixolydian.  The chosen tonality of this piece is an homage to the great Brahms violin concerto.

86  Suite No. 2 for Violin and Piano.  Three movements.  2001

            7 min.  Premiered by Eadie Anelli in concert at Trinity Lutheran Church, Silverton, 2005

After a couple of less productive months in 2001, I was inspired to begin composing again by attending a chamber concert at a Bach festival at a monastery near my home in Oregon.   This was the first piece when I resumed.  Quartalism and shifting modes abound.  The second movement uses the unusual meter of 11/8, and the third movement is challenging for the violinist with the requested multiple stops.

87  Sing We of the Blessed Mother for two voices and organ.  Poem by Timms.  2001

            4 min.  Premiered by Priscilla Lindsey and Marilyn Anthony in concert at Christian Science Church in   Salem, Oregon, 2009

This piece, in four strophes, has the voices in strict canon in the first two strophes, and in a looser inverted canon in the latter pair of strophes.  It is in D, though at times pandiatonic.

88  Six Trios for Two Oboes and English Horn.  Three movements each.  1998-2002

            About 5 min. each.  Privately recorded at various times by several groups.

These eighteen movements explore a variety of textures and harmonies, although the slow second movements are often three-voice canons, mostly consonant, and at a variety of intervals.

89  Scherzo and Minuet for Two Oboes.  2002

            6 min.  Recorded on CD released in 2002

The sinuous lines and playful twists of the first movement give way to a decorous dance in the second.

90  Three Movements for Oboe.  Unaccompanied.  2002

            6 min.  Premiered by Pablo Izquierdo in concert at the Old Church, 2002.

Each of these three movements has its pitch material derived from a tetrachord.

91  Two Movements for Bassoon and Piano.  2002

            5 min.  Premiered by Lyle Dockendorff in concert at Old Church, 2002.

The first movement is lyrical, tending towards the mode of A Dorian, with the bassoon playing amorous lines while the piano plays swirling quintuplet arpeggios.  The second movement is quick and staccato, with the piano filling the gaps made by the bassoon’s eighth rests as it takes breaths in its rapid-fire repeated notes.

92  Sonatina for Solo Bassoon.  2002

            5 min.  Premiered by Lyle Dockendorff in concert at Old Church, 2002.

The first movement is centered on F, often with Lydian inflections, and the second movement is in the meter 5/4 with alternating ascending and descending lines.  The third movement is a whimsical rondo in D.  In general, the bassoon’s traditional comic voice emerges in the third movement, and the plaintive voice in the second, but the first strives for a less accustomed heroic vein.

93  Five Movements for English Horn and Organ.  2002

            10 min.  Recorded by self with Kris Klavik, English horn.  2002

Four of these pieces feature shifting modes, quartal sonorities, added-note chords, and a basically melody-driven texture.  The third movement is based on the tetrachord (0124), and maps the pitch intervals into rhythmic cells as well, amounting to a cousin to integral serialism.

94  Sonata for Clarinet and Piano No. 2.  Three movements.  2002

            9 min.  Premiered by Teresa Pearson, clarinetist in concert at Old Church, 2002.

The first movement, in a sonata-allegro form, uses a highly dissonant pentad, and derives most material from it.  The second movement uses the less dissonant pentad known as the pentatonic scale, and the third movement features canon at the tritone in the rondo refrain, and a near-quote from a Beethoven sonata.

95  Three Elegiac Songs for soprano, cello and piano;  poems by Millay.  2002

            7 min.  Premiered by Barbara Custer at Claremont Golf and Country Club, 2003

The first movement sets the poem “Short Story,” about a man’s mourning for his lost princess love.  The second movement, “If Still Your Orchards Bear,” speaks of the near-unbearable griefs and disappointments which life visits on so many persons, and the third, “To A Young Poet,” celebrates the perennially free spirit of a dead artist.  The music is fairly tonal, and thoroughly lyrical.

96  Two Movements for Wind Quintet.  1. Barcarolle, 2.  Bourrée. 2002

            7 min.  Premiered at Marylhurst Composers’ Concert, 2003.

This barcarolle has a 6/8 lilt throughout, and the bourrée is in quick 4/4 with a trochaic rhythm.  The second movement is a rondo, and the couplets become wild, with squealing clarinet high trills, horn calls, and cascading twirls in the flute.

97  Three Movements for Flute, unaccompanied.  2002

            6 min. Premiered by Phyllis Louke at Marylhurst, 2002

The pitch language in these pieces is tightly derived from tetrachords.  The third movement is the most unpredictable and tempestuous.

98  Roulades joyeuses pour flûte seule.  2002

            3 min.  Premiered by Phyllis Louke at Marylhurst, 2002

This is a concise little escapade for a solo flutist, which twirls about agreeably and in quicksilver fashion.  Rebecca Ashe played this for a DMA recital in Kansas City, Missouri.

99  Suite for Solo Flute, unaccompanied.  2002

            5 min.  Never performed.

This is a heterogeneous bunch of unaccompanied flute miniatures.

100  Six Wind Quintets for the Seasons of the Christian Year.  2002

            20 min.  Some movements are reworkings of previously existing material, but premiered in this form by   Alder Street Wind Quintet at Saint Gabriel’s Episcopal Church in Beaverton in 2003.

The first movement, for Advent, has as cantus firmus the hymn “Nun komm, der Heiden Heiland.”  The Christmas movement is derived from the medieval song “Dies est laetitae,” and the Epiphany movement bows to “Herr Christ, der einge Gottes Sohn.”  The Lent section, the longest, is the only one to be entirely musically original, and indeed, it is a reworking of a quintet called “Ashes” which I composed as a fourteen-year-old, and which was premiered at a festival in Newport, Oregon.  The Easter movement sets the chant “Victimae Paschali laudes,” and the Pentecost movement re-arranges some material from my organ piece on the ‘Veni Creator,” op. 10.

101  Renascence, poem by Millay.  For soprano and ensemble of eleven instruments, or soprano and          piano.  2002

            16 min.  Premiered by Judith Weed, soprano with self as conductor;  Marylhurst Composers’ Concert, 2003

This piece sets a longer lyric poem with which the nineteen-year old Millay first made her adult reputation in 1912.  Opening with a limpid A Aeolian and closing with a limpid A Ionian, and indeed with similar melodic material, the voyage on the way takes us through shifting modes, quartalism, and at some points, considerable dissonance.

102  String Quartet No. 3.  Passacaglia and Fugue.  2002

            5 min.  Premiere recording by quartet in Munich, Germany, 2007 (Witzel, Schlagheck, Edelmann, Bös)

This piece is in D, and sort of in minor.  Both movements have a somber and grave tone.

103  Piano Trio No. 3.  Three mvts.  2002

            7 min.  Podcast by Accessible Contemporary Music from Chicago, 2004.

The first movement is an ardent, amorous appeal.  The second movement is mysterious and dark, with pleading undertones.  The third movement is a gleeful romp through a field of buttercups.

104  Missa. Five movements.  2001

            10 min.  Movements 1,2,4 and 5 premiered by Luscinia Youth Choir Opava at Jihlava Choral Festival

            in Moravia, 2004

This is an a cappella setting for four-part choir of the Ordinary of the Latin Mass.  The “Credo” was added later and has never been performed;  the other four movements have been sung in the Czech Republic and in South Carolina.  The music is in D, and pandiatonic.

105  Tragic Overture for large orchestra, 2002

            6 min.  Never performed.

This piece was inspired by extensive reading in Jean Racine, especially his tragedy “Britannicus.”

106  Reflets de l’eau, du ciel et de la terre, an instrumental quintet, 1997

            5 min.  Never performed

The title of this piece means “Reflections of water, of the sky and of the earth.”  It is in three movements, one for each reflection.

107  Pour sonner en haut, for a small orchestra of treble instruments, 1997

            5 min.  Never performed

The title of this piece means “To sound on high,” since all of the instruments are in the treble register.

108  String Quartet No. 4.  Four movements.  2002

            20 min.  Never performed

This is the most ambitious of my string quartets to date.  The four movements are Classical in their formal design:  Sonata-Allegro, slow arch form, Scherzo in arch form, final rondo.  However, the pitch language is closely tied to atonal tetrachords:  (0158) for the first movement, (0126) for the second, (0347) for the third, and (0258) for the fourth.

109  Variations for Organ on “Jesus Walked This Lonesome Valley.”  2005

            7 min.  Premiered by self in worship at Jason Lee United Methodist Church, 2005

This is a sectional set of variations on an American folk hymn, at times sung at Passion Week.  The texture of the middle variations is rife with a variety of canons.

110  String Quartet No. 5.  Three movements.  2003

            min.  Never performed

Like the fourth quartet, this string quartet makes a very clear use of pc sets in each movement, with all pitch material derived from the set, but it is less developed and more concise than the fourth quartet.

111  Concerto for Cello and Orchestra.  Three movements.  2003

            12 min.  Premiered by Victoria Tikhonova with Marylhurst Symphony Orchestra, April 2003

The first movement of this concerto, in a sonata-allegro form, attempts to use all ranges of the cello, instead of remaining in the stratosphere as so many cello concertos do.  This necessitated a lighter scoring when the soloist plays low.  The second movement is a Sicilienne in D, and the third movement is a playful five-part rondo.

112  Sonatina for Solo Harp.  One movement.  2004

            3 min.  Premiered by Therese Hurley in concert at University of Oregon, Fall 2004.  Published by

            Imagine Music Publishing in Medina, NY.

This concise piece makes extensive use of a pandiatonic E Phrygian mode.  Ethereal arpeggiated chords alternate with a rustling perpetual motion in the bass.

113  Ricercar for Solo Harpsichord.  2004

            4 min.  Premiered by Margret Gries in concert at U of O, Fall 2004.

Inspired by the contrapuntal writing of Jan Pieterszoon Sweelinck, this modal imitative composition has just a few more modern elements.

114  Three Elegies for baritone, cello and piano.  Poems by Millay.  2004

            5 min.  Premiered in concert at U of O, Fall 2004

The poems which these songs set were brought about by the death of one of Millay’s college friends, but my choice to set them was caused by my grief following my paternal grandmother’s death.  Playable with harp rather than piano, they were premiered in that form.

115  Three Sonatas for Viola and Piano:  three mvts., four mvts.,  three mvts.  2004

            About 8 min. each.  No. 1 premiered by Eadie Anelli, concert at U of O, Fall 2004.

            No. 3 premiered by Marjory Lange, concert at Mount Angel Abbey Library, Spring 2014.

The first and third sonatas open characteristically with sonata-allegro movements, but the second sonata opens and closes both with a rondo.  In general, the harmonies are modal and only mildly dissonant, and the slow movements explore varied ostinatos.  The third sonata opens with a cadenza-like unaccompanied solo for the violist.

116  Trio for Flute, Clarinet and Piano.  Two movements.  2003

            6 min.  Never performed.

This piece explores some non-traditional ways in which a twelve-tone row may be used as an organizing element in a composition, for example by appearing first as only one tone, then the first two, then the first three, etc. repeatedly re-starting itself.  The second movement harmonizes the twelve-tone row with more tonal harmonies, then uses it as a ground bass.

117  Fifteen Songs for Baritone and Viola.  Poems by Millay.  2005

            30 min.  Performed with Eadie Anelli in various places, in various configurations.

Many of these set sonnets by Millay, with her often-found themes of lost love, Romantic aspiration, grief, and love of beauty.  The goal is lyricism without sentimentality.

118  The Ballad of the Harp-Weaver for soprano, flute and harp.  Poem by Millay.  2005

            9 min.  Premiered in concert at the Gordon House at the Oregon Garden, Summer 2005

This is a setting of the well-loved poem about maternal sacrifice by Millay.  Folkish references or Celtic pastiche are kept to a minimum, but the modality at times has a traditional ring.  The performances took place with an adapted version for baritone, violin, and harp:  at the Gordon House, at Trinity Lutheran Church in Silverton, and in a recording for a CD.

119  Three Songs of Christmas for baritone and harp. Poems by Rossetti, Hardy, Dickinson.  2005

            6 min.  Recorded with Bethany Evans in 2006

The three poems are Rossetti’s “Advent,” Hardy’s “The Oxen,” and Dickinson’s “The Savior Must Have Been a Docile Gentleman.”  The music is reminiscent of Samuel Barber or Aaron Copland.

120  Sonata for Cello and Piano.  3 mvts.  2005

            9 min.  Premiered by Daniel Saenz and Brendan Kinsella at festival in Kansas City, 2011

This three-movement sonata opens with a pensive sonata-allegro formal design, continues with a poignant slow movement, and closes with a warped and hypomanic gigue.  Besides the premiere in Kansas City, the same duo played the piece at a contemporary music festival in the Italian Alps.

121  Variations for Organ on “How Can I Keep from Singing?’  2005

            8 min.  Premiered by self in worship at Jason Lee United Methodist Church, 2006

This set of variations on a beloved American folk hymn was composed at the request of Marilyn Brenden, a friend who was instrumental in coordinating recitals which I presented at Trinity Lutheran Church in Silverton.

122  Prelude on “Dextera Domini” (plainchant-based organ piece).  2005

            8 min.  Recorded by self at Trinity Lutheran in Silverton in 2008

This piece has as cantus firmus a fragment of plainchant setting part of Psalm 118, as it appears in the traditional liturgy for Holy Thursday:  “The right hand of the Lord has triumphed!  The right hand of the Lord is exalted!”

123  Two Songs on Welsh Poems, for women’s chorus and piano.  2002

            4 min.  Never performed.

These accompanied part-songs, lyrical and gentle in style, set English translations of two medieval Welsh poems, one mourning a military defeat of the Welsh, and the other praising the beauties of “the sea-coast of Merionydd.”

124  Five Songs of the Sea, for soprano, flute, piano, cello.  Poems by Dickinson.  2005

            5 min.  Premiered by Juventas Ensemble at Pforzheimer House at Harvard University, 2006

These concise five pieces set elliptical, enigmatic poems by Dickinson, each mentioning sea-voyages as metaphors for entering into Eternity.  The musical style is unconventional without harshness.

125  Five Sketches on Children’s Hymns.  For organ.  2005

            9 min.  Premiered by self in recital at Christian Science Church in Salem, 2006.

These are fairly straightforward hymn-based pieces, with a certain playful spirit, setting the French Canadian “Huron Carol,” an English hymn about Jacob’s Ladder, the traditional English tune “Forest Green,” the “Coventry Carol” about the Massacre of the Innocents, and the French melody “Au clair de la lune,” sung sometimes with a text about Jesus’ healing power.

126   Two Comic Songs for Baritone and Bassoon.  Poems by Lewis Carroll and Walter de la Mare.            2005

            5 min.  Lewis Carroll setting premiered at Thick House on Potrero Hill in San Francisco, for new music

            festival in 2006.

These scherzo-like pieces, employing a Hindemithian pitch language, set two texts which are both farcical and surreal.  The premiere of the Carroll setting, the “Mad Gardener’s Song,” took place with Eadie Anelli playing the viola, rather than in the bassoon version.

127  Festival March for organ.  2006

            4 min.

This organ piece, in D with shifting modes and a seven-part rondo form, was requested to be composed for therecessional of the graduation ceremony for the music school of University of Oregon, 2006, and I did indeed play it then, on the Jurgen Ahrend organ in Beall Hall.

128  Three Songs for Soprano and Cello.  Poems of Edna Millay.  2002

            6 min.  Never performed.

These songs set the poem “MacDougal Street,” a depiction of chaotic street life in Greenwich Village, “Daphne,” about Apollo’s pursuit of a dryad in Greek mythology, and “Passer mortuus est,” about the death of a love affair.

129  Ten Songs for Soprano and Flute.  Poems of Edna Millay.  2005

            16 min.

These songs set a variety of poems from the earlier years of Millay’s career.  Their pitch language is neither harsh nor conventional.  A few of them have been performed by the new music ensemble at St. Mary’s College in South Bend, Indiana, under the direction of Zae Munn.

130  Consolation for solo oboe.  2005

            3 min.  Never performed.

This tender, poignant bagatelle is a cantabile outpouring from the unaccompanied oboe.

131  Two French Sonnets for mezzo, flute, piano and cello.  Poems by de Nerval and Baudelaire.  2005

            6 min.  Baudelaire setting premiered on Eastman Composers’ Forum, 1994.

The second of these, on Baudelaire’s sonnet “Correspondances” (the French spelling of “Correspondences”) was premiered with marimba instead of piano, and with mezzo Hai-Ting Chinn.  The first sonnet is de Nerval’s “The Disinherited One,” from his collection “Les filles de feu,” quoted in the psychoanalyst Julia Kristeva’s book on depression, “Black Sun.”

132  Two Duos for Violin and Cello.  Three movements each, 2005.

            6 min each.  No. 1 premiered by Piotr Szezwyck and Alexei Romanenko at public library in Jacksonville,

            Florida, 2007.

These duos are each in three movements, with a fast-slow-fast framework.  The fast movements tend towards a sense of anger and dissonance.  One of the slow movements is more sedate, but the other is called “Drone of Death” and features a mourning melody in the violin over sustained open fifths in the cello. 

133  Scherzo and Sarabande.  Two pianos, eight hands.  2002

            8 min.  Premiered by piano students at Marylhurst University

I composed this piece at the request of Timothy Nickel, professor of piano at Marylhurst College near Portland, Oregon.  The scherzo has disassociated triads leaping about with often-shifting meters, centered on G.  The Sarabande has a melody centered on D in several octaves at ones, superimposed over soft, repeated chords which contain the full chromatic twelve tones.

134  Three Songs for Treble Chorus.  Poems by Rainer Maria Rilke. 

            6 min. Sung by Renate Schlagheck’s amateur women’s choir in Munich.

These a cappella part-songs set three melancholy poems in German, by Rilke.  They are tonal and direct, as seemed suitable for the amateur choir led by Frau Schlagheck. 

135  Trio for Flute, Soprano Saxophone and Piano.  (Five Ways to Use a Twelve-Tone Row)  2005

            5 min.  Never performed.

This piece explores some unconventional ways of using a twelve-tone row as an organizational factor in a composition, for example “stammering” the debut of the row through unfolding it little by little, adding a new tone to each appearance, or harmonizing the row with freely chosen, more consonant harmonies.

136  Four Goethe-Songs for soprano, violin and piano.

            7 min.  Some of them premiered at a house-concert in Munich with Renate Schlagheck, 2007.

These songs, faintly Hindemithian in style, set poems from “Wilhelm Meister,” such as the songs of Mignon (“Nur, wer das Sehnsucht kennt”) and also the well-loved “Wanderers Nachtlied.”

137  Introduction, Canon and Coda for eight trombones.  2002

            6 min.  Premiered by Trombone Choir of Moravian Church in Downey, California, 2011.

In this octet, the opening and closing sections are identical, and the middle section is indeed a strict eight-part canon.  This piece has been published by Holben Publications of Long Beach, California.

138  Light Glancing off a Window for solo piano.  2002

            2 min.  Never performed.

This is perhaps my only minimalist piece, containing almost entirely A Minor arpeggios, and fairly sparse textures.  The exploration was encouraged by my teacher, Sr. Magdalen Fautch, SNJM.

139  Minnelied for solo oboe, unaccompanied.  2005

            3 min.  Never performed.

This ardent but brief outpouring of oboism is called “Love-Song” in German.

140  Breezes in Summer for solo flute.

            3 min.  Never performed

I composed this little rhapsody while visiting Idaho for the funeral of my paternal grandmother in Summer of 2005.

141  Night-Song for solo oboe, unaccompanied.  1998

            3 min.  Performed on CD by Ann van Bever;  released 2002

This little piece, alternately calm and frenzied, was composed late on a winter evening in Montreal.

142  Anthem on “Nahum,” for treble choir and organ.  1993

            3 min.  Never performed

This anthem sets the text “The Lord is slow to anger, and great in power, and will not at all acquit the wicked.  The Lord is good, a stronghold in the day of trouble;  the Lord knoweth them that trust in him,” coming from a little-known minor prophet of the Hebrew Scriptures.

143  Nocturne for eight cellos.  1997

            7 min.  Never performed.

This piece takes us on an adventure of varied textures, timbres and techniques, with a mostly dissonant harmonic profile, and a few places of relief and resolution.


144  Multi-Canonic Rhumba for two organists, 2006

            5 min.  Never performed.

This work was intended as a show-piece for organ duet, addressing the challenge of how to maximize the potential of the genre without letting the organists become tangled up with each other.  It is in C Minor, and makes an exuberant use of syncopated rhumba-style rhthms.

145  Transcendent Voyages:  a Tone-Poem for orchestra.  Three movements.  2002

            12 min.  Never performed.

This piece opens with a sedate set of variations, somewhat like a hymn, expressing the resolve to conquer, and closes with a “Celebratory Attainment of the Infinite,” as the subtitle says, a display of  dithyrambic glee.

146  Rhapsody for solo viola, unaccompanied. 

            3 min.  Premiered at Trinity Lutheran Church in Silverton by Michael Lemmers.

This piece relates to the viola’s struggle to recognize itself as a solo instrument.  Does it covet the violin’s topmost string, or does it glory in its own low extension?  Its expressive powers in the right hands are undeniable.

147  The Miller’s Wife for soprano, flute, clarinet, cello.  Poem by E.A. Robinson

            5 min.  Never performed.

The poem which this sets addresses the double suicide of an aging miller and his widow.  The anguish and bleakness of the situation find a counterpart in the music.

148  The Mother of God, for soprano and violin.  Poem by Yeats. 

            2 min.  Recorded privately by self and Eadie Anelli, in version for baritone and viola.  2007

In this poem, the Virgin Mary expresses some shock and surprise at mentally conceiving of herself as the Mother of Jesus.  The fear associated with the appearance of angels is manifest in the string introduction, and the introspection of the middle section turns towards a consideration of the stable, “common” life which Mary might have had.

149 Two Songs on Poems of William Blake, soprano and oboe.  1.  The Tiger,  2.  The Lamb,  2000

            4 min.  Never performed

These songs contrast widely in pitch language and mood, as do the characters of the animals mentioned in the titles, and discussed by the poems.  The lines in the first song are jagged and dissonant, but the second song is in F Major, and more gentle.

150  Motet for the Seven Sorrows of the Virgin Mary.  Three-part, non-mixed choir and piano.        2002

            3 min.  Never performed.

This concise choral piece, in D Dorian, sets a text found in the “Liber usualis” for the feast mentioned in the title.

151  Serenade for Violin, Oboe and Piano.  2 mvts.  1997

            5 min.  Never performed.

I composed this piece thinking of the violinist and oboist Lenora and Johanna Cox, twin sisters who were fellow students of mine.  The textures are reminiscent of a Baroque trio sonata, but the music is twentieth-century in style.

152  Sonnet for a String Player for baritone and viola.  2005

            2 min.  Never performed.

This piece sets an original sonnet, written in honor of a string-playing friend, about how music gives new life to the dead wood of an instrument, and how music also gives new life to dead composers and the memory of performers, and new life to our souls when we play, sing and hear it.

153  Three Lyric Bagatelles for flute trio, 2007

            6 min.  Never performed

These playful bagatelles seek to take advantage of the more cheerful expressive capacities of small groups of treble instruments.

154  Sketch for Viola and Piano, 2006

            4 min.  Premiered by Eugen and Iulia Cibisescu-Duran at opera house in Cluj-Napoca, Romania, 2007

Centered on A, with mostly Aeolian and Dorian inflections, and with an arch form, this piece begins with a simple melodic phrase which seamlessly repeats several times with variation and expansion.  The middle section contains sparkling upper-register ostinatos in the piano.

155  Fire, for viola, flute and harp. 2006

            6 min.  Never performed

This piece opens with a pitch language based on dissonant tetrachords, and contains a perpetual motion bass line.  It breaks into a triumphant D Lydian for the final section.  It was composed at the height of summer, when the beauty of fire entails a sense of danger.

156  Flüchtige Gedanken for oboe and piano.  2006

            3 min.  Never performed

This fantastical little trifle makes considerable demands on the oboist.  The title means “Fleeting Thoughts” in German.

157  Sonata for Organ and Harp.  3 mvts.  2006

            8 min.  First movement premiered with Bethany Evans in concert at

            First Christian Church in Salem, 2008

The opening movement is a Sicilienne in A, and the second movement is a sedate dirge in C.  The third movement is a flowing gigue in D.  This piece was intended as a companion work for a recital in which Ms. Evans and I were playing the ‘Aria in Classic Style’ by Marcel Grandjany.

158  The Ashes Are Smoldering for flute and piano.  2006

            7 min.  Never performed

Unpredictable, often dissonant, disjunct, discursive and mercurial, this piece seems to speak of the volatility which underlies many lives, and all societies.

159  Ode on a Grecian Urn for soprano, flute and harp.  2006

            7 min.  Recorded premiere;  CD released in 2006 (CW, Bethany Evans, Eadie Anelli)

This piece, which sets the five stanzas of Keats’ poem in an ABCBA formal design, strives for a dream-like effect as we contemplate the beauties of ancient Greece.  It flees a sense of regular rhythmic pulse, but the vocal line is lyrical and dulcet, rife with melismas at climactic points.

160  Three Songs for Soprano and Flute on poems of Wordsworth

            6 min.  Never performed.

I have lost the score for this piece, and I do not remember anything about it, except the instrumentation, the name of the poet, and the soprano to whom I gave a copy.

161  Three Songs for Soprano and Cello on poems of Sara Teasdale, 2006

            6 min.  Never performed.

The poignant verse of Teasdale, the anguish behind which is kept in check by poetic form and a keen sense of good taste, is well-served by the sweet minor modes of these three songs.

162  Four Songs of Faith for soprano and instrumental nonet.  Poems by Southwell, Baxter,            Vaughan, Anonymous.  2006

            12 min.  Never performed.

I composed this cycle while reading a great deal in the “Oxford Book of Christian Verse.”  The poets are all English, and from the medieval to early modern eras, recounting experiences of spiritual truths of Christianity.  The final movement looks to the joys of the Holy City, and has as slow cantus firmus in the bass line the ancient medieval hymn “O quanta qualia sunt illa sabata” (poem by Abelard).

163  Clair de lune for baritone, oboe and viola.  Poem by Verlaine.  2007

            3 min.  Premiered with Hinrich Muller and Eadie Anelli at Gordon House in Silverton, 2007

I gave a new setting to this poem, so famously set by Gabriel Fauré, with pizzicato viola suggesting the guitar of a serenade, and the oboe playing tender lines in a gentle tempo in a 6/8 meter.

164  Four Songs of Faith for soprano and flute.  Poems by Barnes, Teasdale, Herrick and Vaughan.            2006

            8 min.  Never performed

These songs are in a similar expressive, stylistic, and apologetic vein as op. 162, but less ambitious in instrumentation.

165  Le Cygne for baritone and viola.  Poem by Rilke.  2006

            2 min.  Privately recorded with self and Eadie Anelli

The poem which this sets, from Rainer Maria Rilke’s verse in the French language, makes an enigmatic statement about love and jealousy concerning the reflection of a beautiful swan in the water surrounding it.  The sinuous, bowed viola line represents the fluidity of the water.

166  Oh, my beloved, have you thought of this, for baritone and viola.  Poem by Millay.  2006

            2 min.  Privately recorded with self and Eadie Anelli, 2007.

This poem concerns itself with a doomed love affair, and is in a similar vein to the song cycle of opus 117.

167  Three Songs on Victorian Poems.  Mezzo, flute, piano, cello.  Poems by Tennyson, Meredith,             Browning.  2006

            6 min.  Never performed

This cycle sets Tennyson’s “The Eagle,” reveling in the depictive opportunities of the plunge of the raptor, “Dirge in Woods,” an evocative poem about loneliness in a dark forest, and “The Star,” a very mysterious but colorful poem, served by a colorful and enthusiastic setting.

168  Six Songs of Morning and Evening for soprano, flute, harp, cello.  Poems by Dickinson.  2006

            9 min.  Never performed

This cycle sets six more of Dickinson’s brief but pithy meditations on eternity and immortality, with discussions of morning and evening as the metaphorical springboard.

169  Three Songs for Baritone and Viola.  Poems of Emily Dickinson.  2006

            6 min.  Never performed.                                                           

170  Three Songs for Soprano and Violin.  Poems of Emily Dickinson. 2006

            6 min.  Never performed

The six songs in the two cycles above may be performed by various voice types, as long as the transposition suits the accompanying string instrument.  Dickinson, it seems, excels at giving us perennially fresh meditations on the movement towards the next world, which are just indirect enough.  I hope that my quasi-tonal musical style well serves her own poetic style.

171  Seven Songs for Soprano and Piano.  Poems of Mary Baker Eddy, 2006.

            25 min.  Sung variously in concerts and services at Christian Science churches.

Mary Baker Eddy, founder of the Christian Science movement, wrote seven hymn texts which are often sung in such congregations.  At the request of the Music Committee of the Christian Science Church in Salem, where I was serving as an organist, I composed these seven songs.

172  Five Psalms.  (1, 2, 137, 126, 148)  Chorus and organ.  2000

            15 min.  Never performed

The Psalms run such a gauntlet of expression and emotion, that we can easily understand why John Calvin called them “an anatomy of the soul.”  These movements for chorus and organ include the enraged mourning of Psalm 137, the joyful praise of Psalm 148, and moods and thoughts in between.

173  Three Psalms.  Chorus and organ, 2001

            6 min.  Never performed

These psalm-settings are meant to be pragmatic for performance by an amateur church choir.

174  Fourteen Psalms for soprano and piano. 

            Approx. 3 or 4 min. each;  variously sung at church services and concerts

I have chosen excerpts from Psalm texts mostly to have a more joyful emphasis.  Moreover, I have not spared my soprano’s ability to sing wide leaps, quick melismas, and long phrases.

175  Seven Psalms for soprano, organ and trumpet.

            Approx. 3 or 4 min. each;  variously sung at church services and concerts

See note for op. 174.

176  Six Psalms for soprano and organ

            Approx. 3 or 4 min. each;  variously sung at church services and concerts

See note for op. 174.

177  Three Shelley Songs for Baritone, Violin and Harp (2006)

            Never performed.

I composed this cycle during a summer when I began to have a preoccupation with the poetry of Percy Bysshe Shelley, which I started to find outright addictive.  The opening song from this cycle, “Away! the moor is dark,” is alone to have been read and recorded.  The pitch language is mostly modal and consonant.

178  Three Shelley Songs for Soprano and Flute (2006)

Never performed.

The salient song from this concise cycle is the “Hymn to Pan,” in which the flute becomes the pipes of the Greek demigod Pan, who taunts the listener that his music would make him weep, “if envy or age had not frozen your blood.”  Both vocal and instrumental parts demand much agility.

179  Seven Shelley Songs for Tenor, Piano and Doublebass (2006)

            Never performed.

With this cycle, my Shelley summer continued, as did my effort to keep lyrical vocal lines more or less in accord with a mildly unpredictable modal harmonic language.

180  Three Shelley Songs for Tenor, Piano and Doublebass (2006)

            Never performed.

See note for op. 179.

181  Five Shelley Songs for Tenor and String Quartet (2006)

            Never performed.

See note for op. 179.

182  Three Shelley Songs for Tenor, Clarinet, Violin and Piano (2006)

            Never performed.

See note for op. 179.

183  Three Shelley Songs for Soprano, Flute, Cello and Piano  (2006)

            Never performed.

See note for op. 179.

184. Fantasia on Nicaea, for chorus and organ

            7 min.  Premiered June 2006 by choir at Silverton United Methodist Church, dir. Ellen Yager

In 2006, my home church, Silverton United Methodist, celebrated the one hundred fiftieth anniversary of its founding.  For the festivities, I composed this arrangement of John Bacchus Dykes’ and Reginald Heber’s “Holy, Holy, Holy, Lord God Almighty,” the first hymn which I remember singing out of the red hardback hymnals when I was a very small child.
185. How Can I Keep from Singing? For mixed choir and organ. Traditional American text. 2006
            3 min.  Never performed.

This concise choral piece sets a traditional text, but it is musically original, and not derived from the tune usually known to this poem.  Despite a mostly consonant harmonic profile, it takes us through some distant modulations.
186. If You Continue in My Word for mixed chorus a cappella. Text from Gospel of John.
            3 min. Premiered at the Bach Cantata Vespers Series at St. James Lutheran Church in Portland, Oregon, dir.  Nancy Nickel

This unaccompanied motet was commissioned for the 2006 Reformation Sunday vespers service at the central ELCA church in Portland, in honor of Ann Fruechte, a retired assistant to the pastor.  It sets the text including the passage “…and you shall know the truth, and the truth shall set you free.”
187. Anthem on Revelation. Mixed chorus and organ. 2006
            4 min.  Never performed

This triumphant anthem looks forward to the “new heaven and new earth” of the book of Revelation.  My hope is that it is extroverted and joyful without being bombastic.
188. Three Carols of the New World for mixed chorus a cappella. Arrangements of North American           folk carols. 2006.
            8 min.  Nos. 1 and 3 premiered by Willamette Master Chorus, dir. Paul Klemme, 2007 and 2008.

These are arrangements of the American folk hymns “Morning Song” (“Ye Who Claim the Faith of Jesus”), “Brightest and Best of the Stars of the Morning,” and the “Huron Carol” (“Twas in the Moon of Wintertime”).  They are not simplistic, but are fairly harmonically straightforward and melodious.
189. Four Carols for mixed chorus a cappella. Poems by Rossetti, Dickinson and Anonymous. 2006
            8 min.  Never performed.

This cycle sets the four poems “Advent” and “Christmas Eve” by Christina Rossetti, “The Savior Must Have Been” by Emily Dickinson, and “Green Grow’th the Holly,” anonymous.
190. Two Ballad Carols for mixed chorus a cappella. 2006
            6 min.  Never performed

These have a fairly homophonic texture, and modal harmonies, but the second carol is in 5/8, somewhat unexpectedly.  The first text is called “Saint Stephen and Herod,” and the second is the “Cherry Tree Carol,” with my original tune.  Both texts are of ancient English origin.
191. Three Christmas Motets for mixed choir a cappella. Latin texts. 2006

            7 min.  Never performed

The three texts of these motets are “Hodie Christus natus est” (Today Christ is born), “Jesu, Redemptor omnium” (Jesus, Redeemer of all) and “Puer natus est nobis” (A boy is born to us).  While consonant, their textures are more adventurous than those of some of the English-language pieces which they follow in the catalog.

192. Rondo in D for Orchestra. 2006
            5 min.  Never performed

This piece, for a medium-sized orchestra of double winds and a moderate string section, is a jolly romp in a bright and congenial key and mood.
193. Four Movements for Wind Ensemble. 1. Pastorale, 2. Rêverie, 3. Marche sardonique, 4. Scherzo. 2006
            14 min.  Never performed

The first movement of this piece is a lilting Pastorale in B-flat Major and a 12/8 meter.  The second and third movements are each based on a fairly small amount of basic material, but it repeats extensively, with sections of the wind band being added repetition by repetition, giving contrast and fleshing out the sound.  The fourth movement is an energetic rondo in 5/8, with disassociated triads and a mischievous air.
194. Sixty-Three Name-Fugues for Organ.
            Approx. 2 min each.  Performed in a wide variety of church and recital settings.

Each of these pieces is based on the name of a friend or relation, with the name converted to a fugue subject via the encoding technique known as “soggetto cavato.”


195-243:  Mostly Song Cycles

Note:  for the song cycles which abound in the next fifty or so opus numbers, the individual songs have often been performed in other cyclic configurations besides those shown here.  The individual songs tend to be concise (say, one to three minutes).  The singers at the premieres include myself, Judith Weed, Mary Jensen, Yuri Maria Saenz, and others, in such environments as student composers’ concerts at Marylhurst, concerts at the Old Church in Portland, at the Mount Angel Abbey Library, the Gordon House at the Oregon Garden, or the Contemporary Music Festival at Sam Houston State University in Texas.  A few of the cycles are entirely unperformed.

195. Ten Songs on Poems of Patricia Ann Love. Medium voice and piano.

Pat Love is a local poet whose musings, mostly in free verse, on themes of loss, anguish, hope, and the natural world were a source of inspiration to me for a while.  Most of my settings of her poems are freely atonal.
196. Nineteen Songs on Poems of Emily Dickinson. Soprano and piano.

These songs are mostly very concise, as are Dickinson’s disarmingly profound poems.  A wide array of compositional approaches seemed to serve the moralistic or expressive intent of her verse.
197. Eleven Songs on Poems of William Shakespeare. High voice and piano.

Several of these songs are in a more conventional, almost common practice tonality, and would be suitable for use as incidental music for a theatrical production.  A few of the songs are more adventurous hamornically.
198. Eight Songs on Poems of Stéphane Mallarme. High voice and piano.

Much as Mallarmé’s poetry is often a disarming phantasmagoria with little reference to the world of conventional logic, so my music for his poetry is atonal and fantastical, with only a few exceptions, such as the medieval sequence hymn which I subtly use as a slow cantus firmus in the bass of the piano for one of the songs.
199. Fêtes galantes: Five Songs on Poems of Paul Verlaine. High voice and piano.

The compositional style here is similar to that for op. 198, and the poems are likewise modernist and in the French language.
200. Seven Songs on Original Poems. High voice and piano.

These seven songs set poems of my own, mostly sonnets, mostly addressing the theme of unrequited love, although some are villanelles also.  The vocal lines both declaim and express.
201. Five Songs of Travel. Poems by Robert Louis Stevenson. High voice and piano.

These songs demand considerable agility from the soprano, but incorporate some faintly Scottish folkish elements in the musical language, and strive for a smooth appeal.
202. Thirteen English Songs. High voice and piano. Miscellaneous poets.

These songs all set poems by English-language poets, and were not originally intended as a cycle.  Poets represented include Philip Sidney, William Blake, Elinor Wylie, Ben Jonson, and Christopher Marlowe.
203. Six Villanelles for a Drowned Parent. Poems by Judith Barrington. Baritone and piano.

The “villanelle” is a fixed poetic form in nineteen lines with a certain pattern of repetition.  This cycle of six poems was written by a British-American poet living in Portland, Oregon, concerning her loss of her parents to shipwreck in her nineteenth year.  The moods of poems and music address various aspects of grief, from anger to desolation to nostalgia.
204. Three Songs on Poems of Longfellow. High voice and piano.

These songs were composed in response to the competitions for musical settings of Longfellow’s poetry arranged in the mid-2000’s by a society in Portland, Maine.  One song, “Snow-Flakes,” was performed there for a Longfellow birthday celebration, as a result of the rank of finalist in the competition.
205.   Two Movements for Trombone and Piano.  2000

            6 min.  Never performed.

The first movement is a slow introduction emphasizing the trichord (025), and the second movement is a warped gigue in 10/8, vaguely in E-flat.  This piece has been published by Holben Publications in Long Beach, California.
206. Three Songs on Sonnets of John Keats. Baritone and piano.  1997

I composed these in Montreal, and sang them in practice-room recordings with volunteer pianists.  The sonnets are “As from the darkening gloom a silver dove,” “After dark vapors have oppressed our plains,” and “The Sea.”  The style was unaccustomedly tonal for me at the time.

207. Three Songs on Poems of Friedrich Hoelderlin. Voice and piano.

Hoelderlin was a nineteenth-century German poet who lost his sanity to his Romantic aestheticism.  These songs, like the Hebbel settings in op. 212, contain this post-Romantic spirit without excessive conventionality in the pitch language.
208.  Quartet for Violin, Clarinet, Cello and Piano.  1.  Faschingtanz,  2.  Sarabande.  1996

            7 min. Never performed.

The first movement of this chamber piece is wild and unrestrained, a dance for “Fasching,” a kind of particularly woolly German Carnival celebration.  The Sarabande is more sedate, but still highly harmonically prickly.
209. Four Songs on Poems of Gerard Manley Hopkins. Low voice and piano.

These set four devotional poems by the Irish Jesuit Hopkins, whose inventive use of language helps to renew faith.  The musical language is rife with quartalism, modality, and mild dissonance which resolves eventually.
210. Three Songs on Poems of John Donne. Low voice and piano.

Similar explorations in musical style are to be found in these settings of three of the Holy Sonnets by the seventeenth-century English Metaphysical poet Donne.
211. Three Songs on Poems of Sara Teasdale. High voice and piano.

Yet more similar explorations in musical style appear in these Teasdale settings.  The poignancy of Teasdale’s sense of abandonment by the world in her later years manifests in the poems, but the anguish remains lyrical and at a slight distance, not appearing in dissonance or the semblance of chaos.
212. Three Songs on Poems of Friedrich Hebbel. High voice and piano.

The theme of these songs, post-Romantic and lush in tone, if not overly conventional in pitch language, is the coming of night, seen as both beautiful and dangerous, but calming and fearful.
213. Five Songs on Poems of Christina Rossetti. High voice and piano.

These poems address the religious themes customarily encountered in the work of Rossetti, the “Anglican nun.”  The most tempestuous of the set is “Love Is Strong as Death,” about a soul finding a surprising salvation at the moment of passing.  The most poignant is “A Song for All Maries,” about the women keeping a vigil on Holy Saturday, when Christ was dead in the tomb.  These were premiered by Yuri Maria Saenz, soprano, with me at the piano in a new music festival in Huntsville, Texas in 2011.
214.   Symphony for Strings, in three movements.  2000

            10 min.  Never performed.

This work, for the traditional string orchestra instrumentation, is mostly centered on F Lydian or D Dorian.  The second movement has been independently published as “Canon for String Orchestra” by Imagine Music in Medina, NY.  The first and third movements use the expected sonata/allegro and rondo formal designs.

215.   Three Songs on Poems of Heinrich Heine, for voice and piano.  2008

This cycle sets three of the better-known poems in German by Heinrich Heine, and it seems to me that my musical style for voice and piano shows here signs of growing in confidence, finesse, and originality.  The third song sets the poem “Der Tod, das ist die kühle Nacht,” so well-loved in Brahms’ version.
216. Four Songs on Poems of Rainer Maria Rilke. High voice and piano.

These Rilke settings include a song on one of the “Sonnets to Orpheus,” and also a setting of a poem about Zeus coming to Leda in the form of a swan.  I find them highly emotionally expressive.
217. Four Songs on Poems of Charles Baudelaire. High voice and piano.

One of these songs, “Spleen,”  tends towards the grimily melancholy, an important aspect of Baudelaire’s psyche, whereas two others address his aestheticism:  “La Beauté” and “Hymne à la Beauté.”  Another still has a spirit of transcendence:  “Elevation.”
218. Three Songs on Poems of Alfred de Musset. High voice and piano.

The first of these is dark and dissonant and expresses a tone of despair, but the final two have a mood which is at first more hopeful, and then resigned to mortality, and appreciative of the beauty which remains in the world despite it.
219. Sixteen Songs on Sonnets by Edna St. Vincent Millay. High voice and piano.

This is a heterogeneous group of songs, in several respects (in terms of musical style and poetic tone), but all of them set sonnets by Millay.
220. Seven French Songs. Various poets. Low voice and piano.

These songs were not necessarily originally intended as a cycle, but they come together nicely, setting work by various French and Québecois poets, such as Marcelline Desbordes-Valmore, Sully Prudhomme, and Albert Lozeau.
221. Seven Songs of Grief, on lyric poems by Millay. High voice and piano.

This collection is more thematically oriented, addressing the subject of mourning for the recently departed, and seeking answers as to the nature of death and immortality.

222. Three Wind Quintets on Folk Songs of Nova Scotia. 2007
            9 min.  Privately read and recorded, 2008

These wind quintets contain a large amount of my own fancy, but they use as recognizable cantus firmuses three folk songs from the Maritimes of Canada:  “False Knight upon the Road,” “The Cruel Mother,” and “The Dark-Eyed Sailor,” of which the third is the best-known in this country.  The cantus firmus tends towards the oboe in the first movement, the flute in the second, and the clarinet in the third.

223. Two Songs on Poems of Erich Kaestner. Low voice and piano. 2000

The two poems are “Sachliche Romanze” (“Matter-of-Fact Romance”) and “Das Eisenbahngleichnis” (The Railroad Parable), written by a twentieth-century German poet who was the prototype of the “neue Sachlichkeit” (“New Objectivity”).  They were sung by the contralto Mary Jensen.
224. Four Songs on Poems of Georg Trakl. High voice and piano. 2007.

Trakl died very young after excruciating experiences working as a nurse for the German army in World War I.  His poetry is very dark, mysterious, at times disturbing, and rarely direct.
225. Fantasy Piece. Oboe and Harpsichord. 2007
            8 min.  Privately read and recorded with Hinrich Muller, oboist.

This piece tends towards F Lydian as a mode, and features sections of more or less irregular rhythms, of more or less sparse textures, and some more conventionally oriented, with a background of arpeggios in the harpsichord and linear melodies in the oboe.
226. Sonatina in Three Movements. Harp, solo. 2007
            8 min.  Never performed

In a version for harpsichord, this piece was published by Bellmann Musik in Halle, Germany, in a volume devoted to contemporary music for that instrument.  It is pandiatonic and gently modernist.
227. Three Movements for Harp and Woodwind Quartet. 2007
            7 min.  Never performed

In this piece, the harp supports more lyrical musings from the flute, oboe, clarinet, and bassoon, but also emerges at times as the bearer of primary musical substance.
228. Quartet for Flute, Oboe, Viola and Piano. Three mvts. 2007
            9 min.  Premiered with Sue Allan, Eadie Anelli and Hinrich Muller in “Chambers of the Heart”

            concert at St. Edward’s Episcopal Church, February 2007

The opening movement of this piece is sort of in A Minor, and is in a Sonata-Allegro form.  The second movement is a slow procession, perpetually varying the introduced material.  The third movement is a gigue-like rondo of mild dissonance.  I have made a version for piano quartet (vl., vla., vc., pno.) which was recorded in Salem in 2016.
229. Contemplation for Organ. 2007
            4 min.Premiered by self in recital at First Presbyterian Church in Eugene, Ore., 2008

This piece, in 5/4 and in G Major, stretches phrase lengths and elide them to create the sense of an endless melody.  It has been recorded by Carson Cooman of Cambridge, Massachusetts.
230. Two Movements for Solo Marimba. 2007
            6 min.  Never performed.

These concise movements explore a variety of textures and gestures on this expressively delicate mallet instrument.
231. Seven Songs on Poems of Judith Montgomery. Low voice, flute, piano, cello. 2007

This cycle was premiered at the Frank Lloyd Wright-designed Gordon House in Silverton, as part of a summer concert called “Songs of the Here and Now.”  Judith Montgomery, a poet in Bend, Oregon, writes very disciplined verse, with freshness and lack of pretension despite occasional adherence to forms such as the sonnet, villanelle, or pantoum.  Her poems treasure love in middle life, and reasonable resignation to mortality, and I hope that my music does them justice.
232. Five Songs on Poems of Floyd Skloot. Low voice, violin, piano. 2007

Skloot is a poet from Portland, Oregon who has written prolifically, especially on the subject of his experience of chronic illness.  This cycle begins with a bittersweet contemplation of the autumn, and ends with an expression of frustration at the grief of suffering from physical limitation in the spring.
233. Three Songs on Poems of John Keats. Mezzo, violin, harp. 2007.

These modal/tonal compositions set three of Keats’ best-known poems, including ‘La Belle Dame sans Merci.’
234. Edward. Soprano, violin and cello. 2007.

This medium-length individual song, composed without a piano part to suit the request of an ensemble in Boston, sets a traditional Scottish ballad text about a despairing man who murders his lover, and curses his mother for leading him astray morally.  The tone of menace and grief builds throughout, as the details of the situation reveal themselves in a dialogue between Edward and his mother.
235. Three Fragments from the Song of Solomon. Low voice, violin, harp. 2007

These are three very concise songs setting each just a verse or two.  The passion and ardor of this Biblical book prevails despite their brevity.  The musical style is not jarring, but the rhythms are somewhat lacking in a regular pulse, and the harmonic profile is not common practice.  I composed this using the Gideons’ Bible in the drawer in a hotel room in Dubuque, Iowa, where a conference I was attending had been snowed out.
236. In the Rooms. Tenor, piano, contrabass. Original poem. 2007

The original poem which this sets was a prizewinner in the “Poets’ Choice” category for the Oregon Poetry Association’s contest.  It includes the refrain “in the rooms..” and then speaks of the activities, mostly joyous and all at least pleasant, which are going on in them, wheresoever they may be.  The piece is in a fairly limpid E Major.
237. String Quartet No. 7. 2009

This three-movement string quartet, of moderate length, includes an opening movement based on combinatorial pc sets, and a frisky third movement with insistent repeated notes taking on a playful character.

238. Three on Poems of Judith Montgomery. Soprano, flute, cello. 2007.

This cycle sets three poems from Montgomery’s collection “Pulse and Constellation”:  “Glimmering Heart,” “Opening the Atrium,” and “Let Me Become.”  Expressive, supple lines in the vocal part are supported by mostly consonant sonorities in the two instruments.
239. Canciones del Alma. Baritone and harp. Poem by Saint John of the Cross. 2007

This concise song sets a couple of strophes from the poetic writings of the sixteenth-century saint who reformed the Carmelite order in Spain.  It is an ardent appeal to the Spirit, with whirling, breathless melismas for the singer, and a very active texture in the harp.
240. Epiphany for soprano, mezzo, violin, piano. Poem by Rossetti. 2007

In this piece, singers representing the Magi sing of the gifts which they bring to the Christ Child.  The devoted spirit of Rossetti is apparent in her writing and the music which it inspires.
241. Three Sonnets of Divine Love. Low voice, viola, harp or piano. Poems by Rossetti. 2007

Rossetti’s theology, as expressed in her poetry, stays eloquently but firmly on message about the loving and forgiving nature of God.  These modal, melody-driven songs, set three sonnets which convey this message.
242. Song of Death. Baritone and harp. Poem from Carmina Gadelica. 2007

The “Carmina Gadelica” is a volume of translated traditional poetry from Scotland, made by Alexander Carmichael.  It contains many prayers for protection against danger, and also poems about preparation for a fearless death.  This song sets one such poem.
243. Christmas. Soprano, flute and cello. Poem by George Herbert. 2007

I have lost all copies, digital or printed, or this brief setting.
244. String Quartet No. 10.  2007

A modality centered mostly on D or A, and of Dorian or Aeolian inflections, governs much of this vigorously homophonic and melody-driven cycle of four fairly concise movements.
245. Five Songs of Autumn. Violin and Piano. 2007

These are “songs” in that the violin plays, in a cantabile fashion, lines in a modal, quartal, or tonal context which correspond to various aspects of the season of autumn, with its warmth, fertility, and occasional foreboding.
246. Three Songs of Longing. Flute, harp, cello. 2007

The lyrical, yearning lines of the flute, supported by the cello and carefully idiomatic writing for the harp, gives this cycle its name.
247. Suppressed work
248. Five Songs of Love. Violin and flute. 2007.

The two treble instruments intertwine amorously in a mostly consonant manner, at times languorously, and at times vigorously.
249. Five Songs of Light. Viola, harp, cello. 2007

The somberness of the lower-register instrumentation seems as though it might belie the designation of these as “songs of light,” but their tone is reassuring and restoring.
250. Six Songs of Salmon. Viola, flute, harp. 2007

Since I heard of Schubert’s “Trout Quintet” as a boy, I have considered fish to be a fair topic for chamber music.  The melodic instruments play lines of a fish’s freedom and lack of inhibition, while the harp supports them with arpeggios and other harpish textures.
251. Four Songs of the Ocean. Violin, harp, flute, cello. 2007

These pieces have a dreamier and more wistful quality, with violin melodies overlaying more ethereal, unpredictable textures, complete with alternations between the more sparse and more dense.  The harp tones are like sea-spray.
252. Four Angel Songs. Cello and harp. 2007.

The cello here sings with the masculine voice of an angel, as they are perhaps traditionally conceived.  The harpist, supporting bard, provides consonant harmony.
253. Four Jewel Songs. Flute and string quartet.. 2007

In a version for basset clarinet and string quartet, this piece has been published by “Editions Lyriques” in London, England, a company belonging to clarinetist Marc Naylor.  The name of the company may be apt, for this cycle is extravagant and hyper-expressive in its lyricism.
254. Five Wordless Songs. Viola, flute, harp. 2007

There are those who mock the chamber music legacy of Claude Debussy, but I find that is poses elegant challenges.  This cycle, with its debussyste instrumentation, needs only the proper cantabile expression and spirit of lyricism in the instrumental performers to convey much emotion.
255. Three Sonnets on the Mystery. Violin, flute, harp. 2007

These three movements are each just developed, yet restrained enough to convey the spirit of the sonnet as a formal constraint.  The lines, taking unconventional directions in their modulations but mostly vertically consonant, begin more sedately, but then develop into greater activity.
256. Three Songs of Beauty. Violin, flute, viola, cello.. 2007

This quartet has a congenial spirit, as though the instruments were discussing aesthetic matters in a friendly way, and bringing forward their individual offerings of what melodic beauty might be.
257. Prayer. Wordless SSA choir, flute, harp. 2007

This piece, with a choir singing vocalises, a flute descant, and many harp arpeggios, is in the bright key of D major, with explorations of a variety of modes and moods.

259. Three Pieces on Poems by Longfellow. SATB choir a cappella. 2007
This cycle was composed for the competitions through the Longfellow Society in Portland, Maine.  The prizewinner of the three in this cycle was “Daybreak,” sung by the Longfellow Chorus under the direction of Charles Kaufmann, including on the front steps of Longfellow’s house in Cambridge, Massachusetts.
260. The Hound of Heaven. Mixed chorus, organ four soloists. Poem by Francis Thompson. 2007.
            25 min.  Never performed

The poem which this sets makes the unusual comparison of Jesus Christ to a hound, relentlessly pursuing the wayward soul, who would rather flee Him in order to remain in the pleasurable state of destructive sin to which the soul has become accustomed.  The poem and piece subject the listener to an emotional gauntlet.  Musical features include shifting modes centered on the tone A.
261. Anthem on Romans 8. SAB choir and organ. 2007
            3 min.  Never performed

This simple anthem sets a well-loved passage from the Epistle to the Romans about the inalienable connection of the faithful to the love and grace of God, through Christ.
262. Sperent in te for mixed chorus a cappella. Poem from Dante’s “Paradiso.” 2007
            8 min.  Never performed

The text of this piece, to be sung in Italian, is a meditation by Dante on the nature of Hope.  The plush choral textures are often in the bright key of A Major.
263. Easter Carol for SAB chorus and piano. Poem by Rossetti. 2007
            3 min.  Unperformed

This concise piece sets a poem which revels in springtime imagery as an indication of the joys of the spiritual season of Resurrection.
264. Two Pentecost Anthems:  “O Come, Creator Spirit” and “Come, Thou Holy Spirit, Come”. Mixed chorus and organ. 2008.
            6 min.  Unperformed

The texts of these two anthems are English translations of the traditional Latin prayers Veni Creator Spiritus, and Veni Sancte Spiritus.  Their faintly modern harmonies seek to convey something of the mystery of the Spirit, while still being accessible to the amateur church choir.
265. Three Motets from Isaiah. Mixed chorus a cappella. 2008
            7 min.  Unperformed

These motets, employing an almost common practice tonality, set texts prophesying the abundance of God’s grace in the Messiah.
266. Three German Songs. SSA choir a cappella. Poems by Heine, Moerike and Uhland. 2008.
            6 min.  Unperformed

These part-songs set poems by nineteenth-century poets, in the original German.  The musical language is neither jarring nor ‘common practice,’ but rather gently unpredictable.
267. Hymn for the New Year. Mixed chorus and piano. Poem by Charles Wesley. 2008
            4 min.  Unperformed

This jolly hymn is fairly conventional in pitch language, but the meters often shift or are irregular, conveying enthusiasm and vigor as one prays for a joyful New Year.
268. Gloria, laus et honor. Mixed chorus a cappella. 2008
            6 min.  Unperformed

The text of this motet is part of the liturgy for Palm Sunday, present also in the well-known English-language hymn “All Glory, Laud, and Honor.”  While the piece is more tonal than many, some of the coloratura figures are extravagant in gestural contour.
269. Carol of Angels. Choir and viola. Poem by Christopher Wordsworth. 2008
            4 min.  Unperformed

This piece is more accessible to choirs, more homophonic and harmonically predictable.  It sets a nineteenth-century poem about the coming of the angels to the shepherds at Christmas.
270. Three Carols. Mixed chorus a cappella. Poems by Paman, Jonson and Herrick. 2008.
            7 min. Unperformed

These three carols are also more homophonic, and employ common practice tonality.  They set Christmastide devotional poems from seventeenth-century England.
271. Three Sacred Songs. SSA choir, piano and viola. Poems by Christina Rossetti. 2008
            8 min.  Unperformed

These devotional part-songs continue my preoccupation with the unaffected piety of Christina Rossetti.  The viola obbligato adds a richness to the texture.
272. Dextera Domini for mixed choir a cappella. Latin Psalm 118. 2008 7 min.  Unperformed

This Latin-language motet sets a text associated with Holy Thursday, an honoring of the boundless might of God.  While the piece is modal or tonal throughout, some of the coloratura figures are extravagant in gestural contour.
273. God, My King, Thy Might Confessing. Mixed chorus, organ and flute. 2008.
            6 min.  Unperformed

This text is often sung by congregations to the tune “Stuttgart,” but I have created my own setting for it.  It is extroverted and harmonically clear, despite metric suppleness.
274. Three Songs of Immortality. Mixed choir a cappella. Poems by Dickinson. 2008
            5 min.  Unperformed

These very concise songs address both issues of grief and ecstasy in regards to the expectation and experience of mortality and of the next world.
275. Three Songs of Spring. High voice and piano. German texts of nineteenth century. 2004
            6 min.  Premiered at a Liederabend at the house of Stefan and Edith Minde in Portland, Oregon.

These poems, by Uhland, Lenau, and von Fallersleben, are so well-known to Germans, that the more traditional musical settings of them (by such composers as Schubert) are almost considered folk music by persons of that nation.  However, my new settings were well-enough received by an audience mostly drawn from the German-American Society of Portland, Oregon, at a private party.
276. Five Songs on Poems of Emily Dickinson. SSA choir a cappella. 2008

            10 min.  Unperformed, except for “The brain is wider than the sky,” sung at Linfield College

These three-voice part-songs make use of pandiatonicism and some unusual melodic contours, but they are not harsh in tone.  The songs meditate on transcendence, the relation between the self and the world, and immortality. 

277. Octet for Winds and Strings. Two mvts. 2008.
            10 min.  Unperformed

This piece is for flute, oboe, clarinet, bassoon, and string quartet.  It is centered on E, and features at one point a ground bass line which unfolds the entire aggregate.
278. Introduction and Capriccio for Flute and Viola. 2008
            5 min.  Unperformed

This little caprice is an entertaining escapade for two fancy-free instrumentalists.
279. Two Musings for Clarinet Solo. 2008.
            5 min.  Unperformed.

These two pc set-based bagatelles are somewhat oblique in effect, with their tight construction.
280. Serenade for Oboe and Strings. 2008
            4 min.  Unperformed

This concise piece is based on D, and expresses moods both rhapsodic and sedate.
281. Divertimento for String Trio. 2008
            4 min.  Unperformed

This whimsical little bagatelle would be suitable for the dancing of a faster “Allemande.”  With a quicksilver pitch language, it evades expectations.
282. Variations on “The Last Rose of Summer” for Esther Crampton. Viola and piano. 2008
            6 min.  Premiered by Eadie Anelli with self, in house concert for Esther. 2008

This is a sectional set of variations on a bittersweet Irish folk tune, composed at the request of the dying mother of a musical colleague and friend.
283. A Tune for New Life. Violin and Piano. For Mary Fronza. 2008
            4 min.  Premiered by Christiana Zollner at Mary’s baptism at St. Paul Catholic Church, Silverton

This piece, in a simple “Bogen” form, with a tender G major melody and an optimistic tone, was composed for the as-yet-unborn daughter of a friend.
284. Wandering Song. Solo English horn. 2008.
            2 min.  Never performed

This concise solo piece is like a journal entry of a traveler, passing through a foreign area where he sees intriguing contrasts to his place of origin, and feels engaged.
285. Septet. Fl., Ob., Cl., Bsn., Vl., Vc., Pno. Two mvts. 2008
            7 min. Unperformed

The opening movement is in a sonata-allegro form, and is in a quick 6/8, with some jagged melodies, but not much harsh dissonance.  The second movement is a set of variations, beginning slowly, with a sense of decorum borrowed from the Baroque dance suites so popular among us keyboard players.
286. Diptych for Horn and Piano. 1. In the beginning all creatures flourished. 2. In sickness and in             health. 2008
            5 min.  Recorded with John Dodge, hornist;  2008

The first movement uses as a cantus firmus, with much variation, a chant by the twelfth-century composer Hildegard of Bingen.  The second movement begins more bound by serial procedures, and ends with victorious consonant arpeggios, prophesying the recovery from chronic illness of my sister, Kimberli.
287.  Three Sets of Hymn Variations for Organ:  1.  “Salvation,” 2. “ Amarte solo a Ti, Senor,” and            3.  “O Daughter of Zion, Awake.”    2008

            Approx. 7 min. each.  Premiered in worship or in recitals.

The first hymn-tune in question is associated with a text about the martyrdom of St. Stephen, but the melody is of American folk origin.  The second hymn is very popular among Mexicans, and has simple repetitive words about the love of Christ.  The third hymn has a text which is a paraphrase of Isaiah, and the tune was composed by a Norman Greenwood of England.
288. Variations on Oregon, My Oregon. For organ, for Sesquicentennial 2009.
            8 min.  Premiered at 4th Annual concert at Christian Science Church, Summer 2009

This is a set of variations on the official song of the state of Oregon, where I was born, and have lived for thirty-seven of the forty-two years of my life.  Variations represent Oregon’s scenic splendor, the learning in the hallowed halls of her universities (this one features canonic devices), the vigor and diversity of her people, and other aspects of her grandeur.
289. Two Modal Preludes and Fugues. For organ. No. 1 in D, no. 2 in E. 2008
            7 min. each.  Recorded on a CD released in 2008.

The first modal prelude and fugue is more in D Dorian, and the second in E Phrygian, but both have a great deal of modal mixture.  Toccata-like passages open each prelude, but the fugues follow a strict procedure, with a management of consonance and dissonance garnered from the study of tonal counterpoint and the writings of Hindemith.
290. Three Songs from Isaiah, for low voice and flute. 2008
            7 min.  Unperformed

These songs set the voice and flute intertwining and striving as they give utterance to the complex concepts of Isaiah’s prophecy.
291. Song from Isaiah 44. Alto voice, flute, organ. 2008
            3 min.  Unperformed

This piece is more lyrical and accessible, its prophecy being one of consolation and sweetness.  It is in G Major, more or less.
292. Three Scottish Prayers. Soprano and harp. Poems from Carmina Gadelica. 2008.
            6 min.  Unperformed

These prayers for protection from ancient Scottish sources, translated from Gaelic by Alexander Carmichael, I have set as modal songs with oft-shifting meters, and shapely melodies.
293. Schilflieder. Baritone, viola, piano; cycle of five songs. Poems by Lenau. 2008.
            10 min.  Premiered by self in concert for 2008 Silverton Poetry Festival at Mt. Angel Abbey.

These “sedge-songs” concern themselves with an unrequited lover prowling about in a swamp at dusk, bemoaning the neglect of his beloved.  The dark timbres of baritone and viola suit the accounts of the sunset and gathering storm, and some dissonance in the earlier movements gives way to clearer harmonies and sparser textures in the final song, as the moon appears.
294. Two Songs on Poems of Paul Valery. Soprano and cello. 2002

            4 min.  Never performed.

These songs set the poems “La fileuse” (The Spinning-Girl) and “Les vaines danseuses” (The Vain Dancing Maidens).  In the first song, perpetual motion in the cello corresponds to the spinning wheel, a symbol of industry bringing about environmental disaster (“..all the green sky dies.  The last tree is burning…”).  The second poem is a more picturesque and sensuous account of young women dancing in a forest at night.
 295. Silver River. Baritone, English horn, flute, viola. Poem by Kaji Aso. 2008
            4 min.  Recorded with self, Sue Allan, Hinrich Muller, Eadie Anelli, C. Sinibaldi, 2008

This piece was composed on a poem by a Bostonian Japanese-American who wrote of the legend of the heavenly lovers symbolized by two stars who only meet in the sky once a year, crossing the “silver river” of the galaxy for their much-awaited tryst.  The song challenges the listener to consider whom she or he might love so much as that.
296. Five Sings of the Bee. Soprano, flute, viola, cello. Poems by Dickinson. 2008.
            5 min.  Unperformed

In these five very brief songs, each setting a poem by Dickinson having to do with bees, the bee becomes a natural symbol opening the life of the imagination, perhaps through sexual reverie.
297. Three Feasts and Fasts for soprano, flute, viola and piano. Poems by Rossetti. 2008
            6 min.  Premiered with Monica Szabo, mezzo at New Voices Festival at Catholic University

            of America in DC, September 2010

These three songs address the feast of Easter Day, celebrating Jesus Christ’s resurrection;  the fast of the Vigil of St. Peter, when humanity considers the sinfulness which leads us at times, like Peter, to deny Christ;  and Trinity Sunday, a week following Pentecost, considered by Rossetti a time to celebrate the triumph of the love manifest in the Three Persons.
298. Three Pastoral Songs on Poems of Emily Dickinson. Soprano, flute, piano, cello. 2008
            10 min.  Never performed

This cycle strives to embody musically the oblique sophistication of Dickinson’s simple-seeming verse, which uses images and metaphors drawn from the experience of the beauties of nature to bring forth truths about the finite self and its relation to Eternity.
299. Break Forth, O Beauteous Heavenly Light. Low voice, flute, piano. 2008.
            2 min.  Premiered by self, Emily Potter and Gary Frame in worship at First Christian Church,

            Salem, Ore., 2008

The text is drawn from the Lutheran chorale Brich an, du schönes Morgenlicht, about the coming of the good news of Christmas to the shepherds by Bethlehem.  My setting is musically new, however, not derived from the traditional chorale melody.  It begins in F Minor, but shifts to more major inflections for a joyful end.
300. Two Songs from Isaiah. Alto and organ. From chapters 35 and 54. 2008
            2 min. each.  Premiered by Marilyn Crawford and Ellen Yager, respectively, in church concerts.

The texts of these songs come from the passages in Isaiah which foretell an end to Israel’s suffering, through the grace offered by the Messiah.  The music has a somewhat staunch Mendelssohnian charater, perhaps inspired by the listening I was doing to prepare for my Fellow of the American Guild of Organist examination, but the harmonies are more adventurous than Mendelssohn’s.
301. Jeremiah 14. Soprano and piano. 2008

            3 min.  Unperformed

This concise piece sets a more optimistic passage from the Prophet Jeremiah.  Its musical style can be discussed in similar terms to that of op. 300.

302. Harp Concerto. For Bethany Evans. 3 mvts. 2008
            12 min.  Unperformed

This piece discreetly uses a fairly small ensemble, the instruments chosen so as not to overpower the delicate harp.  I eschewed trumpets in favor of the horn, for example.
303. Aspirations for solo harp. 2009
            7 min.  Recorded by Bethany Evans, 2009

This piece, in a large-scale arch form, features many arpeggios with ever-shifting modes in the outer sections, and some fugal expositions centered on A in the middle.
304. Piano Trio No. 4. Five mvts. 2009
            16 min.  Played in concert at the Christian Science Church in Salem by Trio Polychorda.

1.  Variations, 2.  Barcarolle, 3. Gigue, 4.  Passacaglia,  5. Rondo.  This piece alternates quicker and slow movements, and has more the character of a suite than of a concert piece with the sonata formal designs.
305. Isaiah 25. Soprano and organ.
            2 min.  Unperformed

The soprano line is rife with register leaps and demanding melismas, corresponding to the extreme joy of the speaker, looking for the restoration of Israel’s fortunes.  The tonality is A, but modal elements are at times present, as is pandiatonicism.
306. Per aspera. Oboe and violin. 2009
            2 min.  Unperformed

This concise piece is inspired by the Latin motto “By adversity, we reach the stars.”  The instruments strive, and rise together to greater consonance and strength.
307. Two Movements for English Horn and Piano. 2009
            7 min.  Recorded with Hinrich Muller, 2010

The mild dissonances of this piece are reminiscent of Francis Poulenc in his wind writing, as is its essential lyricism and tender, bittersweet character.
308. String Quartet No. 8.  2009

After a slow introduction with an exposition of a simple fugue subject, this gives way to a gigue-like rondo.  It has been recorded by Christine Witzel, Erhard Schlagheck, Bernd Edelmann and Peter Bös, an amateur quartet in Munich, Germany.
309. Three Movements for English Horn and Viola. 2009
            One movement premiered as “Exchanges Cordial and Choleric” in “Soli fan tutti” concert series

            at State Theater in Darmstadt, Germany, April 2012

This piece suggests that the two instruments have personalities, and are having a conversation which involves a wide array of different kinds of interaction between them.
310. Now, Today, I Will Sing. Soprano, flute and piano.  Song cycle on poems by Sappho. 2003-09
            50 min.  Premiered in this form at Willamette University, Hudson Hall, faculty recital of Christine Welch

            Elder, November 2013

This long song cycle, comprising about four dozen very brief numbers, celebrates the contribution to the arts of Sappho, a poetess who lived in the Greek islands six centuries before Christ.  It can be performed with or without more dramatic or visual elements.  An adapted shorter version, known as “Sappho, the Tenth Muse,” has also emerged.
311. Six Sketches for Piano. 2009
            12 min.  Unperformed

These sketches, intended to be of medium difficulty, have whimsical subtitles such as “Tripod’s Gavotte” (a fumbling dance for the three-legged pet cat of a friend) and “Manatee’s Minuet.”  They evoke the world of childhood somewhat as Debussy’s “Children’s Corner” might be considered to do.
312. Two Movements for Four Hands (piano). 2009

            7 min.  Premiered at New Year’s Eve party with Michael T. Smith, 2009

This piece visits many modes, but its favorite may be G Dorian.  The first movement is more of a stomping dance in common time, whereas the second movement is more gigue-like.

313. Two Movements for Clarinet and Piano, 2009

            7 min.  Unperformed

Digital and print copies of this piece have gone missing.

314.  One Movement for Two Flutes, 2009

            3 min.  Unperformed

This piece, almost dissonant to the point of being strident, is like a combat between the flutists, although not without the possibility of civilized resolution.

315.  Awakening and Praise Song.  Flute sextet and organ.  2009

            9 min.  Premiered at St. Timothy’s Episcopal Church in Salem, AGO concert, 2010

In the first movement,  a slow introduction, the soul begins to awaken to a higher reality.  In the second movement, the organ and all six flutes revel in it.  This is available in a version for organ and brass through Holben Publications in Long Beach, California.

316.  Autumn Sketches.  Flute and piano.  2009

            6 min.  Unperformed

This piece corresponds to the more desolate side of autumn, with rustling leaves, a faint sense of anxiety at the decay, and anticipation of the dangers of winter.

317.  Quartet for Double Reeds (oboe, English horn, heckelphone, bassoon).  One mvt.  2009

            5 min.  Unperformed

This little divertimento is largely in F Lydian.  Its tone, reminiscent of middle-period Stravinsky, is almost flippant.

318.  Troubling of the Waters.  Cello, piano, percussion.  Two movements.  2009

            7 min.  Unperformed

This tempestuous, anguished piece is inspired by the account from the Gospel of John of the afflicted persons waiting by the pool of Bethesda, for the angel to “trouble the waters” and make God’s healing power thereby available.

319.  Andante Pastorale.  Three flutes (two C and one alto)  One movement. 2009

            3 min.  Privately read by Sue Allan and friends

This piece is mostly polite and mellow, but features many subtle meter changes which avoid predictability.

320.  Song of Hannah.  Alto and organ.  2009

            3 min.  Premiered October 2013 by Ellen Yager, St. Stephen’s Lutheran Church, Gladstone

This sets a passage from I Samuel: 2 which foreshadows the “Magnificat” from the Gospel of Luke.  I have striven to manifest Hannah’s enthusiasm and joy in the contours of the vocal melody. 

321.  Psalm 48.  Alto voice, flute, organ.  2009

            3 min.  Unperformed

This setting combines Mendelssohnian decorum with a slightly more extended tonal vocabulary.

322.  Aurora Borealis.  Wordless soprano and marimba.  2009.

            6 min.  Unperformed

Intended to evoke the eerie Northern Lights, this piece combines a wordless vocalise with delicate, but dissonant, percussion.

323.  Three Songs on Sonnets of Shakespeare.  Soprano, flute, viola, cello.  2009

            6 min.  Unperformed

These three sonnets express the voice of the unrequited wooer, so often found in Elizabethan poetry and plays.  The agile soprano almost mocks the lover’s plight, while the strings are at times bowed and melodic, and times plucked like the guitar in a serenade.

324.  Psalm 134.  Two voices, organ.  2009

            2 min.  Unperformed

This setting is an adapted version of the choral setting of the same Psalm which is the third movement of op. 62.  It is in D Dorian.

325.  Psalm of the Day.  Soprano, flute, clarinet, cello.  Poem by Dickinson

            4 min.  Unperformed

The text is not a Biblical psalm, but a Dickinson meditation on the intimations of eternal truths brought about by the observation of nature.  The music is by turns hymn-like and homophonic, and more free.

326.  Blow the Wind Southerly.  Arrangement of Northumberland folk song for SATB choir a cappella.  2009

            3 min.  Unperformed

This poignant English folk song first came to my attention in the a cappella solo rendering by the contralto Kathleen Ferrier.  My choral arrangement makes the rhythms more fluid and chant-like than in most traditional performances, and of course fleshes out the harmonies.

327.  The Legend of Rabbi ben Levi.  Mixed choir and piano.  Poem from Longfellow’s “Tales of a Wayside Inn.”  2009

            11 min.  Unperformed

The longer poem by Longfellow which this sets, tells the story of a rabbi who stole the sword of the Angel of Death, and would only give it back on condition that Death learn to have the grace to walk invisibly, rather than frightening his prey so much.  It is mostly in D, although the modes and meters shift, and it features pandiatonicism and added-note chords.

328.  My Soul is Sorrowful.  SATB choir a cappella.  2009

            2 min.  Unperformed

This brief motet sets an English translation of a Latin liturgical text for Holy Week:  “Tristis est anima mea usque ad mortem,” paraphrasing words spoken by Christ as he prepares to be sacrificed.

My motet is mostly tonal, in D Minor.

329.  Declaration, Contemplation, Celebration for solo bassoon and wind ensemble.  2009

            10 min.  Unperformed

This piece, in effect a three-movement bassoon concerto, opens with a table-pounding dogmatic statement, continues in a more pensive mood, and closes with uninhibited festivity.

330.  Concerto for Viola and Chamber Orchestra.  2009

            13 min. Played in a version for cello and piano by Katherine Parks in July 2015 in West Linn, Ore.

When composing this piece, I was faced with the challenge of making the viola part stand out enough in an ensemble texture, despite the lack of the topmost string which a violin has, and I also wanted to make adequate use of the low tones at which the viola excels.  The first movement is a sonata-allegro form, the second movement is a sicilienne, and the third movement is a rondo in 5/8 time.

331.  Five Canticles for Hand-Bells.  2009

            12 min.  Mostly performed by hand-bell choir at First Christian Church, dir. C Sinibaldi, between 2008                                   and 2011

These hand bell pieces, of medium difficulty, have subtitles beginning “Song of…” and continuing with various nouns having to do with churchly concepts (praise, thanksgiving, celebration, etc.).

332.  Three Pieces on Scandinavian Hymns, for organ and harp.  1.  Kirken den er et gammelt hus;             2.  Na tennes tusen Julelys,  3.  Glaedje utan Gud ej finnes.  2010

            Premiered by self with Deborah Butler, pianist at Christian Science Concert, 2010.  7 min.

These pieces have three hymns as cantus firmuses:  first, “Long hast thou stood, O church of God,” by the Dano-Norwegian Ludwig Lindeman, then “We’ll light a thousand candles bright,” a Christmas hymn beloved by both Norwegians and Swedes, and finally “Only God can bring us gladness,” on a tune by the seventeenth-century Swede Gustav Duben.           

333.  String Quartet No. 6, after “Adoro te devote.”  2004

            5 min.  Recorded by quartet in Munich.

This piece is a set of variations on a medieval Benedictine plainsong, about Holy Communion.  The text emphasizes how faith receives the grace which sight and sound cannot perceive.  The variations use a variety of canonic and fugal techniques.

334.  A Sea Sonata for solo piano.  Four movements.  2010

            8 min.  Recorded by self for YouTube, 2013

The four movements of this sonata have subtitles (“Sunlight on the Sea,” “Expanse of the Sea,” etc.) inspired by the subtitles in Debussy’s orchestral tone poem “La mer.”  Intended to be highly evocative in a pictorial way, I did indeed compose it while on vacation by the ocean.

335.  Waters of Grace:  a Triptych for Holy Baptism.  For organ.  2010

            9 min.  Recorded by self for YouTube, 2012

The cantus firmus of the first movement is the ‘Asperges me, Domine,’ a plainchant about humanity’s desire for cleansing, and need for baptism and the grace of God.  The second movement is based on the chorale “Christ, unser Herr, zum Jordan kam,” about Christ’s baptism by John as the beginning of His ministry, and the third is after the chorale “Wer da glaubet und getauft wird,” or “All who believe and are baptized/ Shall see the Lord’s salvation.”  The pieces grow progressively more consonant and joyful through the cycle.

336.  Variations on “Aberystwyth” for organ and piano.  2010

            9 min.  Premiered by self with Christine Sinibaldi, pianist for Christmas Eve prelude at First Christian                                    Church, 2011

This hymn-tune, Welsh in origin, is associated with such texts as “Jesus, Lover of My Soul” and “Watchman, Tell Us of the Night.”  These variations are meant to be highly accessible for both performers and audience.

337.  Three Songs on Poems of Clemens Brentano.  Soprano, trumpet, piano.  2010

            6 min.  Unperformed

The first song woos the beloved, the second mourns her departure, and the third calls the beloved to the lover with the self-congratulation “Well do I know, what you love in me!”  Clemens Brentano wrote in German in the nineteenth-century, most famously perhaps the pantoum “Lied der Spinnerin.”

338.  Three Songs on Poems of Emily Dickinson.  Soprano, trumpet, piano.  2010

            6 min.  Unperformed

To put the thrust of these three poems in a nutshell, Dickinson exhorts us recognize the brevity of earthly existence, and not to lose hope for the next life, nor to lose sight of the fact that we will see “afterwards…day!”  The musical style is similar to many other of my Dickinson settings.

339.  Song from “King Henry VIII.”  Soprano, trumpet, piano, 2010

            3 min.  Unperformed

This concise song sets a poem from a little-known Shakespeare play.  The text hails the healing power of music.

340.  Seven Songs on Poems of St. Theresa of Lisieux.  Soprano, trumpet, organ.  2011

            28 min.  Premiered at sixth annual concert at Christian Science Church with soprano Alison

            Seeber.  Also incorporated into oratorio”I Know that God Is Good,” and premiered Oct. 1, 2011

            at St. Paul Catholic Church in Silverton

This is one of my most broadly performed pieces, also presented in a conference at Catholic University of America in DC, at Mary’s Woods Chapel near Portland, Oregon, and at Queen of Angels Monastery in Mt. Angel.  Theresa of Lisieux (1873-1897), a well-beloved saint to whom many miracles are attributed, wrote an autobiography, and several devotional poems, translations of some of which I have set to music in a fairly direct and tonal style.

341.  Changed.  Alto, piano, bassoon.  Poem by Longfellow.  2010

            3 min.  Premiered by Tania Mandzy at Longfellow Choral Festival in Portland, Maine

This song expresses Longfellow’s grief at his emotional numbness at the sight of the places of his youth, and his being unable to discern whether the change is exterior or interior.  The plaintive and dark colors of the mezzo or alto voice and bassoon are suitable.

342.  Aftermath.  SATB choir, piano, bassoon.  Poem by Longfellow.  2010

            2 min.  Premiered by Longfellow Festival Chorus, Portland, Maine

This concise piece sets a poignant little poem about autumn, or possibly, metaphorically, about seasons of deprivation and loss in life.  The music is bittersweet.

343.  O Chosen Vine.  SAB choir, piano.  2010

            2 min.  Unperformed

This choral piece sets an English translation of a Latin liturgical poem for Holy Week, “Vinea mea electa,” paraphrased from the Prophets:  God’s words of despair on seeing the rebellious Israelites reject his chosen one, and call for the freedom of Barabbas instead.  I composed it upon returning from a Good Friday service.

344.  Three Songs of a Deathless Life.  SAB choir, piano.  Poems by Dickinson.  2010

            6 min.  Unperformed

These pieces set further concise meditations by Dickinson on the nature of eternity and the next life, and also on the question of why suffering exists in a godly universe.  Since Dickinson seems to decide in favor of faith, I choose to name the songs “deathless.”

345.  Verklärte Nacht.  Soprano, violin, cello, piano.  Poem by Dehmel.  2010

            8 min.  Premiered and commissioned by Daniel Saenz for chamber music festival in Huntsville, Tex.

            and for his DMA concert at Rice University.  Yuri Maria Saenz, soprano.  2011

This piece sets, in German, the poem which inspired the influential string sextet of the same name by Arnold Schoenberg, but my piece does not contain any musical references to Schoenberg, beyond the general technical feature that it uses a twelve-tone row.  My row, however, only appears rarely in the musical foreground, more often governing large-scale tonal areas.

346.  Two Solemn Feasts:  Sing We Noel and The Arisen Lord.  For SATB choir, bells and organ.  2010

            5 min. each.  Premiered by choirs of First Christian Church in Salem, Ore. (Christmas piece only)

Each of these is an arrangement, a medley of two seasonal hymns (one pair of hymns for Christmas, one for Easter).  The interesting technical challenge was to make the music suitable for the full performing forces of a skilled but non-professional large church music program.

347.  Magnificat.  For SSA choir a cappella.  2010

            3 min.  Unperformed

This setting of the famous passage from the Vulgate, Gospel of Luke, opens with a joyful melody which I later re-used in a setting of the same text for solo voice and organ.

348.  Te Deum Patrem ingenitum.  For TBB choir a cappella.  2010.

            2 min.  Unperformed

This brief piece sets a little-known Latin liturgical text in honor of the Holy Trinity, somewhat in the contrapuntal style of a sixteenth-century Counter-Reformation motet.

349.  Blessed Be the God and Father of Our Lord.  SATB choir and organ.  Text from Epistle of    Peter.  2010

            4 min.  Unperformed

This vigorous anthem calls for joyful praise to God, and uses a mostly modal musical language.

350.  Conditor alme siderum for SATB choir and organ.  2010

            4 min.  Read and recorded by choir at a college in Tennessee;  third-prize winner in their Benjamin Britten

            Centennial Choral Composition Contest, 2011

The Latin text is from an Advent hymn, known in English as “Creator of the Stars of Night.”  The vocal parts are more traditional and hymn-like, but the organ occasionally interjects with disassociated staccato eighth note triads in the upper register, representing twinkling stars.

351.  Fifteen Motets (for the Abbey Schola, then Silverton Latin Ensemble).  One- or two-part       voices with organ.  2010

            Approx. 4 min. each on average.  Premiered by Silverton Latin Ensemble in concerts in 2011-2012

            season, in Silverton. Mt. Angel and Salem

These choral pieces set a variety of Biblical and traditional liturgical texts, in Latin.  The most conventional, most tonal, and most popular is the “Ave maris stella,” a re-arrangement of op. 70.

352.  Concerto for Horn, Strings and Percussion.  Requested by John Dodge, hornist.  Three           movements.  2010

            14 min.  Unperformed.

The first movement is a sonata-allegro form with a vigorous, cadenza-like melody in the horn.  After a slow second movement, the third movement is a set of variations on a jaunty melody from J.S. Bach’s “Peasant Cantata,” known to the commissioning hornist as a favorite hymn:  “How tedious and tasteless the hours/  When Jesus no longer I see.”

353.  Concerto for Organ and Chamber Orchestra.  Three movements.  2010

            14 min.  Unperformed

In the first movement, the music struggles with constant shifts of mode over a C center, and the instruments wonder if they are properly rhythmically aligned.  The second movement is more melodic and settled, and the third movement sets the chorale “Herzlich tut mich erfreuen” (My heart is glad and joyful/ In this fair summertime).

354.  A Plymouth Suite for flute, clarinet, violin, cello, piano.  Uses as cantus firmuses three tunes associated with the Pilgrims.  2011.  8 min.  Unperformed

The first movement is derived from a Genevan Psalm tune, with a calm sense of setting out for a voyage in God’s favor.  The second movement sets William Billings’ hymn “When Jesus Wept,” as though drawing a parallel between the Agony in the Garden and the Great Sickness in the Plymouth Colony.  The third movement arranges a jovial march-tune from Revolutionary days, also by Billings:  “Let tyrants shake their iron rod.”

355.  Variations for Organ on “Marylhurst, Our Hearts Acclaim Thee.”  2011

            7 min.  Recorded by self for YouTube

This is a set of variations, of contrasting moods and degrees of complexity, on the “Alma Mater” of the college where I received my Bachelor of Arts degree in 1997.  The original tune was composed by Sr. Claire Marie Nathman, SNJM.

356.  Variations for Organ on “Ich steh’ an deiner Krippen hier” for Roberta Chesley.  2011

            7 min.  Premiered by self in Advent concert of 2011, Christ the Good Shepherd Lutheran Church, Salem

This set of variations comes from a tune associated with texts for Christmas, or for Ordinary Time (e.g. Psalm 23), and present in the early Wittenberg hymnals, when the German Reformation was young.  Roberta Chesley is a respected Lutheran organist in Salem, Oregon.

357.  Magnificat for Organ.  2011

            3 min.  Recorded by self for YouTube

This piece has as cantus firmus a chant setting of the Magnificat.  I have played it in recitals at the Mount Angel Abbey, Christ the Good Shepherd Lutheran Church in Salem, and St. Paul Catholic Church in Silverton, besides in church services.  It is technically tricky, with its scales and quick arpeggios.

358.  Sonatina for Organ.  Three movements.  2011

            8 min.  Recorded by self for YouTube

The three movements of this piece do not use traditional sonata forms, but neither do they use contrapuntal devices associated with preludes-and-fugues, and neither do they have cantus firmuses.  Their harmonic profile is unpredictable without being jarring.

359.  Smashing Statues.  For solo harp.  2011

            9 min.  Unperformed

This piece expresses a sense of anger and even some scarcely stifled vengefulness, but maintains a sense of artistic distance.  The outer sections are quick and in 10/8, and in a pandiatonic E Phrygian.  The middle section is more stately, and goes into the parallel major.

360.  Three Songs on Poems of John Henry Newman.  Soprano, flute, violin, cello.  2011

            6 min.  Unperformed

John Henry Newman, a Presbyterian convert to Roman Catholicism, became a cardinal, and has now been beatified.  His delicate poetry conveys a lively sensibility to beauty in the natural world, and a self-reproving conscience. 

361.  Riddle Song.  Mezzo and violin.  Poem by Myrrha Reitman, Carrie Caster and Christopher M. Wicks

            2 min.  Recorded for YouTube by Tanya Elias and Sarah Kim.

Two friends of mine and I collaborated on Facebook on a three-stanza poem, of which I then made a strict twelve-tone setting, reminiscent in structure of the song “Die Sonne kommt!” by Luigi Dallapiccola, on a poem by Goethe.  My piece, however, strives for greater consonance, and even occasional implied tonal center of D, not altogether incompatible with the dodecaphonic.

362.  Five Songs of Folly.  Voice and piano.  Poems by Ben Jonson.  2011

            10 min.  Unperformed

These settings of five Elizabethan poems aim for a reconciliation of modern harmonic sensibility and a faint nostalgia for sixteenth-century English pastiche.

363.  Fear of Love.  Soprano and cello.  Original poem.  2011

            2 min.  Performed by “a very small consortium” at the University of Wisconsin, 2016

This piece sets a self-deprecating poem, in which a person more or less admits to being madly in love, by disavowing that love in a way which reveals more than it hides.  The soprano at the premiere, Courtney Sherman, provided the agile coloratura which the piece requires.

364.  Trinity Sunday.  Alto voice, and flute.  Poem by George Herbert.  2011

            2 min.  Unperformed

This simple, direct song is a devotion to the Trinity.  It is in F Major.

365.  Two Songs of Eternity.  Alto and piano.  Poems by Rossetti and Mary Coleridge.  2011

            4 min.  Premiered by Ellen Yager, October 2013, St. Stephen’s Lutheran Church, Gladstone

The two poems are called “Where” and “There,” and discuss the afterlife, wishing another departed person well in the one poem, and looking forward to its glories for one’s own sake in the other.  The passing of my music teacher Richard Cooper led in part to the composition of this brief cycle.

366.  A Sonnet Corona for the Possible One.  Original poems.  Soprano and cello.  2011

            15 min.  Unperformed

A sonnet corona is a cycle of seven sonnets, thematically related, of which the last line of the first sonnet repeats as the first line of the second sonnet, etc., until the last line of the last sonnet recalls the very first line of the cycle.  I wrote this sonnet corona as a tribute to a beloved soul, and then set it to music for a husband-and-wife cello and soprano duo.

367.  On My Heart Imprint Thine Image.  SAB choir and organ.  For Messiah Lutheran Church.     2011

            3 min.  Premiered by choir at First Presbyterian Church, Woodburn, dir. Debra Huddleston

The music for this piece is an arrangement of the tune associated in the Genevan Psalter with Psalm 42 (Comme le cerf altéré brâme) and the poem is translated from the writings of the seventeenth-century Dane Thomas Kingo.  This piece was composed at the request of Roberta Chesley, organist.

368.  The Divine Image.  Treble choir and piano.  Poem by William Blake.  2011

            2 min.  Recorded for YouTube

This is a limpid, straightforward, tonal setting of a poem encouraging person to emulate godly virtues.  It was composed at the request of the choral director at All Saints’ Catholic School in Portland, Oregon.

369.  Give Praise and Glory unto God.  SATB choir a cappella.  2011

            3 min.  Premiered by choir at Christ the Good Shepherd Lutheran Church.

The text for this choral piece is derived from a chorale.  The music, originally mine, is mostly homophonic and in F Major, with just a few unexpected cadences.

370.  All Who Believe and Are Baptized.  SATB choir and organ.  For Reformation.  2011

            3 min.  Premiered Reformation Sunday by choir at Christ the Good Shepherd, 2013

The text comes from the chorale “Wer da glaubet und getauft wird.”  The music is mine, and is in C Major, with very little element of modernism.

371.  A Carol.  SA choir and piano.  Poem by Donald Hall.  2011.

            2 min.  Premiered December 2013 by Ad Lucem Ensemble at St. Paul Church, Silverton

This concise piece sets a sweet but not trite Christmas devotional poem.  The adversity of Jesus’ adult life is hinted at in the conclusion of the piece.

372.  The Advent and Nativity of the Lord.  Cantata for choir and organ.  2013

            40 min.  Premiered Third Sunday of Advent, 2013, Christ the Good Shepherd Lutheran Church

This piece, an amalgamation of briefer choral and organ pieces which I had already composed, some of them on original texts, some on my translations or on public domain or Biblical texts, and some entirely musically original, and other arrangements of public domain melodies, and interspersed with Biblical readings telling the Christmas story, was performed under my direction and with me at the organ in December 2013.

373.  The Passion and Resurrection of Our Lord.  Oratorio for choir and organ.  2008

            50 min.  Premiered Holy Wednesday 2008, Silverton United Methodist Church, 2008

This oratorio was compiled from choral and organ pieces of mine, similarly to op. 372, by Ellen Gordon Yager, then the choir director at my home church in Silverton.  The narrative begins with the Triumphal Entry and ends with the Resurrection and charge to go baptize all nations.

374.  Four Pagan Proverb Part-Songs.  Unaccompanied two-part voices.  Texts from ancient Latin proverbs.  2012

            5 min.  Premiered in a concert at St. Edward’s Episcopal Church in Silverton, November 2014

These very brief and fairly simple, tonal pieces set adages from Horace, Martial and such writers, telling us, for example “Res magna tacet est” (It is a great thing to be silent).

375.  Psalm 130.  SATB choir a cappella.  2012

            3 min.  Commissioned and premiered by Bach Cantata Vespers Series at St. James Lutheran Church in             Portland, dir. Nancy Nickel. Lent 2012

This piece employs text-painting to a certain extent, and also the Mendelssohnian restraint of which I have spoken, to address the themes of the Psalm “Out of the depths I cry.”  Besides the premiere performance, it was sung by the choir at Good Samaritan Episcopal Church in Corvallis, Oregon under the direction of Monica Roundy.

376.  Variations on “O God, Our Help in Ages Past.”  Solo organ.  2012

            9 min. Premiered at Advent concert at Christ the Good Shepherd Lutheran Church, December 2012.

This is a cycle of variations on the English hymn-tune “Saint Anne,” by William Croft.  Canonic devices abound, and the closing section is a vigorous dancein 9/8.

377.  The Nature of Love.  For baritone voice, trumpet, trombone and bass clarinet.  Text from      Plato.  2012

            4 min.  Unperformed

The text of this piece is an amalgamation of various passages from Plato’s “Symposium” and “Phaedrus,” addressing the question of who Love might be.  The music reflects the passion and impetuousness of the character being discussed, and also the humorous tone of some aspects of the discussion.

378.  Song of Deborah.  Soprano and piano.  Text from Book of Judges, in Latin.  2012

            2 min.  Unperformed

The text for this piece celebrates a military victory of the Israelites.  Although the harmonies are mostly tonal, the melodic line is jagged and unpredictable:  almost out of control with elation.

379.  Annunciation.  Violin and piano.  Dedicated to Lucinda Carmichael.  2012

            3 min.  Premiered with Becky Muir, flutist at Christian Science Church, 2012

This piece conveys the emotional sense of Mary’s encounter with the Archangel Gabriel:  beginning quietly, with Mary in solitude, then increasing in its sense of mystery, even wonder, until the climax includes a quote from a Basque carol, setting the words “most highly favored lady!” as part of Gabriel’s greeting.

380.  Four Miniatures for Flute and Piano.  For Emily Potter.  2012

            5 min.  Performed by Ms. Potter in her master’s recital at the Guildhall School of Music in London, England, 2017.

Each movement corresponds to a season of the year, beginning with winter.  The winter movement has vertical sonorities derived all from the same highly dissonant pentad, with staccato piano chords punctuating sustained entries from the flute.  The spring and summer movements are more fluid and lyrical, and the fall movement captures the rustling of dry leaves.

381.  Morning Prayer.  For oboe, violin and piano.  2012

            6 min.  Unperformed

This piece opens with an unaccompanied quote from a Psalm reciting-tone, then continues in a modal vein, based on E, from fatigue to rejuvenation to ecstasy.  It closes with a similar quote from the Psalm tone.

382.  Tapalamaho Mass.  For the Mt. Angel Abbey.  2012

            6 min.  Sung in rotation for daily Mass, 2012-

This piece is for unison voices and organ, a setting of the then-new translation of the Ordinary of the Mass, from the International Committee on English in the Liturgy.  It is very aesthetically conservative.

383.  Seven Songs for the Blessing of a Lifelong Covenant.  Voice and Piano.  2012

            14 min.  Premiered at St. Edward’s Episcopal Church, Ellen Yager, alto, October 2013

These seven songs can be sung at weddings:  two settings of the “Song of Ruth” (Ruth I: 16-17), two passages from the Song of Solomon, the passage from Kings about the love of David and Jonathan, and two Psalms (67 and 126) praying for God’s protection, and celebrating the vindication of Israel.

384.  Via Crucis (Way of the Cross).  Soprano and organ.  2012

            13 min.  Premiered in Lent concert with Tanya Elias, Christ the Good Shepherd, 2013

This piece contains elements of an ordered twelve-tone row, and also quotes from traditional Passiontide plainchants.  The organ plays most of the piece, and the soprano interjects between meditations, singing monotonic descriptions of the fourteen Stations of the Cross.  The meditation on the moment of crucifixion gives us highly dissonant music based on the Fibonacci series, stopping at thirteen.

385.  Impossible Grace, poem by Meena Alexander.  Soprano, English horn, harp, cello.  2012

            7 min.  Unperformed

This piece sets a poem by a Palestinian poet, and won an honorable mention through a competition through the Al-Quds University in Jerusalem.  The piece has a section for each of the seven gates of Jerusalem, and reflects on the perennial violence in the Near East.

386.  Engelberg Mass for Mt. Angel Abbey.  2012

            6 min.  Recorded for YouTube

This Mass setting also sets the new ICEL text, but was not adopted by the Mt. Angel Abbey.  It is equally aesthetically conservative, bur perhaps a bit more vocally demanding.

387.  Kyrie eleison for SATB choir and organ.  2012

            5 min.  Unperformed.

This “Kyrie” is a prayer for the mercy of the Lord, and strives for a tone of earnest supplication without blandness or servility.

388.  “Tirade” for solo violin.  1 min.  Premiered in a concert of the New York Miniaturist Ensemble at the Juilliard School.

This is an angry-sounding little dissonant flourish for a virtuoso violinist.

389.  Song for Saint Monica.  For Monica Szabo-Nyeste.  Mezzo-soprano with organ;  original        poem.  2012

            3 min.  Premiered by Ms. Szabo in concert at Immaculate Heart of Mary Church in Baltimore.  2013

This piece was composed at Monica’s request, as was the poem which it sets.  The poem is an acrostic sonnet, reading “SAINT MONICA DAY” down the first letters of each of the fourteen lines.  Monica was the mother of St. Augustine, and converted him from a dissolute life through her prayers.

390.  Two Douçaine Sonatinas (three movements each).  Accompanied by piano.  For Aage Nielsen.          2012

            9 min. each.  Premiered in concerts by Aage Nielsen in 2013. Published by PRB Publications.

The douçaine is a medieval double reed instrument in which Aage Nielsen, for a time Br. Niels, OSB, has succeeded in reviving some interest, despite its limited range in pitch and dynamics.  The second movement of the first sonatina was the first of many pieces which I was to compose for his douçaine.  I hope that my music is as sweet as the name of the instrumen implies.

391.  Three Swedish Hymn-Preludes, for organ.  1.  Bred dina vida vingar,  2.  Tryggare kan ingen vara,  3.  Bereden väg för Herran.  2012

            7 min.  Dedicated to Kajsa Folke.  Premiered in Advent Recital at Christ Lutheran Church, 2012

This cycle has now been published by Concordia, the house of the Missouri Synod Lutheran Church.  The cantus firmuses are among the best-loved Swedish hymns, including two prayers for divine protection, and an Advent hymn celebrating Christ’s impending arrival.

392.  Stem-Cell Transplant.  Violin, clarinet, cello, piano. 2012

            5 min.  Recorded Summer 2013:  Daniel Rouslin, Katherine Parks, Martin Sobelman, self.

In October 2012, my father, Michael, had an autologous stem cell transplant to treat multiple myeloma, a bone marrow cancer.  The procedure is dangerous, but was successful.  I call the three movements of my piece “Malignant,” “Infusion” and “Recovery,” and I chose the same instrumentation as Messiaen’s “Quartet for the End of Time” to emphasize the emotional stress of that period.

393.  Fugue for Cecilia Alexandra Archer Erem.  Cello and piano. 2012

            2 min.  Recorded for YouTube by Katherine Parks and self.

This is another name-fugue using “soggetto cavato,” but it is not for solo keyboard.  It is in honor of the baby of a cellist friend, Theresa Archer.

394.  Lord’s Prayer.  Two-part voices and organ.  2012

            2 min.  Premiered by choir at Christ the Good Shepherd Lutheran Church, Fall 2013

This is an E-flat Major setting of the traditional text of the Lord’s Prayer.

395.  Villanelle:  Advent.  Alto and organ.  Original poem.  2012

            3 min. Premiered by Ellen Yager, alto in concert at St. Edward’s Episcopal Church, October 2013

I wrote this villanelle while thinking of how much I enjoyed the preparations for Christmas at my home church when I was a boy, seeking to avoid cliché however.  The music seeks to convey the bleakness of the weather and the spiritual joy of the season simultaneously.

396.  Six Sets of Variations for Douçaine and Piano on Scandinavian Folk Melodies.  1.  Nu vaagne           all Guds fugle smaa, 2.  Lysets engel gaar med glans,  3.  Den store hvide flok,  4.      Ragundapolska,  5.  Finnish tune (“Nyt yloes, sieluni”),  6.  Karleiks mesti kongur haesti

            Approx. 6 min. each. Premiered with Aage Nielsen in 2013

This is an example of the compositions which I composed further for Br. Niels’ douçaine.  The first is based on the Danish folk tune “Now all of God’s little birds awaken,” the second on a Danish hymn about the Angel of Light, the third on a Norwegian All Saints’ hymn, the fourth on a Swedish fiddle tune for dancing, the fourth on a Finnish hymn calling for the awakening of one’s soul, and the sixth on an Icelandic hymn in praise of Christ.

397.  Suite for Douçaine and Piano.  Five movements.  2013

            Approx. 11 min. Premiered with Aage Nielsen in April 2013 in concert at Mt. Angel Abbey Library

This piece juxtaposes Baroque dance genres (Allemande, Courante, Sarabande, Gigue) with a more mildly modernist mode of harmony and melody.

398.  Prayer for Peace.  Mezzo and organ.  Poem by Charles d’Orléans, trans. CMW.  2013

            2 min.  Premiered with Ellen Yager, alto at St. Edward’s Episcopal Church, Silverton, Oct. 2013

Poulenc famously set the original French of this poem, about the Hundred Years’ War, and I set my own rhyming English translation.  This is ironic, given that the Hundred Years’ War was a territorial conflict between English- and French-speaking persons.

399.  Wind Quintet on “Es flog ein kleines Waldvoglein.”  2005

            10 min.  Unperformed

This is a set of variations on a German folk tune, known to some as the hymn “Hail to the Lord’s Anointed.”

400.  Wind Quintet on “Eeuwig dank en eere.”  2005

            10 min.  Unperformed

This is a set of variations on a seventeenth-century Dutch hymn-tune, known to some as “Glory, honor, praise and pure oblations.”

401.  Motet on Matthew 22.  Two-part choir and organ.  2013

            2 min.  Recorded for YouTube

The passage which this sets is Jesus’ injunction to “love the Lord your God with all your heart, strength, and mind, and love your neighbor as yourself.”  The music is in a gentle E-flat major.

402.  Silver Falls Suite, for piano trio.  2013

            5 min.  Premiered by the Josephine Trio at the Silverton Concert House, January 2015

This piece tells the story of the adventures of a trout in the canyon of Silver Creek, going down the gauntlet of waterfalls, through still ponds to a point of fulfillment.  Very briefly, towards the beginning, the violin part quotes Schubert’s “Trout Quintet.”

403.  A Portrait. SATB choir and piano.  Poem by Harriet Monroe

            3 min.  Unperformed

This plaintive piece sets a wistful poem by a nineteenth-century Chicago poet.

404.  Five Songs on Poems of St. Edith Stein.  Mezzo, trumpet, piano, cello.  2013

            20 min.  Sung several times by soprano Aimée Larsen Amend, including for her master’s recital from Western Oregon University

St. Edith Stein, also known as St. Teresa Benedicta of the Cross, was a philosopher, psychologist, theologian, and Carmelite who was murdered at Auschwitz because of her identification as a Jew on her birth certificate.  Her thoughtful, expressive devotional poems give a composer a great deal to consider.  This piece was composed at the request of mezzo Monica Szabo-Nyeste, of Durham, North Carolina.

405.  Suite for Organ, manuals only.  Four movements.  2013

            8 min.  Premiered by Carson Cooman in house concert, September 2013

This piece, with a quirky variety of textures in the four concise movements, was composed at Mr. Cooman’s request, for an Italian Baroque-style pipe organ which he installed in his house in Cambridge, Massachusetts.

406.  O Come, Lord Jesus, Our Hope.  Solo organ.  2013

            7 min.  Premiered by self in Advent recital at Christ the Good Shepherd Lutheran Church, 2013

This piece expresses moods and reflections associated with the Advent season, such as anxiety, excitement, devotion, and repentance, but it is not derived from any pre-existing hymn.

407.  Trinity Canon for unaccompanied voices.  2013

            4 min.  Recorded for YouTube

This very simple, tonal, strict canon in F major sets an original poem about the love of the Trinity:  the three Persons for one another, and for us, and our love of the Trinity.

408.  Fugue for Aage Nielsen, for douçaine and organ.  2013

            2 min.  Unperformed

This is the other of my two name-fugues which are not for solo keyboard, but which rather involve a second instrument as well.  Again, this piece uses “soggetto cavato.”

409.  Theresian Alleluia, for Brs. Teresio and Niels.  Douçaine and organ.  2013

            2 min.  Premiered by these brothers at Mass at the Abbey

This piece arranges a plainchant “alleluia” drawn from the “Liber usualis” for the Feast of St. Theresa of Lisieux, the patron of Br. Teresio (now Fr. Teresio).

410.  Blessing Song, for alto and piano.  Poem from “Carmina Gadelica.”  To Emily Flanagan, alto.            2013

            2 min.  Recorded for YouTube by Emily Flanagan.

This poem, drawn from the translated collection of Alexander Carmichael of ancient prayers from Scots Gaelic, asks for protection and blessing for one’s loved ones.  My setting is in F Major, and was recorded by an alto who has long been very active in the music program of my home church.

411.  Come home, victorious wounded.  Mezzo and piano.  Sonnet by Edna Millay.  2013

            2 min.  Unperformed

This sets a bleak poem by Millay about the unseen, unintended after-effects of war.

412.  Variations for Viola on “In the Bleak Midwinter,” for Marjory Lange.  2013

            5 min.  Premiered by Marjory Lange in Christmas Eve service at St. Hilda’s Episcopal Church

            in Monmouth, 2013

This piece is a set of variations on a favorite Christmas carol, the original tune composed by Gustav Holst.  It brings out the expressive capacities of the unaccompanied viola.

413.  Cantata on Gary Powell’s “God of the Harvest.” SATB chorus and organ.  2013

            6 min.  Recorded for YouTube

Rev. Gary Powell, the pastor who confirmed me in 1988, is an amateur composer and poet, and produced an agreeable Thanksgiving hymn.  In this piece, I fleshed out the hymn, somewhat as Bach does in a chorale cantata, including such techniques as “Vorimitation,” original instrumental introductions and interludes, and reharmonizations.

414.  Blow, blow, thou winter wind.  Baritone and douçaine.  Poem by Shakespeare.  2013

            3 min.  Recorded for YouTube

This poem comes from a comedy by Shakespeare, and laments the fickleness of human affections.  This setting is in E, mostly in Aeolian or Dorian modes.

415.  Two verses of “Lasst uns erfreuen,” for douçaine, contrabassoon and organ.  2013

            4 min.  Premiered by Aage Nielsen, Sean Rogers and Donovan (?) in concerts in Ontario and Boise,

            late Spring 2014

This piece arranges a popular ancient German hymn, as requested by Aage, since it is a favorite hymn of the organist Sean Rogers.  The piece is in two sections, with the cantus firmus first in the upper voices, then in slow note-values in the contrabassoon.

416.  An Wasserflüssen Babylon.  Piece for douçaine and organ, brief chorale prelude.  2014

            2 min.  Premiered at Mass at the Abbey, January 2014

The cantus firmus of this piece is the chorale which sets a German rhyming version of Psalm 137.  Fludity and flexibility of sense of pulse are sought.

417.  Three Ibsen Songs.  Baritone voice, douçaine and viola.  2014

            5 min.  Unperformed

The violist Marjory Lange began to join Aage and me in our musical activities.  This piece sets three poems by the Norwegian dramatist Henrik Ibsen, in public domain English translations.  The poems are comfortably conventionally Romantic, in comparison to Ibsen’s often challenging plays.

418.  Dulcet Dodecaphony.  Douçaine and viola.  Three movements.  2014

            4 min.  Unperformed

This piece uses strict twelve-tone technique, mostly as an experiment to see whether it is in the least compatible with a medieval instrument.  The play on words in the title is intended.

419.  Variations on an American Folk Hymn (Restoration) for violin and piano, for Lucinda Carmichael.  2014

            6 min.  Played by Stephanie Barth at Silverton Methodist, November 2015

This piece sets a traditional hymn from the southern tradition, often sung with an “altar call” text, inviting wounded sinners to return to Jesus.  In the variations, the Americana tone is at times honored, but my beloved canons and pandiatonicism are also present.

420.  Six Bicinia:  three from Romans 8, one from Wisdom of Solomon, and two from Psalms.        Two-voice choir a cappella.  2014

            Approx. 2 min. each.  Two of them premiered by men’s chapel singers at Harvard, 2014, dir. Cooman

Carson Cooman requested of me that I compose some two-part a cappella pieces for his chapel music program, since two days per week, he has a non-mixed choir needing practical repertory for morning prayer.  I obliged.

421.  Six Praeludia for Organ.  2014

            Approx. 7 min. each.  Premiered by the composer at Woodburn Presbyterian Church, in recital

Each of these preludia is centered on a tone, beginning with A, then following the circle of fifths down to B-flat.  The music is somewhat inspired by Buxtehude:  sectional, with toccata sections, passacaglias, fugal sections, etc.

422.  Nine Motets for Two-Part Choir, Douçaine and Organ.  For the musicians of the Mt. Angel   Abbey;  for various seasons of the year.  2014.

            Approx. 2 or 3 min. each.  Premiered by Silverton Latin Ensemble at St. Edward’s Episcopal Church in Silverton, November 2014.

The first text in this cycle is for Holy Saturday;  others are for Easter, Ascension, or Pentecost, and some are Marian.  Some are in Latin, and other in English.  They might be performed separately, or, as at the premiere, in a cycle.

423.  Four Folkish Pieces for Douçaine and Piano.  1.  Blow the Wind Southerly,  2.  Over the       Mountains,  3.  Ye Banks and Braes,  4.  Fantasia on French Church Melodies.  2013

            Approx. 7 min. each. Performed by Aage and self hither and yon.

The first two pieces are based on secular English folk melodies.  The third sets a Scots secular melody which has, however, been set to sacred words by Charles Wesley.  The fourth is a medley of French church melodies of folkish or Huguenot origin.

424.  Two Folkish Pieces for Douçaine, Viola and Piano:  1.  Three Danish Melodies,  2.    Lindemania!  2014

            6 min., 9 min.  Premiered by Aage Nielsen, Marjory Lange and self (Ensemble Aalto) at

            Bethany Lutheran Church in Portland, July 2014

The first piece arranges and places in a cycle three traditional Danish hymns, for example “Dalig er den himmel blaa,” a popular Christmas song.  The second piece follows a similar process with five hymns composed by Ludvig Lindeman, who was the Dano-Norwegian organist at the Cathedral in Oslo during much of the nineteenth century.  The closing melody is his lively “Kirken den er et gammelt hus,” “Long hast thou stood, O church of God.”

425.  With Great Delight.  Tenor voice and tenor douçaine.  Text from the Song of Solomon.  2014

            2 min.  Unperformed

Sinuous lines in the douçaine take on a near Eastern air, corresponding to melismas of yearning in the tenor voice, singing Solomon’s words of love.

426.  Variations on “L’amour de moy,” for douçaine, viola and piano.  2013

            6 min.  Premiered by Ensemble Aalto, Autumn 2013

The Renaissance French tune on which these variations are based speaks of the garden in which the singer meets his lady love.  The tone is decorous, balanced, and graceful.

427.  Songs from Uncle Charlie.  Three on poems by my great-great-uncle Charles Henry Hecht.     Soprano, douçaine, viola, cello, piano.  2014

            6 min.  Unperformed

I had the pleasure of coming into the possession of some writings, created or collected by my great-great-uncle Charlie, and found some which inspired music in me.  Charles wrote engaging memoir, and also reflections on time and eternity, and collected a few ballads and lyric poems which he found interesting.  The cycle closes with the longest song, in which the reflection of the full moon becomes a promise of a truth “higher than this life.”

428.  Three Songs on Poems of Robert Southwell.  Mezzo, obbligato instrument and piano.  1.  The           Nativity of Christ,  2.  The Virgin Mary, to Christ on the Cross,  3.  Laud’s Highest Theme.        2014

            6 min.  Premiered November 2014 by mezzo Ellen Yager, at St. Edward’s Episcopal Church in Silverton.

The intensely devotional poems are by an English Jesuit who was killed in the anti-Catholic purges of the sixteenth century.  Seasonally, they address Christmas, Passiontide, and Easter.  My music is modal and faintly neo-Renaissance.

429.  Variations for organ on “Nun freut euch, lieben Christen gmein.”  2014

            10 min.  Recorded for YouTube

These variations treat both of the melodies associated with this text in the Wittenberg hymnals at the dawn of the German Reformation.  They feature canons, and also a variation with much harmonic audacity.

430.  Psalm 31, for SAB choir and piano.  2009

            3 min.  Unperformed

This anthem praises God with the lilt of a shepherd’s song, and with D Major arpeggios in the piano.  It is consonant, but features modulations.

431.  Psalm 104, for mixed choir a cappella. 2010.

            3 min.  Unperformed

This anthem, in praise of God’s majesty, is imposingly homophonic and decorous.  It is in G Major.

432.  Variations on a Song by Orlando Gibbons, for Organ.  2007.

            8 min.  Premiered in worship at First Christian Church, Salem, Ore., 2008

This set of variations treats a tune by the Elizabethan composer Orlando Gibbons, known to many as a Eucharistic hymn which entreats God for Christian unity.  The opening, simpler statement of the theme returns at the end.

433.  Variations on ‘At the Lamb’s High Feast We Sing,” for organ.  2007

            7 min.  Premiered in worship;  published in AGO Regional Convention book, 2007

This hymn-tune is often known as “Salzburg.”  My variations make much use of rhythms emphasizing off-beats, although the harmonic profile is rather conventionally G Major.  There is a canonic section.

434.  On days when loving you is not enough, aka “Sonnet of Insufficient Love.”  Tenor, piano, doublebass.  2007

            2 min.  Premiered by Gregory Wiest, tenor in Munich, 2007

This song sets an original sonnet about contentment and discontent in love.

435.  Nonet.  Fl., ob., cl., bsn., trpt. perc., piano., vl., vc.  Three mvts.  2011

            12 min.  Unperformed

The spotlight is on the piano in this piece, giving it something of the effect of a piano concertino.  The first movement is a lively sonata-allegro form.  The third movement places an ancient Dutch hymn-tune in the trumpet, in slow note-values, while the piano plays whirling arpeggios.

436.  In the Womb of Formless Dark and Light.  English horn and piano.  2011

            2 min.  Unperformed

This piece is inspired by, but does not set, one of my own sonnets.  It employs the pitch organization technique known as hexachordal combinatoriality.

437.  The Crown of Laurel.  Soprano, flute, piano, cello.  Poem by Ursula K. LeGuin.  2007

            8 min.  Premiered August 2008 with Alison Seeber, soprano at Gordon House

LeGuin’s poem tells the story of the ancient Greek myth of Apollo and Daphne, from the nymph’s point of view.  It offers rich opportunities for musical drama to a composer, and I hope that I took proper advantage of them.

438.  Brass Quintet No. 2.  Three mvts.  2002

            7 min.  Recorded by Manhattan Brass Quintet

The first movement is harshly dissonant much of the time, but the second movement, a slow fugue in A Minor, is much more accessible.  The third movement is a rambunctious, extroverted rondo in 5/8.

439.  “Advent Calendar.”  Solo voice and piano.  Poem by Gjertrud Schnackenberg

            4 min.  Recorded for YouTube

This song sets an anguished poem by a Norwegian-American Bostonian poet, about feeling alienated from Christmas joy upon reaching adulthood and seeing the complexities of the world.  The musical style is almost a form of recitation, fairly syllabic and even.  At various points, however, we rise to more overt expression.

440.  Variations on “Wie schön leuchtet der Morgernstern,” for organ.  For Sarah Graves Garner

            7 min.  Premiered by self for 2012 Advent Recitals, Christ Lutheran Church and Mt. Angel Abbey

This is a set of variations on a seventeenth century chorale, sung for Annunciation, Advent, Christmas, and Epiphany.  The closing section is a demanding toccata, with the cantus firmus in slow note values in the low pedal, and a heavy registration.  The piece will soon be available from Concordia Publishing House in St. Louis, Missouri.

441.  Suite No. 1 for solo cello.  Three mvts.  2005

            7 min.  Premiered by Daniel Saenz at Contemporary Music Festival at Sam Houston State University,


The unaccompanied cello has vast expressive capacities, as Bach showed us.  My three cello suites are unapologetically modern, but they acknowledge the tradition.

442.  “Five Chorale Preludes” for organ:  Vreuchten, Nun danket alle Gott, Westminster Abbey,    Zeuch mich, In dir ist Freude.  2007

            10 min.  Premiered by self in recital at Christ the Good Shepherd Lutheran Church, Summer 2011

These five hymns, on which these chorale preludes are based, are for Easter, Thanksgiving, Reformation, All Saints, and Ordinary Time, respectively.  These concise pieces have fairly simple pedal parts, but some tricks and surprises in the manuals.

443.  “Ave maris stella” for organ.  2007

            7 min.  Recorded by self for CD, 2008

This is a sectional set of variations on the traditional plainchant for the Marian hymn “Ave maris stella,” or “Hail, Star of the Sea.” 

444.  Additional name-fugues.

            (ad infinitum…)

In this opus, I have lumped all of the “soggetto cavato” solo keyboard name-fugues which I have composed since the sixty-three in the previous opus.  There are about twenty in op. 444 as of March 14, 2018.

445.  Music for reformed (Lutheran) liturgy:  Eucharist (7 mvts.), Matins (2 mvts.), Vespers (3 mvts.)

            Used at Christ the Good Shepherd Lutheran Church on and off in 2013, Salem, Ore.

This re-uses a small amount of music from my “Engelberg Mass,” but more of it is new.  The texts come from the 1978 “Lutheran Book of Worship.”

446.  “Three Motets” (Taste and See, I Will Bless the Lord, I Will Praise the Lord).  Two-part choir           and organ.  2012

            Approx. 3 min each.  No. 3 premiered by Ad Lucem Ensemble, December 2013, St. Paul Catholic,


These three motets are very direct and tonal, and quite simply structured.

447.  ‘Hymn to Saint Cecilia.’  Mixed chorus and organ.

            5 min.  Unperformed

This brief choral piece addresses the patron saint of music, the virgin martyr Cecilia.  It is mostly tonal, but the meters shift, and there is some modal mixture.  The text comes from a hymn in the 1936 “St. Gregory Hymnal and Catholic Choir Book.”

448.  “Ave Maria” for two-part choir and organ (6/28/14)

            3 min.  Premiered in Silverton Latin Ensemble concert, 11/16, at Silverton united Methodist Church

This straightforward motet employs some imitative textures between the two vocal parts, and uses only the manuals of the organ, usually in a three-voice manner.

449.  “Three Holy Sonnets” for baritone and douçaine (6/27/14).  Poems by Wilde, Vaughan,        Drummond

            7 min.  Unperformed

Among these three sonnets, the progression is from darker to more optimistic perspectives on faith.  Wilde’s is a desperate plea for help in repentance, whereas Drummond’s is more peaceable.

450.  “Five Songs of Christ’s Healing” for high voice and organ, on Scriptural texts.

            16 min.  The last song, about the raising of Lazarus, has been sung in an “Ad Lucem” concert by Alison Seeber.

These were composed at the request of the music committee at the Christian Science Church in Salem, Oregon.  The musical/potential of these Biblical narratives is enormous.

451.  “The Choir Invisible” for soprano and organ, 7 min., poem by George Eliot, 2010.

            7 min.  Unperformed

The agnostic George Eliot (aka Marian Evans) wrote this poem about the legacy which she hoped to leave upon her death.  She asks to join the “choir invisible” of those who have succeeded in making the world and human lives better.  The music respects the solemnity of this ambition.

452.  “Sfogava con le stelle,” mixed chorus and piano, 3 min., poem by O. Rinnuccini, 2008

            4 min.  Unperformed

The imitative textures are inspired by Italian Renaissance madrigals, and the piano arpeggios by practices of the same period, and indeed the text is drawn from the same sources which nurtured Monteverdi’s muse.

453.  “Struggle, Grief and Hope” for Memorial Day.  Douçaine, viola, cello.  2014

            4 min.  Unperformed

This piece is a brief meditation on the significance of the holiday honoring the military dead, and victims of war, both for the past and for the future of the nation and the world.

454.  “Psalm 89” for tenor and piano.  For Fr. TC.  2014

            2 min.  Recorded by Fr. Teresio Caldwell, tenor.

I composed this piece for Fr. Teresio to sing for a (successful) audition, setting a psalm from which his patron saint (Theresa of Lisieux) drew a motto:  “I will sing of the mercies of the Lord forever!”  The piece is in B-flat major, often pandiatonic, and the meters shift in a lively fashion.  The vocal line shows off Fr. Teresio’s skill at leggiero, melismatic singing.

455.  “Variations on an Air by Rameau” for douçaine, viola, piano.  July 12, 2014.

            7 min.  Played by Trio Polychorda in a concert at Christian Science Church in Salem.

The air in question is from the opening of Act One of Rameau’s 1722 opera “Hippolyte et Aricie.”  The version which has been premiered is slightly reworken for piano trio.

456.  “Variations and Fugue on Est-ce Mars” for douçaine, viola, piano.  July 15, 2014.

            7 min.  Played by Trio Polychorda in a concert at Christian Science Church in Salem.

The French folk melody which this cycle varies concerns itself with the appearance of Love as Cupid with bow and arrow.  The version which has been premiered is a slight reworking for piano trio.  The language of the piece is fairly tonal, yet not complacently conventional, and the fugue has modal elements.

457.  “Psalm 17” for baritone and piano.  July 22, 2014

            3 min.  Sung in worship at Silverton United Methodist Church, August 2014

458.  “Variations on a Tune by Goudimel” for douçaine, viola and piano.  7/24/14

            7 min.  Premiered in a version for piano trio, by Trio Polychorda, at the Christian Science Church in Salem.

The tune by Goudimel which this varies is the Genevan Psalter’s setting of Psalm 137, “Etant assis aux rives aquatiques.”  It is deeply plaintive and mourning, taking a turn towards darkness in the second variation, and then anger in the third.

459.  “Heil, höchster König des Steingesanges,” a cantata for Elvis Presley.  SATB choir, soloists   and keyboard.  2013

            9 min.  Unperformed

This cantata employs a common practice harmonic language, and many elements of Bachian pastiche, patterning itself overtly after the genre of the Bach chorale cantata.  Its cantus firmus is the public domain American folk tune “Aura Lee,” itself borrowed by Mr. Presley as “Love Me Tender.”  The piece is entirely tongue-in-cheek, like Pop Art, in case that is not obvious.

460.  “Prayer for St. Theresa of the Child Jesus,” for douçaine, two-part choir and organ.  July 30,   2014

            2 min.  Premiered in Nov. 2014 in a concert at St. Edward’s Episcopal Church in Silverton.

This sets a passage from a prayer book, asking for God’s guidance to emulate the virtues of St. Theresa of Lisieux (1873-1897).

461.  “Six Praeludia” (set 2) for organ, for Carson P. Cooman.

            Approx. 7 min. each.  Premiered by the composer at Woodburn Presbyterian Church, in recital

Each of these preludia is centered on a tone, beginning with E-flat, then following the circle of fifths down to E.  The music is somewhat inspired by Buxtehude:  sectional, with toccata sections, passacaglias, fugal sections, etc.

462.  “Three Songs on Poems of St. Teresa of Avila” for soprano, trumpet, piano and cello.

            7 min.  Premiered with Janeanne Rockwell-Kincanon, soprano, as incorporated into an hour-long cycle of “Carmelite Songs.”

463.  “Prayer for St. Martin” for two-part voices and organ

            2 min. Unperformed

I composed this while an overnight guest at St. Martin’s Abbey in Washington.  It sets a prayer asking to follow the good example of St. Martin of Tours, in a somewhat more adventurous style than some of my liturgical music.

464.  “Prayer of St. Bernard of Clairvaux” for unison voices and organ

            2 min.  Unperformed

This piece sets a prayerful poem by the Cistercian saint Bernard of Clairvaux.  Much of it is in C Dorian.

465.  “Sonnet from the Burning Bush” for voice and piano, after an original sonnet.

            2 min.  Unperformed.

I wrote this sonnet around my thirty-ninth birthday, and it concerns itself with godly revelations as they may be granted to receptive souls.  The piano part aims for an ethereal effect, as volatile as the fire of the holy bush, but not harsh or grating.

466.  “Prayer for a Funeral” for unison voices, douçaine and organ (9/5/14)

            2 min.  Unperformed

This brief, straightforward anthem sets a prayer for the peace of a departed soul.

467.  “If I Can Stop One Heart from Breaking,” for voice and piano.  Poem by Emily Dickinson.

            2 min.  Recorded by self

This song sets a poem which has long been cherished by my mother, who claims to have a distaste for poetry.  The music seeks to echo the poem’s tone of hope and boldness.

468.  “Variations on a Theme by Buxtehude” (Was mich auf dieser Welt betrübt) for douçaine and viola

Playable with a variety of instrumentations, this varies a folkish-sounding air by Buxtehude (German, 1637-1707) which happens to have sacred words.

469.  Variations on Schubert’s “The King of Thule,” for douçaine and viola

Playable with a variety of instrumentations, this varies the deliberately austere and archaic sounding art song by Schubert, setting a poem from Goethe’s “Faust.”

470.  Variations on de Sermisy’s “Tant que vivray,” for douçaine and viola

Playable with a variety of instrumentations, this piece varies a French Renaissance chanson which had two versions with similar text, but the one secular and hedonistic, the other sacred and devoted.

471.  “Thrice to Thine and Thrice to Mine,” for flute, viola and contrabass (9/29/14)

This very brief trio has a title quoting a line from Shakespeare’s Scottish tragedy, spoken by one witch to another witch.  The connection to the music is rather fanciful.

472.  Suite No. 2 for Solo Cello.  Four movements (10/9/14)

The unaccompanied cello has vast expressive capacities, as Bach showed us.  My three cello suites are unapologetically modern, but they acknowledge the tradition.  This suite is dedicated to Katherine Couch Parks, who premiered it at Western Oregon University.

473.  “Amazing Grace” for voice, violin and cello.  Text in Cherokee.  10/12/14

            3 min.  Sung by Jesse Cromer in worship at Silverton United Methodist Church.

On my father’s side of my family, I am said to have a little Cherokee ancestry.  I have yet to navigate what this does or does not mean in practice, to me or to anyone else, especially since I appear European, and I will never know if my most recent full-blooded Cherokee ancestor entered her marriage to Joseph Wicks willingly or happily.  Nonetheless, one year on First Nations Day, I decided to pay homage to this by composing this setting of a poem in the Cherokee language.

474.  “Three Meditations from Julian of Norwich” for soprano, flute, viola, cello and harp.


Julian of Norwich was a fourteenth-century mystic, visionary and hermit in England, whose work “Sixteen Revelations of Divine Love” I admire.  This piece sets three concise passages from her writings, and has yet to be performed.

475.  “The Sower,” on a poem by Daniel Varoujan.  For mezzo, duduk, cello and piano. (11/15/14)

            7 min.

The duduk is a national instrument of the Armenians, a wind instrument with a piercing tone.  This piece sets a hopeful poem by an Armenian nationalist writer, a poem which has especially powerful overtones given the sufferings of that nation due to the genocide of a century ago.

476.  “O Lord, Be Merciful,” for SATB choir and organ on a text from the Book of Sirach.  3 min,              11/22/14

In a version for unmixed chorus, this anthem was sung at morning prayer by the chapel singers at Harvard University in Cambridge, Massachusetts.  The piece is tonal, in a gently flowing 3/4 meter, and features much canonical writing at the unison in the melody.

477.  “Passiontide Suite” for vielle, douçaine, bass viol da gamba, and positif organ.

This piece has four concise movements which correspond to events in the Passion Week narrative.  One instrument fewer plays in each movement, until the douçaine plays the last movement alone:  “Remember Mary’s Tears,” a depiction of Jesus’ mother at the foot of the cross.  To compose the piece with playable multiple stops, I had the opportunity, and necessity, to consult with players of historic string instruments.

478.  “Six Advent Anthems” for two-part choir and organ.  (12/3/14)

The first anthem sets a passage from Isaiah, and the second sets my translation of the chorale text “Macht hoch die Tür.”  The third sets a poem from the Episcopal Hymnal 1940 about penitence for the Advent season, and the fourth a text by John of the Cross called “Incarnation.”  The fifth sets my translation of the chorale text “Nun komm, der Heiden Heiland,” and the final piece is a prayer to emulate the virtues of St. Nicholas.  All six have been privately recorded, but only the fourth has been performed in a concert (by the group “Ad Lucem,” at St. Paul Catholic Church in Silverton).

479.  “Solomon’s Bride Sings” for two sopranos, flute and alto saxophone (12/31/14)

I composed this piece at the request of Zae Munn, director of the new music ensemble at St. Mary’s College in South Bend, Indiana.  It sets a passage from the Song of Solomon, with ecstatic melismas and ardently intertwining lines in the sopranos.  It is modal in its pitch language.

480.  “Perseverance in the Fight” for violin, horn and piano.  (1/10/15), 1’30’’

This concise trio is at once human and heroic.

481.  “Easter Suite” for organ.  Three movements.  (1/20/15)

The three movements of this piece are meant as prelude, offertory, and postlude for Easter worship.  Quartalism, added-note chords, modality, and disassociated triads abound, in a context which is not harshly dissonant, and has a sense of tonal center.  I played these in an Easter organ recital at Marylhurst University in 2016.

482.  “The Birds,” for soprano and piano.  (2/15), 2’30’’

This piece sets a poem by Hilaire Belloc, and was composed at the request of the “Ad Lucem” accompanist, Bev Ratajak.  It addresses a legend about the creative power of the child Jesus, and seeks to soar melodically like the birds which it describes.

483.  “Verset for Organ” (2/15)

This brief piece is in a pandiatonic D Ionian.  It is slow and sweet.

484.  “The Fruit of the Spirit,” motet for voices and keyboard

This simple, direct, repetitive piece addresses the passage from Galatians about the fruit of the spirit.  It was read and recorded by some choral-singing friends.

485.  “Five Songs of Christ’s Healing” for medium range voice and keyboard (3/15)

486.  “Valley Inquiry Charter School,” song for children

This piece was the “school song” for a while of a charter elementary school in Salem.  I composed it at the request of the school’s music teacher, Katherine Parks.

487.  Calon Lân, arrangement of folk hymn for Welsh Festival Chorus of Oregon

I composed this at the request of Jamie Webster, the Welsh Chorus’ director.  It is in a straightforward G Major, but more elaborate than a simple four-part hamonization of the hymn.  The chorus sang it at a Gymanfa Ganu, twice through, once in English and once in Welsh.  The text is a prayer for God to grant one an “honest heart,” uncorrupted by greed or selfishness.

488.  “Three Lenten Chorales,” preludes on O Du Liebe meiner Liebe, Der am Kreuz ist meine Liebe and            Drop, drop, slow tears, for organ

I have recorded these for YouTube and played them in church.  Two of the cantus firmuses are German chorales associated with the season.  The third tune is by Orlando Gibbons, and also associated with a Holy Week text.  These feature my usual canonic tricks, and also the movement of the cantus firmus from register to register between sections.

489.  “Wicks Family Hymn,” for vocal quartet and piano.  Original text

Like msot English families, we Wicks have a Latin motto.  Ours is “cari Deo nihilo carent,” meaning “Those dear to God lack nothing.”  Since this recalls the 23rd Psalm to me, I wrote words and music for a five-verse hymn paraphrasing the 23rd Psalm in rhyme.  The hymn follows the ancient German “bar” form of AAB, with the A sections or “Stollen” each being two phrases long, and the B section, or “Abgesang,” being three phrases long.

490.  “Divertimento” for the Bateira Trio (fl., vla., cb.)  1 min.

This quicksilver little piece is over before it begins.

491.  “Thump of Doom” for Schiau-Uen Ding, pianist.  1 min.

This piece is almost a little scary, but you can take it.

492.  “Haiku No. 1” for T. Piercy and C. Hickman, clarinet and piano.  1 min.

With a set-based pitch language, the number of points of attack in the three phrases of the clarinet line correspond in this piece to the number of syllables in a haiku.

493.  “Vocalise” for soprano and piano.  For Jenny Greene.  1 min.

This wordless piece is an exuberant little bagatelle.

494.  “Evening on Lesbos” for men’s choir and piano.  Poem by E. St. V. Millay

This piece sets an oblique poem by Millay, apparently a lament for lost love.

495.  “For the Martyrs,” composed January 2013 for the West Point Wind Quintet.  5 min.

This is a dirge for those who have fallen in wars.  The bassoon plays an insistent line of repeated even tones.  The oboe wails above, descending melodies of lament.

496.  “Happy Birthday Fanfare” for trumpet and piano.  Birthday gift for nephew Camden.

This little fanfare is a straightforward tonal piece.

497.  “Two Movements for Six Organs.”  For the Marfa Basilica in Portugal.

This piece was composed for a competition for a basilica which does, yes, have no fewer than six pipe organs in it.  The music is a reworking of my “Multi-Canonic Rhumba” for organ duet, which has too many notes to be practical.

498.  “Meditation on Ascension.”  Organ piece after the plainchant Ascendo ad Patrem meum.  3 min.

The title of the plainchant means “I ascend to my Father,” and is from the liturgy for the feast of the Ascension, seven weeks after Easter.  This piece is in G Mixolydian, and makes use of “vorimitation” between entries of the pedal cantus firmus.  I played it in my Easter organ recital at Marylhurst in 2016.

499.  “String Quartet No. 9”  2009

This four-movement piece is more tonal and accessible than my other string quartets.  The first movement is a vigorous sonata-allegro, and the third movement is a minor-key scherzo.  The final movement arranges two strophes of the German folk melody “Wie lieblich ist der Maien.”  It has yet to be performed.

500.  “A Threefold Diversion,” for clarinet and cello (Sara and Katherine).  May 2015 

This three-movement bagatelle keeps the players playing playfully.

501.  “Three Ancient Incantations” from the medieval Swedish, for soprano and piano.  May 2015

These set some of the oldest poems known in the Swedish language, two of them prayers to the Virgin Mary, one against excessive rain, and one against headaches.  The musical style is reminiscent of Hindemith.

502.  “Fantasia for Solo Violin,” slight reworking of piece from 1998.  Dedicated to Eva Ingolf

This is a show piece for the soloist, but dissonant and tempestuous.

503.  “All Said and Done” for brass quintet.  2 min.

This brief brass quintet attempts to resist the tendency towards bombast or aggression sometimes associated with this genre.

504.  “Comparisons” for clarinet, cello and piano.  Third movement variations on the French folk   tune “Jean de Nivelle”.  June 8, 2015

The first movement is in a modal sonata-allegro form.  The French folk tune arranged and varied in the third movement is at times associated with Carnival time in New Orleans.  It mocks a medieval nobleman who was too cowardly to fight in the Crusades.

505.  “Variations on the Genevan Psalm 107” for flute, trombone and piano.  June 14, 2015.  For

            Bill and Marge Varitz

Also playable as a piano trio, this set of variations on the Psalm sometimes sung as “Our Lord Will Come and Not Be Slow” emerges into a more extroverted and brighter tonality by the end.

506.  “Prelude on a Tune by Louis Bourgeois” for horn and piano.  June 15, 2015.  For Joyce


This has been recorded in a version with cello, and played for a church service.  The melody is associated with the text “Vor deinen Thron tret’ ich hiermit.”

507.  “O God, My Honor and My Glory” for harmonica and piano.  June 2015.  For Dave Caraher.

Stephanie Barth has recorded this piece with her violin.  The setting honors the austere delicacy of the Genevan Psalm tune on which it is based.

508.  “Carol of Redemption” on an original poem.  For mixed choir and trumpet.  June 21, 2015

The original poem is a thirteen-line terza rima about original sin and redemption by the grace of the incarnation.  It is in C Dorian.

509.  “Cantabile and Aubade” for trumpet in C and piano.  June 29, 2015.  8 min.

I recorded this piece with trumpeter Ken Saul.  The slow introduction is more lyrical and consonant, but the “Aubade” becomes fantastical, unpredictable, and piquant.

510.  “Prelude on a Genevan Psalm Tune” for violin, viola, cello and piano.  For the Rivera sisters

            at Emmanuel Presbyterian Church, West Linn.

This simple piano quartet, intended as an instructional piece, sets another Genevan Psalter melody, later adapted into the chorale “Mit Freuden zart.”

511.  “Three Movements for Piano, Strings and Percussion” in three movements.  July 2015

This is in effect a chamber piano concertino.  Large-scale interval cycles abound, and the piece is mostly centered on A.  The outer movements are sonata-allegro and five-part rondo.

512.  “Those Persons Whom the Lord Holds Dear” for mixed chorus, soloists and organ. 

            Cantata based on family hymn, op. 489.  July 17, 2015

This piece takes many clues for its genre from the Bach chorale cantatas.  It has yet to be performed.

513.  “Variations for Piano on Ja, maa du leva” (the Swedish birthday song).  July 18, 2015

I premiered these at my fortieth birthday party, on August 19, 2015, after convincing my partygoers to learn enough Swedish to sing the source song.

514.  “Salve Regina” for two-part choir and organ.  August 3, 2015

This dulcet, tonal, straightforward motet sets a traditional Marian antiphon text.  Premiered inNovember 2016 by the Silverton Latin Ensemble at the Methodist church.

515.  “Silvertonia:  Variations on the Alma Mater,” for solo organ.  August 6, 2015

This is a set of variations on the anthem of the high school from which I graduated in 1991.  The tune happens to be known also as “High Above Cayuga’s Waters,” and associated with Cornell University in NY.

516.  “Lament for the Unclaimed Ones” for English horn, cello and harp.  August 12, 2015.

            6 min.  Read and recorded later that Fall in Portland

This piece is a tribute to all of the persons incarcerated at the mental hospital in Salem, whose ashes were not claimed by any kith or kin upon their passing, and which are now stored in the columbarium there.  Needless to say, it is a somber piece.

517.  “Four Marian Anthems” for two-part choir and organ.  August 14, 2015.  (Alma Redemptoris    Mater, Ave Regina caelorum, Regina caeli, Salve Regina)

These tonal motets were premiered by the Silverton Latin Ensemble at Silverton United Methodist Church in November 2016.

518.  “Sonata for Cello, Harp and Organ.”  August 24, 2015.  For Katherine Parks, Bethany Evans and myself

This trio was composed at Katherine and Bethany’s request, but we have yet to play it.  It is modal harmonically, and uses the traditional formal designs for a sonata.  The cello carries much of the melodic weight.

519.  “Seven Theresian Versets” for organ.  September 3, 2015.  For Fr. Teresio

These seven organ pieces address themes from the biography and theology of Saint Theresa of Lisieux, the patron of Fr. Teresio, a fine organist.  Plainchant cantus firmuses include an “alleluia” proper to Theresa’s feast, the “Laudate pueri,” the “Dies irae” to correspond to her dark night of the soul, and the “Ubi caritas” to correspond to her emerging from it.  One movement quotes a French folk tune associated with nationalist sentiment, and I call the movement “Joan of Arc,” since Theresa had a certain preoccupation with her.  I premiered the cycle at Marylhurst in April 2016.

520.  “Sonata No. 1” for flute and piano.  September 25, 2015.

This three-movement sonata has a more complex fugue, instead of a rondo, as its final movement, and the first movement has an unusual gigue-like character.  Sandy Norman has recorded it with me, and Emily Potter played the concert premiere at the Abbey Library in July 2016.

521.  “Disquiet,” for solo violin.  For Annelle Gregory.  October 29, 2015.  3 min.

This piece is a technical tour de force for violinists who have some anguish to express.

522.  “What We Build:  an Anthem” for trumpet, horn and tuba.  For FACE THE MUSIC.  October 29, 2015.  4 min.

This piece means to express a certain earnestness and grandeur.

523.  “Flourish for Trumpet and Organ.”  For Steve Tolleson and myself.  2012.  3 min.

Steve and I played this as a church offertory.  It is a colorful piece, with a certain panache, and though brief.  It is in a simple ABA form.

524.  “Rondeau for Epiphany,” for SAB choir and piano.  November 10, 2015.  On an original       poem

The rondeau, speaking in terms of poetry, is a fixed form with a certain tight pattern of repeated rhyming words.  My poem addresses the journey of the Magi, and this piece was sung in worship by the choir of Emmanuel Presbyterian Church in West Linn, Oregon.

525.  “Oh the depth of love Divine,” for two-part choir and organ.  December 11, 2015.  On a       poem by Charles Wesley.

This piece strives to give lyrical expression to a rather theologically substantive Wesley text about the Real Presence in the Eucharist.  It has yet to be performed.

526.  “Easter Variations” for organ, after a plainchant Surrexit Dominus vere.  December 23, 2015.

The plainchant cantus firmus is a setting of the Easter acclamation “The Lord is risen!”  “He is risen indeed!”  This set of variations is in G, often Mixolydian, and divided in clear sections.  I played this in April 2016 for an Easter recital at Marylhurst University.

527.  “Four Sacred Songs” for low voice and piano, to Ellen Gordon Yager.  January 5, 2016

These four songs set a poem by W.C. Doane from the Hymnal 1940, passages from Isaiah and Jeremiah, and a sonnet of my own, about God’s promise never againt to visit the destructive flood on humanity. 

528.  “Anthem from Jeremiah” for two-voice choir and organ.  January 11, 2016.

This anthem, conceived as traditional music, sets a more optimistic passage from a less optimistic prophet.  I composed it early one morning in the Mt. Angel Abbey Church.

529.  “Variations on an Original Theme” for harp, to Mary Bond.  January 13, 2016

I composed this piece at the request of the harpist Bethany Evans, professor at Western Oregon University, for performance on her faculty recital.  It honors Mary Bond, who generously donated a harp to the university.

530.  “Sonata No. 4 for Violin and Piano,” for Marisa Polesky.  January 16, 2016

This three-movement sonata has been played by violinist Stephanie Barth, of Salem.  Rife with octatonicism, disassociated triads, quartalism, and shifting modes, this piece has just enough Eastern European flavor for its dedicatee.

531.  “Suite for Clarinet and Piano,” for Sara Truelove.  January 24, 2016.  One of its three             movements is recycled from “Two Movements for Clarinet and Piano” (op. 313)

The first movement is a set of variations on the chorale “O Gott, du frommer Gott.”  The second, slow movement is the borrowed movement, and the third movement is a whimsical rondo in common time.  Premiered at Silverton United Methodist Church in March 2016.

532.  “Sonatina for Two Violins and Piano,” for S. Barth and M. Lange.  February 11, 2016

This modern-day trio sonata is in two movements:  a slow introduction, then a phantasmagorical quick movement with much witty dialogue between the two lively violins.

533.  “Piano Sonata No. 2.”  February 18, 2016

This concise three-movement work makes, in sections, strict use of dodecaphonic technique, and always derives its pitch material from the row, at least loosely.

534.  “E Pluribus Unum,” for wind ensemble.  March 1, 2016.

This six-minute piece for large wind ensemble is inspired by the principle that the USA is inclusive, and its continuous adding of voices from the pair of oboes who begin the conversation, represents not just assimilation, but also a broadening of perspective and widening of the circle, such as has happened throughout USA history.

535.  “Three Songs on Poems of Mary Baker Eddy” for mezzo, viola and piano.  March 10, 2016

These songs set secular poems by the founder of the Christian Science movement:  “Nevermore,” “Hope” and “Flowers.”  The poems have a distinct nineteenth-century ring, like those of Longfellow, and I have striven for settings which are lyrical but not trite.

536.  “O Make Haste to Help Us” for the Fifteen-Minutes-of-Fame of the West Point Band.

This piece, which was not selected in the call for scores, is a frantic call for assistance, in memory of those who were killed or injured in the September 11, 2001 attacks.

537.  “Prelude on Ubi caritas,” for organ.  To Fr. Teresio Caldwell.  March 29, 2016.

This prelude, which I have recorded and played in worship, sets one of the sweetest Gregorian chant melodies, corresponding to a text about how God is always present “where charity and love are.”  My piece is mostly in F major, and has a 9/8 lilt.

538.  “Final Song of Moses,” for two-part choir and organ.  April 2016

This piece was read and recorded by a small women’s choir.  It sets Moses’ final words from the Book of Deuteronomy.

539.  “The Puzzle and the Key,” for violist Cornelia Petroiu.  April 19, 2016.  4 min., 30 sec.

This serial composition, symmetrically constructed, and striving for just enough contrast and discontunity despite being for unaccompanied viola, was premiered in Bucharest, Romania in late 2016.

540.  “Quintet on the Huguenot Psalm 68,” for violin, clarinet, viola, cello and piano.  5/19/16

This straightforward tonal composition embellishes a tune from the Genevan Psalter known as the “Battle Psalm of the Huguenots.”  It was premiered in a concert at Emmanuel Presbyterian Church in July 2016.

541.  “Prelude on ‘Veni, sponsa Christi,” for organ.  For Sr. Maureen’s 60th Jubilee.  5/27/16

The Gregorian chant which is the cantus firmus in this piece is sung when a religious sister takes vows. My piece is in a pandiatonic D Major.

542.  “Song of Mary” for two-part choir and organ.  The “Magnificat,” in English.  5/31/16

This is a piece of agreeable “Gebrauchsmusik” for church musicians, in D Major.

543.  “The Unquiet Grave,” arrangement of English folk song for douçaine and viola.  6/14/16

This is a set of variations on a folk song about a woman whose excessive grief for her dead lover disturbs his posthumous repose.

544.  “Sonata for Viola and Piano No. 5.”  1.  Anger,  2. Fear,  3. Hope, 4. Redemption.  7/12/16,             expanded 6/28/17

This piece begins in a very troubled place, and improves throughout.  On the day when I composed the first movement, I was very disturbed by events in the news:  hostilities in the political arena, and an obscene quantity of mass shootings.  The last movement, added at the violist’s request, celebrates that to which Hope can lead.

545.  “Fantasia on “Conditor alme siderum” for organ.  After an Advent plain-chant.  7/13/16

This organ piece is in three sections.  The first is a toccata in A.  The second is a fugue, and the subject uses fragments from the chant melody “Creator of the Stars of Night.”  The third section has the cantus firmus in slow note-values in the pedal, while the manuals play a joyful lilting pastorale.

546.  “Suite No. 3 for Solo Cello,” for Katherine Couch Parks.  Three movements.  7/18/16.

The unaccompanied cello has vast expressive capacities, as Bach showed us.  My three cello suites are unapologetically modern, but they acknowledge the tradition.  This suite is dedicated to Katherine Couch Parks, who premiered it at Western Oregon University.

547.  “Good Bones” for baritone and harp, on a poem by Maggie Smith.  7/28/16

This poem, at once very serious and very comic, touched a nerve with me.  With Ms. Smith’s permission, I made a little musical soliloquy out of it.

548.   “March for Hillary Rodham Clinton.”  8/1/2016

This piece was intended to help to put wind in the sails of Hillary Clinton’s presidential campaign, which I supported.  It is true that she won the popular vote.  The song, for keyboards and voice or voices, has the style of a Sousa march.

549.  “To Sound My Gospel Trumpet,” arrangement of three black spirituals, for trumpet and piano.

            For Jon Deshler, trumpeter.

The spirituals which I arranged here are “I want Jesus to walk with me,” “My Lord is so high,” and “Every time I feel the Spirit.”  The trumpeter who was going to play them thought that my treatment of the themes sounded like Jerome Kern.

550.  “Three Meditations on Nehemiah,” for violin, viola, cello and piano.  Based on three hymn-tunes:  Kyrken den er et gammelt hus, Du fond de ma pensée and Halleluja!  Eeuwig dank en eere.  8/15/16

Premiered at the Christian Science Church in Salem in April 2017, this piece was composed to honor their building renovation project, since the Book of Nehemiah concerns itself with the reconstruction of the Temple at Jerusalem. The cycle is about seven minutes long, and the style is mostly fairly consonant.

551.  “A Threefold Ode to Freedom” for trumpet and cello.  8/18/16

This concise, three-movement piece was, for me, as I composed it, a meditation on freedom:  a hard-won goal, so easily lost or abused, but so important.  What is freedom?  “Continuity between thought and action, with thought as sure of itself as a geometric proof,” says Simone Weil.  The power to do the will of God, says John Calvin.  The founders of the USA may have had other ideas still.  My music cannot explain it, but it can celebrate it.

552.  “Sonata No. 1 for Trumpet and Piano,” three mvts.  8/27/16

This three-movement sonata was recorded by trumpeter Ken Saul, in Corvallis.  As with the flute sonata from September 2015, the last movement is a fugue rather than a rondo.  It includes entries in inversion and in rhythmic augmentation.

553.  “Fanfare and Sicilienne for Solo Trumpet.”  November 2001.

This unacccompanied trumpet piece is at first, quite the vigorous escapade for the soloist, but it turns to a more pensive and gentle mood by the end.

554.  “Stabat Mater” for mixed chorus and organ. 1999

This setting of a traditional Latin text for Holy Week is about six minutes long, and in an ABCBA formal design.  While in C Minor, at times some passages express the anguished text, about Mary at the foot of the cross, through more dissonant explorations.

555.  “Salve Regina” for alto solo, mixed chorus and organ.  Five movements.  2000

This somewhat more extended setting of a traditional Marian antiphon is highly pandiatonic, and in C Major, with sojourns in the relative minor.

556.  “Five Marian Anthems” for women’s chorus a cappella.  2000 or so

These concise anthems, in English, set traditional texts for the various major Marian feasts.  They are tonal or modal, and delicately melodic.

557.  “More Bright Than Day” for SATB chorus with organ or piano.  Brief anthem.  Printed by      World Library Publications in 2001 (?)

This anthem celebrates the Transfiguration of Jesus Christ, celebrated by the Roman church on August 6, and by Protestants on the last Sunday before Lent.  The piece is in D, with occasional Lydian or Mixolydian inflections, and in a varied strophic formal design.

558.  “Ave Maria” for two-part choir and organ.  September 16, 2016

This anthem, in C Major and common time, continues my explorations in the techniques of composing choral music which is pragmatic for amateur choirs, in terms of the supportiveness of the accompaniment, and gratifying the expectations of performers and audience.  Premiered by the Silverton Latin Ensemble at the Methodist church.

559.  “Magnificat” for harp and treble voices.  October 1, 2016

This Magnificat is a more extended work, in several movements, for at least three voices.  Many of the movements are for solos or duets, and the text is in Latin.  The harmonic language is tonal, but the vocal lines pose challenges with their leaps and melismas.  As yet unperformed.

560.  “Psalm 25” for two-part choir and organ.  October 10, 2016

For this piece, I made a rhyming translation into English of Clément Marot’s French rhyming translation for the Genevan Psalter of Psalm 25.  Then, I set my translation to original music, mostly in C Dorian, but going into the major in the final verse.  This was premiered by the ‘Ad Lucem’ ensemble at Queen of Angels Monastery in a concert.

561.  “Sarabande and Habanera” for trumpet and piano.  October 23, 3016

This piece was composed to be played on a recital intended for a Spanish theme.  The Sarabande is an old Spanish courtly dance in 3/4 time, and the Habanera is a livelier piece in 2/4, with some influence of Spain’s erstwhile colonial presence in the Caribbean.

562.  “Three on Poems of Ahmad Shawqi” for women’s chorus and organ.  November 8, 2016.

Ahmad Shawqi was a leading figure in the “Arabic Renaissance,” an Egyptian poet who gave us musings on nostalgia for his homeland, the beauties of nature, and the ultimate justice of the universe.  These pieces, with a gossamer texture of shifting modes but a consonant profile, set three excerpts from his poetry.  They were composed at the request of the Encore Women’s Vocal Ensemble in Portland, directed by Melinda Beyers, and this choir premiered the first of the three at the Episcopal church in Tualatin.

563.  “Variations on the Genevan Psalm 25” for clarinet and piano.  To Sara Truelove.

            November 26, 2016

This is a set of three variations on the winsome melody associated with Psalm 25 in the Genevan Psalter.  Sara Truelove played them in a concert in May 2017 at the Methodist church in Silverton.

564.  “Gloria” for two-part chorus and organ.  December 2016

This setting of the Latin Gloria, while tonal, goes a bit out on a limb with shifting meters and the difficulty of the organ part.  The piece is vigorous and fairly ambitious.

565.  “Song of the Passion” for SATB choir, soloist, organ and C instrument.  Brief anthem.            Printed by World Library Publications a few years back (?)

This is a setting of an adapted text from the St. Gregory Hymnal and Catholic Choir Book of 1936.   Musically, it sounds somewhat like a sicilienne in F Minor, with variations developed strophe by strophe.  It calls on Christ to hear us even as we commemorate his Crucifixion.

566.  “Hodie Christus natus est” for two-part chorus and organ.  December 5, 2016

This piece is in a similar vein to op. 564.  It is unperformed.

567.  “Concertino for Cello.”  Two movements, nine instruments.  For Katherine.  Dec. 29-31, 2016

            11 min.

This chamber concertino for cello, in its first movement, struggles with existential dread and anguish, and is scarcely comforted by the structure of sonata formal design.  The second movement shows the attainment of peace and comfort, and is slow and decorous.

568.  “Three Songs on Poems of Willa Cather,” for baritone and piano, for Andrew White.  1.  In    Media Vita, 2.  Eurydice, 3.  Prairie Dawn.  1/11/17

This cycle was composed for a baritone who teaches at a university in Nebraska, so I set poems by Nebraska’s most famous literary daughter, Willa Cather.  Cather only published poetry at the beginning of her career, and her prose is more distinguished, but I found these three delights in her collection “April Twilights.” 

569.  “Sonata No. 3 for Clarinet and Piano,” for Sara Truelove.  January 23, 2017.  Allegro             moderato, Adagio, Vivo

I composed this sonata on the day of the Women’s March, a worldwide event occasioned by concerns about a variety of political, economic and ecological factors.  There was a good, vigorous energy in the air, captures especially in the first movement, it seems to me.  The third movement is a piquant and fluid rondo.  Sara Truelove, the dedicatee, premiered this in May 2018 at the Methodist church in Silverton, and the piece has been broadcast on nonprofit radio in Savannah, Georgia.

570.  “Three Lenten Songs”:  O vos omnes; De profundis; Jerusalem, convertere ad Dominum.       January 26, 2017.  For alto voice, tenor recorder, vielle, douçaine and organ.

These three songs set traditional Latin texts for the penitential season, together with an ensemble of historical instruments.  Highly modal in harmonies and melody, they are dedicated to the mezzo Ellen Gordon Yager

571.  “Three Psalms” for tenor and piano (nos. 84, 126, 150).  To Fr. Teresio.  March 2, 2018

These three psalms express my love of the Mt. Angel Abbey, and of the practice of psalm-chanting in the liturgy found there.  These three texts address affection towards God’s sanctuary, joy at the restoration of the forces of God’s people, and exuberant praise of the Lord.

572.  “Easter Sonnet,” on an original poem.  For SAB choir and organ.  February 9, 2017

Op. 573-625.  One-minute miniatures for the “Fifteen Minutes of Fame” projects of the Vox Novus Foundation in New York City.

573.  “Onward and Upward,” after the “Battle Hymn of the Republic,” for the West Point Woodwind Quintet.

This tonal composition embellishes a well-known hymn.

574.  “To be played as though biting into a fruit,” for solo horn.  2/1/12

This piece celebrates the natural vigor of a mild indulgence.

575.  “All Creation Groans and Travails” for flute, clarinet and piano.  3/1/12

The title is a quote from St. Paul.  The piece was inspired by how much stress we all feel before Christmas.

576.  “L’aube au jardin” for clarinet and cello.  3/2/12

The title is French for “Dawn in the Garden.”  It is gentle and sweet.

577.  “Bright Morning” for Jasmin Cowin.  Solo harp.  4/12/12

This piece expresses confidence that a given day will bring brightness and end strongly.

578.  “Than A March Hare” for Aya Hamaka, harpsichordist.  4/12/12

This nutty little piece scampers along, madder than, well, a March hare.

579.  “Odio et amo” for Conway Kuo, violist.  5/5/12

The title is Latin for “I hate and I love,” expressing the challenges of infatuation.

580.  “Awaiting the Invisible Beloved” for solo English horn.  5/5/12

This tender piece is about preparing to take Holy Communion.

581.  “Unnatural Disaster” for Bruce Curlette, clarinetist.

The title is inspired by a phrase from the Catechism about natural disasters being a punishment for human sinfulness, which I think is probably nonsense.

582.  “A Mother’s Blessing” for Jacqueline Martelle, flutist.

This piece is tonal and simple, like the music by mother wishes I would write more often.

583.  “A Vindication of the Sin of Wrath” for Craig Hultgren, cellist.  8/28/12

This piece is dissonant, frenetic, and, well, wrathful.

584.  “Haiku No. 2″ for S. Okamoto and P. Martinez, clarinet and cello.  8/28/12

The elliptical, cool nature of this lyrical piece somehow seemed Japanese to me.

585.  “Learning the Twelve-Tone Piece” for Liana Valente, soprano and pianist.  8/28/12

This piece depicts a soprano struggling to teach herself the dissonant intervals of a dodecaphonic piece which sets the German text, “Ah!  I am a big worm, and it is hard to be a worm, for I am green…”

586.  “Titania Invites A Song” for R. Crawford and R. Ashe, mezzo and flutist.  12/21/12

This piece was chosen in a competition for pieces setting lines spoken by the Queen of the Fairies in Shakespeare’s “Midsummer Night’s Dream,” and consequently performeed in NYC.

587.  “Bientôt” for Eugene van Itterbeck, poet, for soprano and piano.  12/21/12

This piece sets lines from a French-language poem, the literary style of which is reminscent of Mallarmé.  It was performed in Bucharest, Romania.

588.  “A Thick Tapestry” for the Crane Harp Ensemble.  12/21/12

This piece, composed for at least four harpists or a larger group, revels in the cascading arpeggios such a group can provide our ears, and was included on a CD by this ensemble.

589.  “Waltz on in, waltz on out” for Cross Island.  Clarinet, cello and piano.  1/19/13

This very brief waltz is suave and subtle.  It was premiered by “a very small consortium” in Green Bay.

590.  “Disquietude of a Jealous Mind” for J. Perez-Garrido, clarinetist.

This piece suggests the restless ruminations of one who fears that his beloved is untrue, like Proust with his Albertine.

591.  “Valse montréalaise” for Piano Pinnacle, piano duet.

This slower waltz depicts the stylishness of a French Canadian night, and was premiered in Brooklyn, New York.

592.  “A Troll Hymn” for Eva Ingolf, violinist.

This piece is very loosely based on an Icelandic hymn.

593.  “God Blesses Those Whom He Holds Dear,” original hymn tune arranged for clarinet, horn and bassoon.  West Winds, 4/3/13

This piece is based on my “Wicks Family Hymn.”

594.  “Frustrations of the Heart” for Matthew Rosenberg, bassoonist.  8/26/13

This piece has the bassoonist writhing about from frustrated affection.

595.  “Frolicsome Gallivanting” for the Nautilus Brass Quintet, 8/26/13

This brief piece is, well, a gallivanting frolic.

596.  “Once Again on Tapalamaho” for bass flute and cello, to P. Sklar and S. Mueller.  9/25/13

This piece expresses the peace I feel when I return to favorite places where I feel close to God.

597.  “Struggle for the Spirit’s Freedom” to L. Zheleny and A. Iliushkin, for violin and piano.  9/25/13

This piece creates a conflict-ridden rhythmic profile, with tuplets which do not want to reconcile.

598.  “Mit starken Lippen,” for Kenyon Wilson, tubist.  9/25/13

The solo tubist must play here with much force:  the title means, in German, “with strong lips.”

599.  “The Rite of Winter” for D. Vasquez, clarinetist, and choreography by A. Skura.  10/28/13

This solo clarinet piece, meant to be choreographed, has a Stravinsky-inspired title.

600.  “Homage to BACH,” for M. Velichkin, cellist.  10/28/13

This piece makes strict use of the ordered tetrachord corresponding to the letters of Bach’s name in German musical terminology.

601.  “Time Regained,” to “Aurae,” for soprano and flute.  Text by Proust.  1/24/14

This piece, performed in NYC, sets my own translation of the very last sentence from Proust’s seven-volume novel.

602.  “April Is the Sweetest Month,” for Tzu-En Lee, violinist.  2/8/14

This cheerful piece, premiered in Brooklyn, is inspired by Taiwanese folk music.

603.  “One Minute on the Erie Canal” for Robert Botti, oboist.  4/11/14

This piece was written in response to a call for scores about New York.  It briefly quotes the folk song about the Erie Canal and the mule named Sal.

604.  “For I Am Persuaded,” for Andrew White, baritone with handchime.  Text by St. Paul.  4/11/14

Andrew has performed this one-minute piece extensively;  it sets, in a lyrical D major, a text from Romans 8.

605.  “Sotto Voce,” for New Threads, a saxophone quartet.  4/12/14

This very soft and very brief piece is pointillist.

606.  “Summer Morning By A Stream,” for Conway Kuo, violinist.  7/8/05

This piece, indeed composed on a summer morning by the Spokane River, was played in NYC.

607.  “Running the Gamut” for Cornelia Petroiu, violist.  6/19/14

This piece suggests a state of personal trial and challenges.

608.  “Tendresse infinie” for Hayk Arsenyan, pianist.  7/16/14

The title is French for “infinite tenderness,” taken as a phrase from a poem by Rilke.

609.  “God Calls. We Answer” for Mirel Iancovici, cellist.  8/8/14

This piece alternates godly commandments with human silences.  This cellist premiered it in the Netherlands.

610.  “Death and the Young Man” for Stephen Porter, pianist.  10/17/14

Inspired by the song from Schubert “Death and the Maiden,” this piece has the pianist speaking words of Death to a depressed and suicidal young man.

611.  “Lamento pelo morte do Allan Forte,” for Rodrigo Baggio, guitarist.  10/17/14

This piece, rife with (025)s, celebrates the legacy of the influential propounder of “set theory, Allan Forte, who had just passed on.

612.  “Electra’s Dance,” for the Mosaic Trio, with violin, clarinet and piano.  11/15/14

This wild ride suggests the death-dance of the deranged daughter of Agamemnon.

613.  “Dolcissima possibile e piu ancora,” for “This Side Up” (alto sax, string quartet, piano).  11/23/14

The Italian title means “as sweet as possible and still more.”  The piece is very, very soft and consonant.

614.  “First Sight of Bathsheba” for bassoonist Devon Tipp.  11/23/14

This piece conveys the inner disturbance felt by King David when he looked at Bathsheba on the roof, and was filled with lustful thoughts which led to so much destruction.  Devon Tipp premiered this at the Norwegian Seaman’s Church in NYC.

615.  “Birds of the Air, Bless Ye the Lord,” for David Bohn, organist.  11/24/14

This piece, a stylization of the soaring song of a bird, has a title inspired by the Canticle of St. Francis.  The organist premiered this is Wisconsin.

616.  “Lament for the Innocents,” for Iwona Glinka, solo piccolo.  4/12/15

This piece mourns the sufferings of children worldwide from war and the indifference of adults.  Iwona Glinka played the premiere in Athens, Greece.

617.  “Waltz into the Sunset” for Marcy and Kenyon Wilson, violin and tuba.  5/21/15

This waltz has a comic element, corresponding to the unexpected instrumentation.

618.  “Once Upon A Time” for N. Riner and J. Dorris, flute and marimba.  6/24/15

The title invites the audience in, as the opening of a fairy tale.

619.  “Nature with Open Volume Stands” for sTem (soprano, clarinet, piano), 11/17/15

Composed in response to a call for scores about the arts and natural science, this sets an eighteenth-century poem about how the material world bears witness to God.

620.  “Way Up in the Middle of the Air” for the Third Wheel Trio (flute, clarinet, bassoon).  3/18/16

This whirling piece is inspired by the Prophet Ezekiel’s account of the mysterious godly wheels that he sees “way up in the middle of the air.”

621.  “Dreistimmige Fuge für das Klavier” for Stephen Porter, pianist.  3/19/16

This tribute to Beethoven does not quote, but relates to, the final movement of the ‘Hammerklavier’ sonata.

622.  “Orpheus’ Lament” for Kate Amrine, trumpeter.  6/22/16

Orpheus must have wept when he lost his Eurydice for the second time, and this is that song of mourning.

623.  “Meditation” for Angela and Patrick Reynolds, flute and trombone.  9/19/16

This meditation has a medieval sequence hymn in slow note values in the trombone.

624.  “At the Fountain’s Center” for “A Party of Four,” flute quartet.  11/25/16

The title is inspired by a poem by Rilke, concerning a fountain at the center of an orchard, where “the earth is never more real.”

625.  “I Do Not the Good Which I Would Do” for Admiral Launch Duo (soprano saxophone and harp), 1/12/17

This piece is inspired by St. Paul’s anguished self-recrimination about his inability to attain the purity he wishes through his own efforts.

626.  “Three Penitential Motets,” for non-mixed choir and organ.  1.  Asperges me, 2.  Vinea mea electa, 3.  Vexilla regis proderunt.  March 8, 2017

These challenging motets set traditional Latin texts for Lent:  “Cleanse me” (from Psalm 51), “My Chosen Vine,” and “The Royal Banners Forward Go.”  The music is entirely original.

627.  “The Temptations of Orpheus,” for clavichord (for the Daniel Blitz Project).  3/13/17

This piece corresponds to the anguish felt by Orpheus as the desperate Eurydice asks him to look back at her, even while he knows that that would be disaster.

628.  “Easter Introit and Benediction Response,” for SAB choir, organ, and brass sextet.  3/14/17

This church “Gebrauchsmusik” is in F major, and expresses the joy of the season.

629.  “Concertino for Clarinet,” in three movements.  Ensemble of fl., ob., bsn., hrp, str. quartet.


This piece is dedicated to Sara Truelove.  The sonata-allegro formal design of the ambitious first movement gives way to a more calm meditation of the second, and then variations on the hymn-tune “Amsterdam,” a lively marching melody, for the third.

630.  “Villanelle of the Spirit,” for SAB choir, douçaine and organ, after an original poem.  April 12, 2017.

My original poem follows the French nineteen-line fixed form known as the villanelle.  The douçaine line may be played by another instrument, and the text concerns itself with the season of Pentecost.

631.  “Sonata for Violin and Piano No. 5,” for Dolores D’Aigle.  Three movements.

Stephanie Barth has recorded this piece.  The first theme of the first movement, which comes after an introduction which gathers momentum, gives the impression of warped carnival music.  The third movement varies the Swedish Advent hymn “Haf trones lampa färdig,” with fugal “Vorimitation.”

632.  “Veni, Redemptor gentium,” setting of Ambrosian chant for solo organ.  4/26/17.

I premiered this in an organ recital at the Mt. Angel Abbey in December 2017.  Dissonant, unpredictable textures, at times resolving into triads or open fifths, swirl in the manuals above a slow chant cantus firmus in the pedal.

633.  “Nine Choral Responses” for SAB choir (introits and such for church);  5/9/17

These brief responses are mostly modal, and quite accessible.

634.  “Three Variations on Tandernaken, al op den Rijn” for douçaine and organ.  5/31/17

Premiered by Ensemble Aalto at the Methodist church in Silverton in January 2018, this piece sets a medieval Dutch melody.  Its original words were mock-tragic, about a young woman sitting by the Rhine, bewailing her mother’s interference in her love life.

635.  “Rise, Heir of Fresh Eternity” for tenor and piano, on a poem by Crashaw.  6/4/17

I composed this for my friend Fr. Teresio’s (successful) re-audition for the community choir in Salem.  The poem, for Easter, was by an English recusant whose poetry has the density of Donne’s.  The music is pandiatonic, with shifting meters, and shows off Fr. Teresio’s skill at coloratura.

636.  “Sonata for Violin and Piano No. 6,” for Stephanie Barth.  Three movements.

This sonata, premiered in February 2018 by Stephanie Barth, has many features in common with many of my other sonatas, but the final movement is neither a rondo nor a fugue.  It is in two non-varied strophes, with the piano playing added-note chords suggestive of bells pealing, and the violin playing an exuberant G-major melody over it with many multiple stops.  A showy coda leads to a confident ending.

637.  “Piano Quintet in B,” in four movements.  7/3/17

This piece is an exploration in semi-tonal composition, inspired in formal design and some techniques by the chamber music of the Romantic era, especially Brahms and Schumann.  It has yet to be performed.

638.  “Sinfonietta in Three Movements,” for wind quintet, trumpet, percussion and strings.  Finished 7/25/17

This piece for chamber orchestra has elements which are disciplined and traditional, but also fresh and unpredictable.  It has yet to be performed.

639.  “Three Songs for the Immortal Beloved,” on poems by Mayrhofer, Wicks, E.B. Browning.  For voice and piano.  8/21/17

The first poem in this cycle is a nineteenth-century German poem of which I have made a rhyming translation.  The second is an original sonnet, and the third is Browning’s famous “How do I love thee?  Let me count the ways.”  The musical style is lyrical, but not common practice.

640.  “Sonata No. 2 for Cello and Piano,” in three movements.  For Katherine.  8/27/17

The first movement uses strict twelve-tone technique, in a sonata-allegro form.  The second, transitional movement uses the technique as a structuring element, but not micro-managing.  The third movement is a set of tonal variations on an original theme.  I have recorded this with Katherine Parks, and posted it on YouTube.

641.  “Love Is Strong as Death,” an opera for three singers and piano, on an original libretto.  September 2017.

Premiered on February 3, 2018 at the Mt. Angel Abbey Library Auditorium, this half-hour opera is inspired by a scenario from the English folk-song “The Unquiet Grave,” and by the characters in the Celtic legend of Tristam and Iseult.  Besides the two lovers, an Angel appears who sings to them in quotes from the Biblical Song of Solomon.  At the end, peace and joy are attained in a realm beyond dichotomies of time and death.

642.  “Piano Quartet No. 2,” in four movements.  11/2/17

This piece is an exploration in semi-tonal composition, inspired in formal design and some techniques by the chamber music of the Romantic era, especially Brahms and Schumann.  It has been read and recorded with some colleagues in Salem.

643.  “Four Advent Meditations,” for organ.  12/15/17.  Cantus firmuses:  “Macht hoch die Tür,” “Alma Redemptoris Mater,” “Haf trones lampa färdig,” “Comfort Ye, My People”

These pieces are based on four traditional Advent hymns.  I recorded them for YouTube on the Kimball pipe organ at Trinity Lutheran Church in Silverton.

644.  “In the Desert of My Suffering,” arrangement of a hymn by Claude Goudimel for SATB choir a cappella

This fairly straightforward arrangement sets my own English translation of a mournful Huguenot hymn.

645.  “Four Variations for Organ on Par le désert de mes peines.”  Recorded for YouTube on 1/2/18

This composition varies more extensively the same hymn as appears in op. 644.

646.  “Sonata for Flute and Piano No. 2,” for Sandy Duffy Norman.  1/4/18

This three-movement piece juxtaposes a Hindemithian pitch language with the traditional formal designs of the Classical sonata.  I marvel that I still face new challenges in regards to idiomatic composition for each instrument.

647.  “Sonatina for Two Violas.”  In three movements.  1/10/18

This three-movement piece juxtaposes a Hindemithian pitch language with the traditional formal designs of the Classical sonata.  I marvel that I still face new challenges in regards to idiomatic composition for each instrument.

648.  “Three Haiku” for low voice and piano, on original poems.  1/18

This piece sets three original haiku about autumn and winter.  They are a bit grimy, but also contain some sweetness.

649.  “Easter Hymn” for SAB choir and organ, on an original poem.  1/20/18

This piece, in a limpid B-flat Major, is in two slightly varied strophes, melodiously celebrating the resurrection.

650.  “Sonatina for English Horn and Piano,” in three movements, for Aage Nielsen.  1/23/18

This three-movement piece juxtaposes a Hindemithian pitch language with the traditional formal designs of the Classical sonata.  I marvel that I still face new challenges in regards to idiomatic composition for each instrument.

651.  “The Cry of the Lord’s People,” for SAB choir and organ, on an original poem.  Alternate version for two-part choir.  2/8/18

This piece takes a penitential tone.  The text is a sonnet with the added refrains “We cry to you, O Lord.”

652.  “The Lord’s Prayer” for two-part choir and organ.

This is yet another setting of the Lord’s Prayer.  It is in D Major, with few surprises, other than a meter change at one point.

653.  “Sonata for Clarinet and Piano No. 4,” in two movements.  For Sara Truelove.  2/20/18

This three-movement piece juxtaposes a Hindemithian pitch language with the traditional formal designs of the Classical sonata.  I marvel that I still face new challenges in regards to idiomatic composition for each instrument.

654.  “Sonata for Violin and Piano No. 7,” in three movements.  For Marjory Lange.  2/21/18

This three-movement piece juxtaposes a Hindemithian pitch language with the traditional formal designs of the Classical sonata.  I marvel that I still face new challenges in regards to idiomatic composition for each instrument.

655.  “Fifteen Summer Psalms,” for organ.  3/20/18

This cycle of fifteen concise, fairly tonal compositions for organ, sets the fifteen tunes from the sixteenth-century Genevan Psalter associated with the fifteen Psalms in the Revised Common Lectionary for the fifteen Sundays from Memorial Day to Labor Day for the year 2018.  Despite a consonant harmonic profile, they run a gauntlet of moods, registrations, and textures.

656.  “Magnificat and Nunc Dimittis” for SATB choir a cappella, in honor of the ministry of Nancy Nickel.  3/29/18

Nancy was an influential organ teacher of mine, and the longtime director of music at St. James Lutheran Church in Portland, and due to retire on June 3, 2018.  These two canticles are traditionally sung at Vespers, and Nancy instituted a Vespers Series at the church, at which Bach cantatas are sung four or five times a year.  For two of the previous Vespers, the church has commissioned a motet from me, and both of those happen to be in the key of G, so this piece is, too.

657.  “Petite Suite” for alto recorder and harpsichord, in three movements.  3/31/18

This piece has movement titles drawn from Baroque dance:  Allemande, Sarabande, and Gigue.  Despite a more modern pitch language, it is meant to be playable on Baroque instruments, even with the limited expressive capabilities which that implies.

658.  “Cello Suite No. 4,” in three movements.  4/4/18

This piece is dedicated to the cellist Katherine Couch Parks.  The first movement is a bold, declamatory statement, like a credo or protestation, with many multiple stops and a strong sense of tonal center.  After a more delicate and dance-like second movement, we hear a more assertively modernist movement with a more disjointed and dissonant profile, as well as a triple compound meter which seems restless and forceful.

659.  “Sonatina No. 2 for English Horn and Piano,” in three movements.  4/18

This unusual piece uses typical formal designs for its three movements:  first Sonata-Allegro, then strophic, then a fughetta.  However, all three movements use as cantus firmus a lullaby from the Isle of Man (a small island in the North Irish Sea) called “Little Red Bird” or “Ushag veg ruy,” in the local Celtic language.  Fragments from the lullaby’s melody appear in a wide variety of ways.

660.  “The Sowing of Peace,” motet for mixed chorus a cappella.  4/20/18

See the notes on op. 656.  This motet is my gift to Nancy Nickel for the last Bach Cantata Vespers which she will direct as the organist and choir director at St. James Lutheran Church in Portland, Oregon.  The text, chosen by Nancy, comes from the eighth chapter of the Book of the Prophet Zechariah.

661.  “Dame, a vous sans retollir,” for three-part women’s voices a cappella.  4/25/18

This piece is dedicated to the women’s ensemble “Bergerette,” which specializes in medieval French repertory.  The text is a fourteenth-century virelai by the composer and poet Guillaume de Machaut.  The music does not contain any quotation or cantus firmus procedure, but it seeks with a euphonious intricacy to pay homage to the spirit of Machaut’s own music.  The poem honors an infinitely beautiful and worthy woman, whom the poet adores to the point of rapture.

662.  “Song of Triumph” for solo harp.  5/4/18

This piece, of about seven minutes in length, is centered on D, but involves much fluctuation in the chromatic inflections, without overwhelming the harpist’s ability to change the pedals. Various ideas are introduced and developed in succession, culminating with a triumphant anthem, then a brief reprise of some opening gestures.

663.  “Motet on Psalm 50” for two-part choir and keyboard.  5/29/18

This concise piece sets only the final verse of this Psalm, with an adapted text resulting from comparative study of several translations.  The musical style is straightforward, in a limpid C Major.

664.  “Canticle of Zechariah” for two-part choir, two soloists, and organ, 6/11/18

This piece sets the Biblical passage uttered by the father of John the Baptist when his speech is restored after a period of muteness, looking for the future joys of Israel promised by the Baptist’s ministry.  My piece is in seven concise movements, and is mostly fairly conventionally tonal, closing with a setting of the traditional Gloria Patri.

665.  “Psalm 137” for two-part choir and organ, 6/18/18. 

This modally inflected, strophic piece is an arrangement of the tune for Psalm 137 from the Genevan Psalter of 1563, together with my own rhyming, metrical English translation of Clément Marot’s French.  The three verses build to a climax from a quietly mournful beginning.

666.  “She Walks in Beauty” for low voice, cello, and piano, 6/20/18.

This setting of an eighteen-line poem by Lord Byron, in praise of a dark-haired lady-love, is oblique and unpredictable without being jarring or harshly dissonant.  Shifting modes and meters complement the melismas of the vocal line.  The piece is without long-range tonal center, but often sounds more centered on the local level.

667.  “Three Songs on Poems of St. Theresa of Lisieux” for tenor and piano, June 2018.

These songs set three further poems of St. Theresa (French, 1873-1897) which I translated into English.  They sit comfortably for a low tenor voice, and employ a consonant harmonic language suitable for the writings of this saint, with her ethos of “sweetness and light.”

668.  “Five Holy Hours,” for solo organ, 7/11/18.

This eighteen-minute cycle consists of five pieces corresponding to the traditional canonical “hours” of prayer as observed at Benedictine monasteries:  Vigils, Lauds, Noon Prayer, Vespers, and Compline.  My piece contains oblique references to Advent plainchants such as the Conditor alme siderum and the Alma Redemptoris Mater.

669.  “Suite for Solo Cello No. 5.”  8/7/18

This piece is more playful, dissonant and fantastical than the previous suite, but it is also dedicated to the cellist Katherine Couch Parks.  Its three movements explore a variety of moods and states of mind, and the piece makes considerable technical demands on the soloist.

670.  “String Quartet No. 11.”  8/9/18

This string quartet is in four movements: a sonata-allegro form, a scherzo, an ‘Italian aria” with a spotlight on the cello, and a rousing, playful, dissonant fugue.  The duration is about sixteen minutes, and the piece poses some challenges to play, although the rhythms and meters are intended for a fairly simple ensemble preparation.

671.  “Song of Mary.”  8/18/18

I have derived musical inspiration from the “Magnificat,” this passage from the Gospel of Luke, many times.  This attempt is intended less for congregational or choral singing, but rather for a trained soloist with piano accompaniment, with its many meter shifts and quick melismas.  The musical language is consonant, mostly in a fairly clear F Major.

672.  “Two Moods for English Horn and Viola.”  8/23/18

I composed this piece to be played by my friends Aage Nielsen and Ben Neubauer.  The first “mood” is a pensive Barcarolle, and the second is more acerbic, with the viola playing pizzicato throughout, mostly double stops.  I wrote this while visiting my favorite hotel near Agate Beach in Newport, Oregon, the site of the career of the composer Ernest Bloch, and always a restoring place for me.

673.  “Sonnet to Mary.”  8/22/18.

This piece is for soprano, piano, violin, viola, and cello, and is only about three minutes long.  It sets a sonnet in honor of the Virgin Mary, a sonnet which I wrote myself earlier the same morning.  The music is in D, with many shifting modes, and the soprano line is florid and exuberant.

674.  “Sonata No. 3 for Flute and Piano.”  8/28/18

I sketched out the melody for this entire piece first, not knowing what the instrumentation would be, and then listened to myself and decided on flute and piano.  The first movement uses the sonata-allegro formal design, the second movement is a Sicilenne, and the third a Rondo with jagged rhythms and an unpredictable textural profile.  Each movement is centered on a tone a fifth higher than the one before.

675.  “Sonata No. 6 for Viola and Piano.”  9/1/18

I composed this sonata at the request of my friend Marjory Lange, who desired a piece which was less somber than some which I have composed for her in the past.  The opening six notes of the first theme are a sly reference to a somewhat well-known British Christmas carol.  The second movement is austere and pensive, and the third movement is a set of variations on Martin Luther’s Christmas hymn Vom Himmel hoch da kam ich her, which he wrote and compose to teach the story of Christ’s Nativity to his children.

676.  “Sonata for Oboe and Piano No. 1,” in three movements.  9/13/18

Much earlier in my compositional career, I composed two “oboe sonatas” which were valiantly recorded by oboist Ann van Bever, but these sonatas are not very idiomatic for the instrument, so I reworked them as violin music.  This piece represents an attempt at composing an oboe sonata which will be truly suitable, thinking more carefully of the tessitura and of places for the embouchure to rest.  It is dedicated to Mitch Iimori of Portland, Oregon.

677.  “A Walk in Rose Ada’s Garden” for flute and piano.  2 min.  9/17/18

This concise piece was directly inspired by a solitary stroll through the very impressive garden of a friend, Rose Ada Combs, who lives in Oregon City.  The garden is on irregular terrain, with many levels and rocks, and impressive sculpture and a wide array of varied plants.  My music seeks to reflect its unpredictablility.

678.  “Four Seasonal Haiku” for viola and cello, inspired by original poems.  To Nina Bledsoe and Daniel Saenz.  October 2018

My cellist friend Daniel Saenz requested a piece for a duo recital of his called “American Haiku,” at the university where he teaches, Sam Houston State in Huntsville, Texas.  I complied with this cycle, each movement of which is inspired by a haiku which I wrote myself about one of the seasons of the year, beginning with Spring and ending with Winter.

679.  “Upon Hearing the Swan” for solo cello, briefly quoting WOODWORTH by William Bradbury

I composed this brief piece on the shores of Puget Sound in Washington State, where I was visiting to mourn the passing of my mother’s older brother Ron.  The title comes from the folk belief that swans, ordinarily silent birds, sing only prior to death. Towards the end of the piece, I quote a brief phrase from a revival-tent hymn on a poem by Charlotte Elliott, setting the text “O Lamb of God, I Come, I Come!”

680.  “Towards the Western Isles” for English horn and viola.  October 23, 2018

I composed this piece on the same trip to the Seattle area, and while it does not quote any pre-existing music, it is meant to summon a mood of calm resignation to the terms of this mortal life.  Viking legend holds it that the souls of the departed voyage to unspecified Western islands.

681.  “Three Days Beyond Christmas,” for solo organ.  The three movements of this piece observe St. Stephen’s Day (Dec. 26), St. John the Evangelist (Dec. 27) and Holy Innocents (Dec. 28).  The first movement is recycled from the first movement of op. 287, but the last two movements were composed on November 17, 2018:  one based on a plainchant for Vespers, and the last movement on the Coventry Carol.

682.  “Two Movements for Flute and Cello.”  6 min., November 23, 2018

The first movement has the character of a Sicilienne or Barcarolle with some slippery harmonic and melodic maneuvers.  The second movement begins with an anguished and extroverted tone, continues into some more whimsical material, and closes with a section suggesting many of the opening gestures in contour and texture, but more consonant and lyrical this time.

683.  “Tota pulchra es, Maria,” for organ. 6 min. December 14, 2018

This piece sets a plainchant for the Feast of the Immaculate Conception (December 8), the words of which run:  “Alleluia.  You are altogether beautiful, O Mary, and original sin is not in you.  Alleluia.”  The “Alleluia” sections have the Dorian-mode cantus firmus in the pedal, and the middle section places the melody in the soprano, with a somewhat sparse and less extroverted texture.  A vigorous codetta gives the piece a strong major-key finish.

684.  “Prelude and Fugue for the Immortal Beloved,” for organ.  7 min.  12/25/18

The prelude is in a trio texture, and centers on F Lydian.  The fugue has a subject which is an encrypted message.  The fugue includes two episodes, appearances of the subject in stretto, prolation, and inversion, and a fine final cadence on the major submediant.  The piece is a Christmas present for my Immortal Beloved.

685.  “Gavotte” for violin and piano, 3 min.  1/7/19.  I composed this piece very early on a cold winter morning.  It is a quirky, eccentric characterization of the essence of a Baroque dance, with slippery modernist harmonies.  It would be very difficult actually to dance a Gavotte to it.

686.  “Cello Suite No. 6.”  1/10/19.  This piece continues my explorations of the expressive capacities of the cello.  It is in three movements, and exploits multiple stops extensively, with a sensible eye towards playability.

687.  “Variations for Piano on “Ach, du lieber Augustin.”  6 min., 1/10/19.  This set of six variations on a simple German folk melody descends the circle of fifths from C to A-flat, and contains a waltz, a gentle serenade, and a contrapuntal variation with Vorimitation and the theme in rhythmic augmentation.


688.  “A Shakespearean Sinfonietta” for chamber orchestra, 14 min., 1/14-2/21/19.  The four movements convey the spirit of the four varieties of plays by Shakespeare:  the romances, the tragedies, the histories, and the comedies.  The first movement is in a sonata-Allegro form, and the second is a sinister, tragic dirge.  The third movement, like history itself, is a set of variations on a theme, and the comic movement is in a jaunty, quick 12/8 time throughout.  This last movement begins with a prelude which is briefer, then a more extended fugue which contains entries in prolation and inversion, stretto, invertible counterpoint, and two sequential episodes.  


689.  “Sonatina No. 3 for English Horn and Piano.”  The first movement, in sonata-Allegro form, cascades gently along like a contented canoe on a stream of sweet modalities.  The second movement is a stark and lonely lament.  The third movement is s concise, dancelike transition to a fourth movement which is a setting of the Welsh folk melody Llwyn Onn, known also as “The Ash Grove,” sung to secular words about lost love, but to sacred poems also.  Composed on 1/18/19.

690.  “Two Sets of Variations on Ancient English Melodies,” for douçaine and viola.  11 min., January 23, 2019.  These variations are based respectively on the ballad “As I Went to Walsingham,” concerning pilgrimages in devotion to the Virgin Mary, and “Go from My Window,” concerning the bitter end of a secular love affair.  Each of them explores variation techniques in a way which I hope is both neo-Elizabethan and fresh, without either harsh modernism or a sense of excessive pastiche.  I also hope that they will have a certain naturalness and fluency for the performers, although I know that they are far from effortless.

691.  “Look What I Invented” for toy piano, written for a project of miniatures, in response to a call for scores by David Bohn.  This piece owes much in structure to a Bach two-part invention, and it owes something in its harmonic language to Paul Hindemith, but it is not a textbook example.  The title refers to the child-like sense of wonder and pride which a creator may feel anyway.  1/25/19

692.  “Sonata No. 3 for Piano.”  13 min.  This four-movement piece has a protean sense of mode and of tonal center, all the while avoiding extremes of dissonance or Expressionist angst.  The second movement uses a Sonata-Allegro form and a few neo-Baroque gestures, whereas the fourth movement is a five-part Rondo.

693.  “Arfon.”  For SATB choir and keyboard.  4 min., January 2019.  This is an accessible, not to say simplistic, arrangement of a traditional Welsh hymn, with a penitential bent.  Both the Welsh and English texts are in the score.  Dedicated to the Welsh Dragon Choir, directed by Jamie Webster, of the Welsh Society of Portland, Oregon.

694.  “Ave Maria” for medium-range voice and keyboard.  2 min.  February 2019.  Somewhat direct, with a certain schooled and suave faux-naïveté, this fairly melismatic setting of the traditional Marian prayer pushes only gently at the edges of common practice tonality.

695.  “Bryn Calfaria,” for SATB choir and piano.  5 min.  This is an arrangement of a hymn addressing Mount Calvary, the site of Christ’s crucifixion, from the Welsh tradition.  The harmony is mostly “common practice” with some moments of modality, and a lengthy fugal interlude precedes the third and final strophe.  February 26, 2019.

696.  “Violin Concerto No. 2,” for solo violin and chamber orchestra.  15 min.  This three-movement work employs a range of more expressionist and jagged or disjunct gestures, along with passages of lyricism and sweetness.  The first movement is in a Sonata-Allegro form, the second movement has two varied strophes, and the third movement is a five-part rondo with considerable variation among the refrains, after a cadenza-like opening.  March 21, 2019.

697.  “String Quartet No. 12,” 12 min.  This quartet, in three movements, opens with a movement in Sonata-Allegro form, with a fiery first theme group including an oft-recurring phrase which plunges two octaves in two measures, with a fairly dissonant contour.  The second movement is a courtly Sarabande in rounded binary form, loosely in A Minor, and the third movement is a playful, gigue-like five-part rondo which makes extensive use of pizzicato in the non-melodic parts.  March 2019.

698.  “Etifeddiaeth Plant Duw,” 4 min.  This is an arrangement for four-part choir and piano of a traditional Welsh melody, with a bilingual Welsh and English text about enduring earthly hardship while trusting in God’s promise.  The melody is cheerful, even jaunty, and the arrangement is forthright without being simplistic.  This is dedicated to the Welsh Dragon Choir of Portland, Oregon, directed by Jamie Webster.

699.  “The Lord Is My Strength,” for choir and organ.  This motet, composed in a direct and accessible style with refrains and varied verses, is performable by a mixed or non-mixed choir.  It sets three verses taken from the middle of Psalm 118, with alleluias added at the end.  It aims to express the Eastertide joy of God’s redeemed people.  The first performance took place in Morning Prayer at Harvard University in Cambridge, Massachusetts on April 23, 2019.

700.  “Ave Maria” for alto voice and organ (manuals only).  This brief and aesthetically traditional setting of this Latin Marian prayer was composed on the afternoon of Holy Monday, as Notre Dame Cathedral in Paris was burning.  It is dedicated to that cathedral.  April 15, 2019

701.  “A Song and Dance of King David,” for solo piano.  Dedicated to David Rutherford, pianist.  This two-movement piece evokes first the Biblical David’s playing of the harp for the troubled King Saul, and then David’s wild dance of victory before the Ark of the Covenant.  The first movement is more through-composed, and the second movement is a variation rondo.  April 18, 2019

702.  “Variations on the Strasbourg Magnificat.”  This solo organ piece is a set of variations on the melody to which the sixteenth-century French Protestants sang the Song of Mary, aka the Magnificat, from the Gospel of Luke (chapter 1, 46-55).  The cantus firmus changes registers and appears with a variety of meters, textures, and tempos from variation to variation.  July 12, 2019.

703.  “Sonata for Contrabass and Piano,” in three movements (13 min.).  After a first movement which strains at the edges of the traditional formal design for the sonata, with its sharp dissonances and jagged melodic contours, the second movement is a sweet aria, mostly in the mode of A Dorian.  The third and final movement is a set of variations, including a fairly full-fledged fugue, on a nineteenth-century Dutch version of the Salve Regina, a hymn to the Virgin Mary.  July 2019.

704.  “A Prayer of Saint Catherine of Siena,” for mezzo-soprano, viola, and piano.  7 min.  This piece sets words by a fourteenth-century Italian visionary, translated by the Dominican sister Suzanne Noffke.  We hear a musical reflection of the saint’s transports in the shifting modes and meters of the music, as a variety of textures and moods bring her to ecstatic peace.  This was composed in response to the mezzo Ellen Yager’s request for music which would allow her to use her “big sound.”  August 10, 2019.

705.  “Piano Quartet No. 3,” 15 min. This piece has been privately recorded with violinist Stephanie Barth, violist Marjory Lange, and cellist Katherine Parks.  The first movement employs a Sonata-Allegro form, in which the first theme features a perpetual-motion parallel octave sixteenth-note motif in the piano and jagged homophonic gestures in the strings.  The second movement is a mournful sarabande, and the third movement is a set of variations on the eighteenth-century German hymn O, dass ich tausend Zungen hätte.  August-September, 2019.

706.  “So We a Godly Life Could Live,” for SAB choir and organ.  7 min.  This piece is an elaboration of a hymn by Martin Luther, intended to teach the Ten Commandments.  I adapted the text from an English translation by nineteenth-century poet Richard Massie, and the melody dates back to the twelfth century.  A premiere is projected by the choir of Emmanuel Presbyterian Church in West Linn, Oregon on November 24, 2019, as a musical capstone of our series of services about the Ten Commandments.  Composed on September 15 and 16, 2019.

707.  “Violoncello,” a song for mezzo-soprano and cello.  2 min.  This piece sets my own translation of a mysterious twelve-line poem by the nineteenth-century Swede Ernst Josephson.  The poem seems to compare the pleasures and pains of music to those of love, and to both fear and yearn for the breaking of a cello’s strings as the means of a soul’s liberation.  Composed on September 22, 2019.

708.  “Sonata for Harp,” in three movements.  11 min.  Unusually, it is the last movement of this piece which is in the “sonata-Allegro” formal design which often opens such works.  The first movement is, rather, a Lament for the destruction of Jerusalem prior to the Babylonian captivity.  The second movement has as cantus firmus the sixteenth-century chorale “Beside the Streams of Babylon” by Dachstein, and the third movement concerns itself with “Restoration,” and bears at its head a quote from the opening of Psalm 126:  “When the Lord turned again the captivity of Zion…”  Composed on October 14, 2019.

709.  “Three Songs on Poems by Queen Elizabeth I,” for mezzo-soprano, viola, and piano.  7 min., composed Oct. 20, 2019.  These songs have a faint sixteenth-century ring, in keeping with the historical era of their author, who was of course more celebrated for her position in politics, despite her great education and considerable literary attainments.  However, I have striven to avoid cliché and pastiche, and the music bears the stamp of our times as well.  The poems are “When I was fair and young,” “On Monsieur’s Departure,” and “No deformed leg, no bleared eye.”

710.  “A Crown of Sonnets on the Passion of Our Lord.”  A crown of sonnets is a cycle of seven rhyming poems of fourteen lines each, thematically connected.  I wrote these poems on October 18, 2019, and composed the music a week later, on the 25th.  The music is for three-part mixed choir, two soloists, and piano, and is dedicated to the choir at Emmanuel Presbyterian Church in West Linn, Oregon. My poems tell the story of the events of Holy Week and reflect on them, seeking for the sense of breadth and purpose of a Passion oratorio, while remaining more concise than, say, Bach’s monumental work after Saint Matthew.

711.  “Sonnet of Hope,” for soprano and piano.  This is a setting of an original sonnet, vaguely inspired by the theme of one of Rainer Maria Rilke’s “Sonnets to Orpheus.”  My piece is one hundred seconds long, and a protean musical language shifts among modalities, tonalities, and a state of dissonance, reflecting the singer’s complicated states of mind.  November 11, 2019.

712.  “A Crown of Sonnets for the Incarnation” for soprano and organ, dedicated to Catherine van der Salm.  This is a setting of a cycle of seven original sonnets, concerning the themes of the Sundays of the Christian season of Advent:  Hope, Peace, Joy, and Love.  17 minutes duration.  November 19-20, 2019.

713.  Une couronne de mes propres sonnets, for low voice and piano, dedicated to my Immortal Beloved.  This is a setting of a cycle of seven original sonnets written in the French language, about the vicissitudes of Love.  The musical language is comparatively consonant and lyrical.  Completed December 6, 2019.

714.  “Seven Versets on the ‘O’ Antiphons,” for organ.  The O Antiphons are seven responses sung in the seven days leading up to Christmas Eve before and after the Magnificat at Vespers, in Roman Catholic and some other liturgical traditions.  My organ pieces are loosely based on the tune for these antiphons from the Liber Usualis, and vary it in several ways.  Completed December 21, 2019.

715.  “Sonata No. 4 for Oboe and Piano.”  I composed this three-movement piece much in the vein of the other thirty-odd sonatas which I have composed, but perhaps with more finesse and verve, as I continue to learn.  Andréa Banke, who has recently needed to withdraw from performing in a symphony orchestra in the Midwest due to an injury, but who is still active as an academic, is acknowledged with deep gratitude on the title page.  Her dedication to music always has been and will continue to be an inspiration to me.  Completed January 12, 2020.

716.  “A Sonnet:  Mary Speaks,”  a song for soprano and piano.  A setting of an original Shakespearean sonnet, inspired by the Gospel of Luke 2:19, “But Mary kept all these things, and pondered them in her heart.”  For the Silverton soprano Alison Christiansen Seeber.  Composed January 18, 2020.

717.  “A Crown of Sonnets for the Coming of Christ,” for SAB choir, two soloists, and piano.  A companion piece to op. 710, this is a setting of an original crown of sonnets on a sacred theme, which could serve as a Christmas cantata for an amateur church choir.  The musical language is fairly direct and consonant, and the poetic language includes some Scriptural paraphrase, but is otherwise mine.  Plans are to premiere this in worship at Emmanuel Presbyterian Church in West Linn, Oregon on Sunday, December 20, 2020.  Composition completed January 24, 2020.

718.  “Motet on Isaiah,” for two-part choir and organ.  This concise, fairly harmonically direct piece sets two verses from Isaiah 45, about God’s good will towards humanity and his declarations of justice.  In the process of composition, I continue to apply what I learn in choral composition about supporting singers in quickly learning music which may contain some modal mixture and polyphony.  February 1, 2020.

719.  “Cello Sonata No. 3,” in four movements.  13 min.  For Katherine Couch Parks.  Composed February 13 to 15, 2020.  The first movement, in Sonata-Allegro form, is more expressionistic.  The second has the cello playing accompanimental pizzicati while the piano plays an elfin dance, and the third movement is a melancholy aria.  The fourth movement is a grand rondo, largely in D Major.

720.  “Cello Sonata No. 4,” in three movements.  Mvts. 1-2 from July 2016;  mvt. 3 from February 19, 2020.  The first two movements come from a harshly pessimistic day when life felt like a futile entreaty to a judgmental god.  The third movement, largely in the gigue-like meter of 9/8, and with some quickness and lightness, has a sense of greater vigor, and a glee which one hopes is not tinged with mania.

721.  “A Crown of Sonnets for Easter,” in seven movements, for SAB choir, two soloists, and piano.  February 29, 2020.  This work, which completes a cycle of three church cantatas setting original crowns of sonnets, is intended for amateur church choirs, and employs a fairly consonant musical style, venturing into modal mixture and uninhibited melisma during the soloists’ sections.  The words celebrate the resurrection of our Lord Jesus Christ.

722.  “Great Is Jesus Christ, Our Savior,” for SATB choir and piano, arrangement of the Welsh hymn tune “Bryn Myrddin,” or “Merlin’s Hill.”  About 3 min.  Over a swirling accompaniment of perpetual motion in the left hand of the piano, the stirring, solid melody passes among the voices of the choir, as other voices provide counterpoint.  As the texture thickens to the end, the piece comes to a noble climax praising Christ’s eternal kingship.  Harmonically traditional, this piece is in B-flat major.

723.  “May Our Joyful Songs,” for soprano, trumpet, and organ.  This concise piece is an arrangement of a tune from the sixteenth-century Genevan Psalter, setting my own translation of Theodore de Bèze’s paraphrase of Psalm 81.  Harmonically traditional, it is in F Major.  The piece is intended for use in the online worship services for Easter morning 2020 of Silverton United Methodist Church.  Composed March 19, 2020.

724.  “Love Speaks and Is Found.”  This fairly concise duo for violin and cello is in three sections.  In the first, the music is entirely original, and gently wistful for the time of social distancing.  In the second section, fragments of the Gregorian chant “Ubi caritas “ appear in the parallel major, alternately in slow note-values, in the cello, then the violin.  The gigue-like third section drives it home in an optimistic spirit.  The title of the piece looks to a time when the world will be better about recognizing the godliness of love, instead of imposing arbitrary conditions.  Composed 3/22/2020




2 thoughts on “Christopher M. Wicks: Biography, Catalogue, Publications

  1. Gratulerar till en mycket fin och prydlig hemsida! Det var mycket trevligt att goera ett besoek haer. Nu ska jag lyssna paa skoen musik.
    Vaenliga haelsningar, Kajsa

  2. Kajsa, du aer god. Musik aer en stora gaava, och jag aer lycklig eftersom du har en oera foer min musik. Haelsa och lycka foer dig, Kristofer

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