Here is a list of choral works, each with a brief description.

Aunt Jennifer’s Tygers (SATB, Tenor or Soprano solo, unaccompanied, 1995, rev. 2013) This a cappella work sets the poem of Adrienne Rich as a text-focused choral art song.

Complete this work (SATB,div., unaccompanied, 1996, rev. 2012) This work for unaccompanied mixed voices develops Grigory Gerenstein’s translation of a text from St. Gregory of Narek’s Book of Lamentations. This work, now the fourth movement of Cantata of Lamentations, was written for Kurt Amolsch and Kapella at Concordia University Chicago.

Infant holy, infant lowly (SSATB, unaccompanied, 1997, rev. 2012) A setting of the well-known Polish carol, includes an additional verse which uses the tune Bryn Calfaria.

God’s word is our great heritage (SATB, unaccompanied, 2010) This setting of Nikolai F.S. Grundtvig’s well-known hymn text was written for the 100th anniversary of Zion Lutheran Church in Crete, IL.

This dust was once the man(SATB|SATB, unaccompanied, 2012) Using four of the Lincoln memorial poems of Walt Whitman, this multi-movement work makes use of antiphonal singing, as well as tutti chordal sections, with a rousing setting of “O Captain, my Captain” as the closing movement.

Summe, gloriose Deus (SATB, div., unaccompanied, 2013) This setting of St. Francis of Assisi’s prayer is the first of a set of Latin prayers for unaccompanied mixed voices. Cluster-chords and polyphonic elements enhance the colors of the text.

Fate goes ever as it must (SATB, div., unaccompanied, 2013) This intricate work explores the possibilities of these five words from Beowulf.

Jingle Bells (SATB, div., unaccompanied, 2014) A fun, and sometimes boisterous, arrangement of the familiar carol, this setting utilizes the full potential of the choral ensemble.

Let all mortal flesh keep silence (SATB, div., Alto solo, unaccompanied, 2014) This setting of Picardy is for unaccompanied mixed voices and alto solo. Filled with mystery, this piece begins with ethereal harmonies which build and transform to reflect the essence of the text. This piece was premiered by the Lutheran Festival Chorus on 23 November, 2014.

Lo, he comes with clouds descending (SSAA, piano, 2014) A setting of the hymn-tune “Helmsley,” this Advent carol for women’s voices takes a more subdued approach than the typical majesty associated with the tune.

O beauteous heavenly light (SSA, div. Soprano solo, unaccompanied, 2014) A motet for treble voices based on a hymn tune.

Jesus loves me (SATB, unaccompanied, 2016) A simple setting of one of the best loved children’s hymns. This setting also works well as a mixed chorus piece with children singing the melody.

Angele Dei (SATB, div., unaccompanied, 2016) This setting of a text attributed to 11th century author Reginald of Canterbury uses a simple four-note motive as the basis of the composition. It is set for unaccompanied mixed voices with some divisi. A simple prayer asking for God’s continued guidance and protection.

Away in a manger (SATB, div., Tenor solo, unaccompanied, 2016) A setting of the beloved carol using both the traditional Normandy tune and the tune by William J. Kirkpatrick.

Four Epigrams of James Russell Lowell (SATB, div., piano, 2017) A setting of four short poems by one of America’s “Fireside Poets.”

Come, Holy Ghost, God and Lord (SSAA, unaccompanied, 2017) A motet for treble voices based on the hymn tune Komm, Heiliger Geist.

Exploration on Three Carol Texts  (SATB, div., unaccompanied) A setting of three well-known Christmas carol texts.

I will lift up mine eyes (SATB, div., piano, 2018) This work for mixed voices and piano explores the text of Psalm 121, rigorously focusing on the imagery in the words. The piano serves as an equal partner to the voices, rather than strictly as an accompanying instrument.

Unto thee I lift up mine eyes (SAB, unaccompanied, 2019) Written in a style similar to Arvo Pärt’s tintinnabulism, this setting of Psalm 123 reaches toward inner peace in a turbulent world.

Cantata of Lamentations (SATB, div., unaccompanied, 2019) This four-movement work explores a text by the Armenian mystic poet, St. Gregory of Narek (10th century). The text is an English translation by Grigory Gerenstein.

Veni (SSAA, piano, 2020) A setting of the well-known Great O Antiphons, which are the basis of the hymn O Come, O Come Emmanuel.

Isaiah hath foretold it (SATB, div., piano, 2020) This five-part piece explores the Old Testament prophet’s words about the coming of Christ. The outer two sections use poetry inspired by Isaiah (words by Sr. Christine Schenk and Jennifer G. Knoblock); the inner movements use Isaiah’s words.

How lovely shines the Morningstar (SSAA, unaccompanied, 2020) A motet for treble voices based on the hymn tune Wie schön leuchtet. Written for Illinois Lutheran High School’s Bella Voce, this motet sets three verses of the hymn.

Corpus Christi (SATB, div., piano, string quartet, 2021) This five-movement work sets texts written by Thomas Aquinas for the Feast of Corpus Christi. There is ample reference to chant melodies associated with these texts.

Domine Iesu (SATB, div., unaccompanied, 2021) A short Latin prayer which utilizes chant and divisi chorus.

Liberte (SATB, div., unaccompanied, 2021) Using the text of French poet Paul Eluard, this piece evokes the longing to “speak the name” of freedom.

Three Latin Prayers (SATB, unaccompanied, 2021) This three-movement work is an expansion of the ideas explored in Summe, gloriose Deus.

Out of the depths (SATB, div. unaccompanied, 2021) A setting of Psalm 130, one of the 15 “Psalms of Ascent.” Recurring motivic ideas and careful attention to the word “morning” are highlights in this piece.

I was glad (SATB, div., piano, 2021) A setting of Psalm 122, this piece highlights both the exuberant and meditative aspects of the text.

In my distress I cried unto the Lord (SATB, div., unaccompanied, 2021) A setting of Psalm 120, the first of the “Psalms of Ascent.” This piece embraces the dichotomy of peace and war and the conflicting emotions that they evoke.

Blessed is everyone that feareth the Lord (SAB, unaccompanied, 2021) The words “blessed” and “happy” were the inspiration for this somewhat playful setting of Psalm 128. The imagery in the text is, at the same time, both whimsical and insightful; both of these images flourish throughout.

Lord, my heart is not haughty (SATB, unaccompanied, 2021) A setting of Psalm 131. I was struck by the prostrate nature of this text. Near the end of the Psalms of Ascent, there is a sense of deep humility in its words. There is also an innocent quality to the text as well, with its references to the newly weaned child.

Except the Lord build the house (SAB, piano, 2021) A setting of Psalm 127.

If it had not been the Lord (SATB, unaccompanied, 2021) A setting of Psalm 124.

They that trust in the Lord (SAB, piano, flute, 2021) A setting of Psalm 125 that has a contemporary church anthem feel.

Lord, remember David (SATB, unaccompanied, 2021) A setting of Psalm 132 that embraces the parallel nature of the text.

Behold, how good and how pleasant it is (SATB, unaccompanied, 2021) A setting of Psalm 133.

Behold, bless ye the Lord (SATB, soprano solo, piano, 2021) A setting of Psalm 134.

When the Lord turned again (SSATB, unaccompanied, 2021) A baroque-style setting of Psalm 126.

Many a time have they afflicted me (SATB, piano, cello, 2021) An emotional setting of Psalm 129.

Carol of the bells (SATB, div., unaccompanied, 2021) Using the familiar Ukrainian tune, references to the Westminster Chimes, and a sacred text, this new setting of Carol of the bells literally rings in the birth of the Savior.

Hymns for Women’s Voices (SSAA, unaccompanied, 2022) This set of 6 hymn-based settings for treble voices includes Wie schon leuchtet, Wachet auf, Jesu, meine Freude, Christ lag in Todesbanden, and Komm, heiliger Geist, as well as my completed setting of Ermuntre dich.

In memory of a fallen child: a requiem (SATB, children’s chorus, soprano solo, boy soprano solo, orchestra, 2022) This piece was inspired by the tragic events in Newtown, CT. Uses scripture and other sacred texts.

Rex tragicus (SATB, string quartet, 2022) This six-movement work uses Lenten texts of Robert Herrick to reflect on the death and resurrection of Christ.

Praise Ye the Lord! (SATB, double brass quintet, piano, percussion, 2022) A setting of the last five Psalms for large chorus, brass, piano, and percussion.

Dreams (SATB, unaccompanied, 2022) This three-movement work explores three dream poems of Edgar Allen Poe.

Three Haunted Places (SATB, piano, 2022) This piece for chorus and piano sets three poems of Edgar Allen Poe.

The Bells (SATB, piano, percussion, 2022) This four-movement work explores Poe’s long-form poem “The Bells,” utilizing several percussion instruments to exemplify the types of bells described.

The New Colossus (SATB, Soprano solo, unaccompanied, 2022) This piece, using the text of Ezra Lazarus, is part of what will eventually be “The Integrity Project,” an ongoing creation of choral and solo vocal works that embody the idea of living a life of integrity.

The Angel Gabriel (SSAA, unaccompanied, 2023) A unique setting of the famous carol which employs interesting parallel harmonies to emphasize the mystery of Gabriel’s visit to Mary.

This Endris Night (SSAA, soprano and tenor soloists, piano, 2023) A setting of the historic poem for Tenor (Jesus), Soprano (Mary), and choir which quotes the carol “What child is this” in the accompaniment.

By the rivers of Babylon (SATB, harp, cello, 2025) This is a setting of Psalm 137 which evokes the sounds of the flowing waters as the people wept in remembrance of Zion.

I will praise thee (SATB, unaccompanied, 2025) This setting of Psalm 138 opens with a fanfare of voices praising God for his “unfailing love and faithfulness.”

I cried unto the Lord with my voice (SATB, div., unaccompanied, 2025) Psalm 142, set in Phrygian mode, calls to mind the pain of feeling alone, even knowing that God is watching over and protecting.

Hear my prayer, O Lord (SATB, piano, 2025) Psalm 143, a psalm of David, is a cry for mercy and a call for strength in the face of enemies. This setting embraces those feelings.

I will extol thee, my God (SATB, div., unaccompanied, 2025) This setting of Psalm 145 is a meditation on the awe one feels when looking at the greatness of God.

Magnificat (SSAA, SSAA soloists, chamber orchestra, 2025) This is a multi-movement work for Treble chorus and soloists. It looks at the text of the Magnificat from the perspective of the young woman who originally spoke these words: a brave, terrified, confused, and faithful young woman.