Choral works
Perhaps my favorite medium to write in. The expressive capacity of the melding of words, notes, and human emotion is unmatched.

Sheet music is available for purchase for any of these works. To buy, send me a purchase inquiry, and I will communicate with you directly. I'm happy to send perusal scores, too--simply put "perusal score" in the box labeled "# of copies".

For your reference, here are some stats on the pieces:

Bee! I'm expecting you!
Two-part treble
1'35"
easy

In pace
SATB
3'08"
medium-easy

Ophelia Songs
SSAATTBB (w/ solos), pno
6'15"
advanced

Our soul is like a sparrow
SSAA (w/ solo)
3'15"
medium-advanced

Bogoróditse Dévo, ráduysia
SSAATTBB (w/ solos), vln
4'
medium
OR
SSAATTBB
1'45"

Bee! I'm expecting you!

(2016)

Two-part treble
1' 35"

Written for my 5th and 6th grade choir at the Whatcom Hills Waldorf School.
 

Bee! I'm expecting you!
Was saying Yesterday
To Somebody you know
That you were due —

The Frogs got Home last Week —
Are settled, and at work —
Birds, mostly back —
The Clover warm and thick —

You'll get my Letter by
The seventeenth; Reply
Or better, be with me —
Yours, Fly.

Emily Dickinson


In pace

(2014)

SATB
3'08"

Written for the Oregon Bach Festival Composers Symposium.

In pace, in idipsum dormiam et requiescam.
Si dedero somnum oculis meis,
et palpebris meis dormitationem,
dormiam et requiescam.

"In peace, into peace itself I shall sleep and rest.
If I give slumber to my eyes,
and to my eyelids drowsiness,
I shall sleep and rest."
Psalms 4:9 & 132:4
Responsory at Compline during Lent

Ophelia Songs

(2014)

SSAATTBB, pno
text from Hamlet, by William Shakespeare (1564-1616)
6’ 15”

The texts for this piece are taken from Ophelia’s lines in Act IV of Hamlet.

--Spoiler Alert!--

This odd assortment of verses are ostensibly real folk-songs, that Shakespeare has given Ophelia to sing as she goes mad. Just prior to this, Hamlet, violently moody title character and lover of Ophelia, has both killed Ophelia’s father (perhaps in a fit of madness, himself) and departed Denmark for England. When Ophelia enters in Act IV, she has noticeably begun to lose touch with reality—instead of conversing with the King and Queen she sings snippets of folk-songs and spouts nonsensical utterances. Her grasp slips further as time goes on, especially as her brother enters and she does not recognize him. After a particularly touching scene where she hands out imaginary flowers to the characters present, she sings the last two stanzas below, and leaves. The next we hear about her—not even a scene later—is that she has drowned in the brook, after making herself “fantastick garlands...Of crow-flowers, nettles, daisies, and long purples”.

How should I your true love know
From another one?
By his cockle hat and staff,
And his sandal shoon.

He is dead and gone, lady,
He is dead and gone;
At his head a grass-green turf,
At his heels a stone.

They bore him barefac'd on the bier;
And on his grave rain many a tear,—
Fare you well, my dove!

You must sing, Down-a-down, call him a-down-a.

For more background on this piece, check out my blog post "Fresh Eyes on Ophelia Songs"!


To-morrow is Saint Valentine's day,
All in the morning betime,
And I, a maid at your window,
To be your Valentine!

And will he not come again?
And will he not come again?
No, no, he is dead,
Gone to his death-bed,
He never will come again.
His beard was white as snow,
All flaxen was his poll:
He is gone, he is gone,
And we cast away moan:
Heaven 'a mercy on his soul!

Our soul is like a sparrow

(2013-14)

SSAA
3’ 15”

“Our soul is like a sparrow that has escaped from the fowler's snare;
the snare is broken and we are free.”
Psalms 124:7


Bogoróditse Dévo, ráduysia

(2008-2009, rev. 2013)

SSAATTBB, violin
4’

SSAATTBB
1’ 45”

I set the Bogoroditse text initially for a capella choir, when I was in high school. Later, in college, I spent some time adding a prominent violin part and expanding on my ideas. Both versions are available.

The “Bogoroditse Devo, raduysia” text is the Russian Orthodox equivalent of the Roman Catholic “Ave Maria”. The text is in Church Slavonic, which was developed as a liturgical language by Saints Cyril and Methodius in the 9th century, based on Macedonian Slavic dialects of the time. It has evolved separately from vernacular languages and is still in use by Eastern Orthodox churches.

Богородице Дево, радуйся,
благодатная Марие, Господь с тобою.
Благословена ты в женах,
и благословен плод чрева твоего,
яко Спаса родила еси душ наших.

"Rejoice, O Virgin Theotokos,
Mary full of grace, the Lord is with You.
Blessed are You among women,
and blessed is the Fruit of Your womb,
for You have borne the Savior of our
souls."

—Dismissal Troparion at Vespers