Woods in Winter : Song for Baritone and Piano

Previously included in the collection "Winter Windows."

For Solace in Solitude : Cello version

For Solace in Solitude : Viola version

Twenty Marches for Use in Schools

For My Brother: Reported Missing in Action, 1943

Born in Bethlehem

“Born in Bethlehem” is a numbers song, similar to “The Twelve Days of Christmas.” Each group traveling to the Nativity, or associated with Jesus, is presented in ascending numerical order, from one to twelve. [“One for the little bitty Baby…Twelve for the Twelve Apostles”] Once the complete set has been introduced, the numbers are performed in reverse order, in a frantic race (prestissimo) from twelve to one. This is an energetic song! The Clarinet plays a featured role, enhancing the message of the lyrics. For example, the phrase “Children, go where I send thee” is matched by the Clarinet scampering up a scale as children setting forth on a trip. And the next line, “How shall Isend thee?” has the Clarinet/children coming back down the scale, returning home. Duration: 4:15 “Born in Bethlehem” is a numbers song, similar to “The Twelve Days of Christmas.” Each group traveling to the Nativity, or associated with Jesus, is presented in ascending numerical order, from one to twelve. [“One for the little bitty Baby…Twelve for the Twelve Apostles”] Once the complete set has been introduced, the numbers are performed in reverse order, in a frantic race (prestissimo) from twelve to one. This is an energetic song! The Clarinet plays a featured role, enhancing the message of the lyrics. For example, the phrase “Children, go where I send thee” is matched by the Clarinet scampering up a scale as children setting forth on a trip. And the next line, “How shall Isend thee?” has the Clarinet/children coming back down the scale, returning home. Duration: 4:15

Born in Bethlehem

“Born in Bethlehem” is a numbers song, similar to “The Twelve Days of Christmas.” Each group traveling to the Nativity, or associated with Jesus, is presented in ascending numerical order, from one to twelve. [“One for the little bitty Baby…Twelve for the Twelve Apostles”] Once the complete set has been introduced, the numbers are performed in reverse order, in a frantic race (prestissimo) from twelve to one. This is an energetic song! The Clarinet plays a featured role, enhancing the message of the lyrics. For example, the phrase “Children, go where I send thee” is matched by the Clarinet scampering up a scale as children setting forth on a trip. And the next line, “How shall Isend thee?” has the Clarinet/children coming back down the scale, returning home. Duration: 4:15 “Born in Bethlehem” is a numbers song, similar to “The Twelve Days of Christmas.” Each group traveling to the Nativity, or associated with Jesus, is presented in ascending numerical order, from one to twelve. [“One for the little bitty Baby…Twelve for the Twelve Apostles”] Once the complete set has been introduced, the numbers are performed in reverse order, in a frantic race (prestissimo) from twelve to one. This is an energetic song! The Clarinet plays a featured role, enhancing the message of the lyrics. For example, the phrase “Children, go where I send thee” is matched by the Clarinet scampering up a scale as children setting forth on a trip. And the next line, “How shall Isend thee?” has the Clarinet/children coming back down the scale, returning home. Duration: 4:15

Songs for the Journey

Commissioned in 2010 to be performed alongside Gabriel Faure's Requiem, and utilizes the same combination of instruments. The texts for Songs for the Journey have a particularly personal nature. The first text chosen was "More Love," a song already written a couple years earlier when the composer and his wife were expecting their first child. The remaining four texts have equally personal associations. Songs for the Journey outlines and explores similar themes as the traditional Latin Requiem - love, faith, mortality, surrender to an eternal will, etc. - but in a less ecclesiastical framework, with poems and texts drawn from a variety of sources. Duration: 16:15 Contents: 1.Into Your Hands 2. When All That's Left of Me Is Love 3. More Love 4. Do Not Stand at My Grave and Weep (Soprano Solo) 5. Celtic Blessing

Everyone Sang Four Songs for Bass and Piano

The songs Homecoming and Quilt were commissioned by the West Chester University Poetry Conference, West Chester, Pennsylvania, and were premiered by baritone Robert Barefield and pianist Carl Cranmer on June 7, 2003. Entrance was written in July, 2003 for inclusion in this set of songs. The song Everyone Sang was premiered by Maris Vipulis and pianist Marc Shapiro on April 16, 1998. The four songs are each dedicated to four singer-friends of the composer. The edition for low voice was prepared especially for bass Matt Boehler. Duration: 13:00

In Closer Bonds of Love to Thee

This song is Juliana Hall’s first sacred song, a setting of a hymn text by the great hymn writer of the nineteenth century, Fanny J. Crosby. The song is suitable for concert performance, or for use in a religious service.

Three Pieces for Chanukah: No. 2 Maoz tzur

Published in 2003, Three Pieces for Chanukah is not so much a set of arrangements of familiar words and tunes than it is a set of original compositions based on them. The first two settings feature jazz-influenced, classical harmonic and melodictreatment of the tunes. The mood of the first setting is upbeat and the mood of the second one is more subdued. The mood of the third setting is extremely upbeat; it is composed in a straight funk style, albeit contrapuntal. The front matter to eachedition features program notes, a pronunciation guide for the Hebrew words and the Hebrew and English texts.

Et in terra pax

Et in terra pax is a choral meditation on the dream of peace on Earth, coupled with the realities which constantly threaten such a dream. The work begins with a simple homophonic prayer. The middle section features a more agitated theme, indicating fear from enemies. This section culminates in a powerful supplication for strength and aid. The opening music returns, emboldened by a repeated plea which reaches an apex of sheer serenity. The final moments echo the continuous hope of peace on earth. -Thomas Juneau   Duration: 3:30

Fred J. Cooper Organ Book : Five Compositions for Organ Solo

Commissioned by the Philadelphia Chapter of the American Guild of Organists (AGO), the Fred J. Cooper Organ Book celebrates the tenth anniversary of the Fred J. Cooper Memorial Organ in Verizon Hall at the Kimmel Center in Philadelphia. Five Philadelphia area composers were selected to each contribute an accessible brief solo organ work. Each composer was given a general guideline for the style of piece they were to write. The results are nicely varied, with opportunities for colorful registrations. Useful for worship and recital use.  Contents:Fanfare on Gelobt sei Gott, Matthew Glandorf, Duration:2:30Reflection, Kile Smith, Duration: 6:00Kokopelli: Trickster God, David Schelat, Duration: 5:00Organum, Kathleen Scheide, Duration: 4:15Philadelphia Flourish, Jeffrey Brillhart, Duration: 5:00

Sonata for Flute (or Violin) and Piano (or Organ)

This three-movement work is composed in a readily accessible tonal style. Colorful harmonies and concise structural elements highlight each movement. Throughout the Sonata, melodic lyricism is a constant characteristic which will present an engaging musical experience for performers and audiences. Duration: 8:10

3 Pieces for Chanukah : No. 1 Oh, Chanukah/Y'mei hachanukah

Published in 2003, Three Pieces for Chanukah is not so much a set of arrangements of familiar words and tunes than it is a set of original compositions based on them. The first two settings feature jazz-influenced, classical harmonic and melodictreatment of the tunes. The mood of the first setting is upbeat and the mood of the second one is more subdued. The mood of the third setting is extremely upbeat; it is composed in a straight funk style, albeit contrapuntal. The front matter to eachedition features program notes, a pronunciation guide for the Hebrew words and the Hebrew and English texts.

We Wait for Thy Loving-Kindness, O God

This setting of the 8th and 9th verses of Psalm 48 uses the Myles Coverdale translation of the Bible (1535), and adds Alleluias, which occur three times and serve as a sort of refrain. The addition of these Alleluias provides opportunity for usage throughout the Church Year, including during Eastertide. Another unifying idea is the suggestion of a chaconne—a harmonic/melodic idea that is first presented in the opening measures. The arrival of a “triumphant” C Major in the final section is the high point of the piece, but hints of C Minor linger, along with a bit of modal ambiguity due to the presence of the D-flat in the final measures. Duration: 2:30

Feathers in the Wind: A Yiddish Folktale

A spirited musical retelling of a timeless Jewish folktale about the consequences of gossip. Attributed to a Hasidic scholar commonly referred to as the Baal Shem Tov, (ca. 1700–1760), the parable tells of a man who circulates a false rumor about the town rabbi, causing the villagers to lose faith in their trusted leader. When the man goes to beg the rabbi’s forgiveness for damaging his reputation, the rabbi tells the man that he may return and ask for forgiveness only after he has released the feathers from a pillow and gathered them all up again. The impossible task serves as a powerful metaphor for the far-reaching effects of gossip and the inability to reverse its harm. This colorful setting pairs the fable sung in Yiddish with a spoken narration of the story in English to be delivered by individual choristers. The final chorale setting of a medieval Hebrew meditation on Psalm 34 delivers the moral of the story. The music draws upon evocative motifs from the Jewish musical tradition with a contemporary sensibility. Duration 17:00 A spirited musical retelling of a timeless Jewish folktale about the consequences of gossip. Attributed to a Hasidic scholar commonly referred to as the Baal Shem Tov, (ca. 1700–1760), the parable tells of a man who circulates a false rumor about the town rabbi, causing the villagers to lose faith in their trusted leader. When the man goes to beg the rabbi’s forgiveness for damaging his reputation, the rabbi tells the man that he may return and ask for forgiveness only after he has released the feathers from a pillow and gathered them all up again. The impossible task serves as a powerful metaphor for the far-reaching effects of gossip and the inability to reverse its harm. This colorful setting pairs the fable sung in Yiddish with a spoken narration of the story in English to be delivered by individual choristers. The final chorale setting of a medieval Hebrew meditation on Psalm 34 delivers the moral of the story. The music draws upon evocative motifs from the Jewish musical tradition with a contemporary sensibility. Duration 17:00

Short Pieces for Flute and Piano: Book 3

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

Mass for Dedication for organ

Figured Bass for Beginners : A Self-Paced Primer in Playing from a Figured Bass

Concerto for Cello and Twelve Instruments : Additional Full Score

Full score and parts available for rental.

Resonet in Laudibus

This pastoral arrangement of the German carol employs words from the Moosburg Gradual, 1360. The composition is for two flutes and a cappella choir. The flute parts, which are included, may also be played by organ or piano. Duration: 2:15

In the Name of Music

Commissioned by the Radcliffe Choral Society and the Harvard-Radcliffe Collegium Musicum, this piece was created to celebrate the awakening and life-transforming power of music, as a force that enlivens and enlightens us. The original text is by the composer. Although the original was for women's chorus and mixed chorus, this version is for SSAATBB chorus alone. Extensive instructions are provided for the ethereal aleatoric section, addressing stage placement, dynamics, use of a solo group, and how the piece should end. Duration 4:40Commissioned by the Radcliffe Choral Society and the Harvard-Radcliffe Collegium Musicum, this piece was created to celebrate the awakening and life-transforming power of music, as a force that enlivens and enlightens us. The original text is by the composer. Although the original was for women's chorus and mixed chorus, this version is for SSAATBB chorus alone. Extensive instructions are provided for the ethereal aleatoric section, addressing stage placement, dynamics, use of a solo group, and how the piece should end. Duration 4:40

Celtic Blessing : From Songs for the Journey

This final movement of the collection Songs for the Journey is set to the traditional blessing, "May the road rise up to meet you." Duration: 4:00

Into Your Hands : From Songs for the Journey

This movement from Songs for the Journey is based on Psalm 31:5 and an excerpt from Confessions by St. Augustine. Duration: 3:00