Concert Music

SATB, French horn    [c. 2:00]

Energetic setting of old English carol text, using alternation of duple and triple time.

Violin, clarinet, cello, and harp    [c. 17:30]

This multi-movement work, played continuously, is inspired by Margaret Craven’s affecting novella about life among the Kwakiutl people in British Columbia, I Heard the Owl Call My Name.
“[Gibson’s] moving The Calls of the Owl evoked nature imagery with lyrical counterpoint and flowing ostinatos.” – Los Angeles Times

Listen on YouTube.

SSA, unaccompanied    [c. 3:45]

Commissioned by Anne Tomlinson and the Los Angeles Children’s Chorus, this virtuoso piece is rhythmic and driving in its search for peace. Chosen by Paul Salamunovich for his series on Alliance.
(Watch the YouTube video.)

[excerpt performed by the Los Angeles Children's Chorus, Anne Tomlinson, artistic director]

SATB, flute    [c. 2:40]

This con brio setting matches the vigorous early 17th-century English text for a lively Christmas carol for chorus, suitable for many occasions.
Watch the score and hear the music on YouTube.

[excerpt performed by the Philovox Ensemble, Vanessa Holroyd, flute, conducted by Robert Schuneman]

flute, viola, harp    c. 4:15

This lively piece now serves as the final movement of Ternion Sonata No. 1, but is available separately, as an encore, etc.

excerpt performed by the Debussy Trio

Children's voices (two-part), piano    [c. 6:00]

Composed for the Los Angeles Children’s Choir in memory of their beloved Apprentice Choir director, this simple, tender piece expresses the words of Karen Lynn Davidson in a mostly unison setting. PLEASE NOTE: This is not the same hymn that is found in the LDS hymn book.

[Excerpt performed by the Los Angeles Children's Chorus, Anne Tomlinson, director.]

SATB choir, unaccompanied    [c. 1:40]

Beautiful morning song from the California Missions in a simple arrangement, from solo voice to SATB.
Watch and listen on YouTube.

[excerpt performed by Zephyr, on A Choir of Angels II: Mission Music (Civic Records)]

SATB, unaccompanied    c. 2:00

This exuberant setting of “Wir Singen Dir Immanuel,” in Catherine Winkworth’s English translation, makes a joyous feature of deceptive cadences. Written for Christmas, it could be used throughout the Church year.

SSA, unaccompanied    [c. 3:00]

Commissioned by Mary Breden for her high school girls’ choir, this deceptively simple folk poem about love receives a simple folk song-like setting.

[excerpt performed by Ex Indigo Singers, Tracey Linden, director]

SATB chorus and handbells (four octaves)    [c. 2:40]

This Christmas piece, a setting of William Austin’s joyous poem, which begins “All this night shrill chanticleer, Day’s proclaiming trumpeter…,” gives the impression of rising higher and higher. Available in full score, and bells only score.
(Click on publisher link at left for score and audio previews.)

[virtual realization through Sibelius Sounds]

SATB, unaccompanied    [c. 2:00]

A straightforward, concentrated and intense setting of a powerful poem by Emily Dickinson. Musically not difficult to learn. Second of a set entitled A Heart So Touched.

See and hear the score on YouTube.

[excerpt performed by Zephyr: Voices Unbound]

English horn, string quartet    [c. 8:45]

This somber, expressive quintet was inspired by a Wilfred Owen poem, Asleep.

[virtual realization through Sibelius Sounds]

SATB, unaccompanied    [c. 2:30]

One of Gibson’s earliest choral works, this tenderly imploring prayer uses fragments from several psalms as its text. A choir accustomed to singing chant will feel the interpretation come quite naturally.
Watch and listen to the score on YouTube.

[excerpt performed by the Philovox Ensemble, conducted by Robert Schuneman]

String orchestra    [6:40]

This string piece reflects several levels and stages of profound grief. Premiered by the Orange County High School for the Arts, led by Christopher Russell.
(Watch the YouTube video based on this music.)

[virtual realization through Sibelius Sounds]

SSSA, alto recorder or flute    [c. 4:00]

Composed for and premiered by Natur Early Music Ensemble, this setting of a Petrarchan love sonnet is filled with a flowing, romantic spirit.

See and hear the score at YouTube.

[virtual realization through Sibelius Sounds]

SATB, unaccompanied    [c. 3:30]

Composed for Zephyr, this light and jazzy piece sets a text of bittersweet nostalgia.

See and hear the score on YouTube.

[excerpt performed by Zephyr: Voices Unbound]

SATB, tenor solo, organ, flute, cello, handbell    [c. 18:30]

Commissioned for the 40th anniversary of the Benedictine Abbey at Valyermo, this reflective and meditative piece sets a poem by Philip Edwards, OSB, along with some Latin excerpts from Psalms 47 and 86. At the premiere, the final section included liturgical dance.

[excerpt from the premiere, conducted by Frank Brownstead]

SATB, cello    [c. 2:10]

Winner in the 2005 American Composers Forum/VocalEssence Christmas Carol Competition, this buoyantly rhythmic setting uses an early Christmas text (in English with Latin refrain), and was premiered by Philip Brunelle and VocalEssence. Charles Bruffy and the Grammy-winning Phoenix Chorale performed it with bassoon in the place of the cello.
(Click on publisher link at left for score and audio previews.)

[Excerpt by Philovox Ensemble, Jane Ring Frank (conductor), Rafael Popper-Keizer (cello) for ECS]

SATB, unaccompanied    [c. 3:10]

One of Emily Dickinson’s darkest, this poem manages to describe the experience of utter hopelessness with stunning clarity. The intense music strives to match word and meaning.

[excerpt by the Los Angeles Chamber Singers, Peter Rutenberg, director]

Treble chorus (SA), opt. oboe, piano    [c. 2:30]

L’amour de moy (English title: The Garden and the Nightingale) was commissioned for the Intermediate Choir of the L.A. Children’s Chorus, and premiered by them in June 2008 at Ambassador Auditorium in Pasadena, with Mandy Brigham conducting. Its character is light, lively, with a touch of the medieval in the setting.
Watch and listen to the score on YouTube.

[excerpt by the Los Angeles Children's Chorus, conducted by Mandy Brigham]

SATB, unaccompanied    [c. 5:00]

Hildegard’s ecstatic praise of the Holy Trinity is mirrored in this expressive setting, built on an original chant inspired by Hildegard’s music.

[MIDI realization by Sibelius Sounds]

Flute, clarinet, bassoon    [c. 4:15]

This light, blubbling piece was composed for and premiered by Third Wheel.

MIDI realization by Sibelius

SATB, flute (optional), optional strings    [c. 3:15]

With a text that reflects on God’s all-inclusive love, and a melody suggesting Celtic folk song, this was commissioned by the Diocese of Orange, CA, for the installation of Bishop Tod David Brown. “Well-crafted, expressive choral writing utilizing a variety of textures. This is a small masterpiece that I wish I had written.” – Richard Proulx

Listen on YouTube. 

[Excerpt conducted by Steve Peter with flutist Wendy Karden Bamonte; recorded at Immaculate Conception Cathedral, Portland, OR, for OCP/Trinitas.]

TBB, unaccompanied     [c. 8:00]

Composed for and premiered by Paul Salamunovich and the Loyola Marymount Men’s Chorus, this brief setting (in English) is based on a beautiful Epiphany chant and alternates moments of exhilarating power with prayerful repose.
“The Kyrie is like incense rising up to heaven.”
– Paul Salamunovich

[sample excerpted from A Mass of Life, CD-289 from G.I.A.]

SATB, unaccompanied    [c. 2:00]

This tender, flowing anthem is especially suited for moments of meditation and reflection.

See and hear it on YouTube.

[Excerpt from A Mass of Life, G.I.A. #CD-289.]

SATB, unaccompanied    [c. 3:30]

With lyrics (in English) based on a lullaby from the Dominican Republic, this setting delves into the bittersweet feelings of a parent reflecting on the eventual departure of her child. First of the set A Heart So Touched.

See and hear the score on YouTube.

[excerpt performed by Chorus Angelorum, Dominic MacAller, conductor]

SATB, unaccompanied    [c. 5:00]

A setting of Marcia Falk’s brilliant translation from the Song of Songs, this passionate, sensual choral piece was a surprise wedding gift for the composer’s wife. Third of the set A Heart So Touched.
“A most precious composition with great beauty contained in sustained lines, underpinned with tender harmonic weaving.” – Robert Kreutz
(Watch the YouTube video.)

[sample excerpted from A Mass of Life, CD-289 from G.I.A.]

TTBB, English horn    [c. 2:35]

A vigorous, joyful setting of a traditional English text, designed to maximize the rich sound of a men’s chorus. Selected by the Texas Choral Directors Association, performed at St. Olaf College’s Christmas Festival, and at the national ACDA conference in Minneapolis by St. Olaf.
See and hear the score on YouTube.

[performed by The Singers (Minneapolis, MN); Matthew Culloton, conductor; Marni Hougham, English horn]

SATB, flute    [c. 2:50]

In the form of a carol, this is a reflective look back on the original Christmas night from the vantage point of a bitter winter. The text comes from the hymn “The Winter Night” (1917) by Louis Fitzgerald Benson.
Watch and listen to the score on YouTube.

[excerpt performed by the Philovox Ensemble, Vanessa Holroyd, flute, conducted by Robert Schuneman]

SATB, unaccompanied    [c. 4:30]

This choral enhancement of the beautiful and beloved plainchant sets some verses in simple two-part writing, others in a style reminiscent of Duruflé. Charles Bruffy conducted this with both his Grammy-winning ensembles: Phoenix Chorale and Kansas City Chorale.
“Clearly chant has influenced your music in the best possible way – it simply flows.” – Milan Kaderavek, composer

See and hear the score at YouTube.

[Excerpt from A Mass of Life, G.I.A. #CD-289, performed by Chorus Angelorum, Dominic MacAller conducting.]

SATB, celesta (or harp or bell sound)    [c. 3:10]

A virtual lullaby (marked “Tender, with quiet joy”), this setting of the Latin Introit for Christmas Day is strophic in the style of a carol, complemented by celesta, which ends the piece with an echo of the original chant.

[excerpt realized through Sibelius Sounds]

SATB, brass quartet (or organ)    c. 2:40

The widely sung 16th-century English anthem Rejoice in the Lord Alway can now be performed in double choir fashion using this setting. The first choir is the original SATB setting; the second choir can be performed by brass (or any other quartet of instruments) or simply organ. Text is included for those who actually use two separate SATB choirs.
“… breathes exciting new life into a classic Tudor anthem. Paul has ingeniously crafted four new vocal (or instrumental) lines to create a gorgeous double-choir setting of the original four-part work. This blending of ancient and new was a big hit … at Walt Disney Concert Hall!”
– Grant Gershon, Artistic Director, Los Angeles Master Chorale

[double choir version performed by the Philovox Ensemble, Robert Schuneman, director]

SSA (TB), opt. ensemble (fl, eh, drum, handbells, hp, org, st qt    (c. 3:00)

Composed for LA Children’s Chorus Artistic Director Anne Tomlinson in honor of her final season with LACC, this energetic setting of New Year’s verses by Alfred Tennyson was premiered on Dec. 3, 2017, at Walt Disney Concert Hall with members of the Los Angeles Philharmonic.

Flute, viola, and harp    [c. 6:10]

Commissioned, premiered, and recorded by the Debussy Trio, this highly rhythmic chamber work uses both tonal and serial techniques in contemplation of divine interplay. The Debussy Trio released their recording of this work, Look Ahead, both in CD and mp3 formats.

[Excerpt from "Look Ahead," performed by the Debussy Trio]

SATB, organ, 3 trumpets, 3 trombones    [c. 12:30]

Commissioned by Frank Brownstead, this setting of a rich collection of Advent and Christmas texts (in both English and Latin) begins with heraldic fanfares and concludes with explosive Alleluias for chorus and brass.

[Excerpt performed by Chorus Angelorum, Dominic MacAller, conductor]

SATB, unaccompanied    [c. 4:15]

Latin or English. Combining the most familiar plainchant with motives from the other common chant melody, Salve Regina ranges from simple unison to soaring counterpoint, reflecting many periods of sacred music. Composed for Zephyr: Voices Unbound for their CD of California Mission Music; Salve Regina would be chanted everyday in the missions. This piece has been selected for several all-state choirs. “Music of vaulting exaltation” – Los Angeles Times
(Watch the YouTube video.)

[Excerpt from A Choir of Angels II: Mission Music, Civic Records CVC1-0005-2.]

soprano, clarinet, piano    [c. 12:00]

A companion piece to Schubert’s Shepherd on the Rock, this set of three songs (with an Intermezzo for piano) uses poems by William Blake: 1. The Shepherd, 2. Love’s Secret, (3. Intermezzo,) 4. Spring. Commissioned for the European Concert Trio by Harald Gibson, ECT gave the first three performances in February 2016.

See and hear the score on YouTube.

SATB, trumpet in B-flat    c. 3:00

A tender Christmas lullaby is combined with a solo trumpet, which is playing “Lo, How a Rose ‘ere Blooming.”

MIDI realization

SATB, unaccompanied    c. 5:30

A tender lullaby on a text by Colin Sterne.

MIDI realization

SATB chorus, unaccompanied    c. 2:30

A vigorous, ecstatic setting of the Latin hymn by Hildegard of Bingen, the translation of which begins, “Holy Spirit, life-giving Life, moving in all things and root of all that is created…”
Watch and hear the score on YouTube.

[excerpt performed by the Philovox Ensemble, conducted by Robert Schuneman]

TTBB, English horn    [c 3:00]

Reflective and gentle, this setting of Quae stella sole pulchrior, by Charles Coffin (1736), as translated by John Chandler (1837), features a chant-like melody.

See the video score on YouTube.

[performed by The Singers (Minneapolis, MN); Matthew Culloton, conductor; Marni Hougham, English horn]

Medium voice and piano    [c. 6:30]

Commissioned by soprano Elin Carlson and included on her debut CD And What of Love, this set of three songs explores love from differing viewpoints: “An Evening Song” (American folk verse, attributed to Esther Mathews), “Infinite Fires” (from Marcia Falk’s poetic translation of The Song of Songs), and “He Fumbles At Your Spirit” (Emily Dickinson).

[excerpt from And What of Love, Eroica JDT 3074.]

SSA and chamber ensemble or chamber orchestra (oboe, English horn, bassoon, harp, strings)    [c. 15:30]

Commissioned and premiered by the Los Angeles Children’s Chorus for their 15th anniversary, this three-movement work sets Lewis Carroll’s “The Walrus and the Carpenter,” “Beneath a Sunny Sky” (the haunting acrostic that closes Looking-Glass), and “Jabberwocky.”

[First movement excerpt performed by the Los Angeles Children's Chorus; Anne Tomlinson, artistic director]

2 fl/ob/eh/cl/b cl/bsn/cntbsn/4 hn/2 tpt/tbn/b. tbn/2 prc/hp/SATB chor/strings    [c. 31:00]

This setting of the ancient prayer of praise and thanksgiving was commissioned and premiered by the combined choruses of Loyola Marymount University with orchestra, Dr. Mary Breden conductor. It is in seven contrasting but related movements.
“Beautiful sounds, elegant and masterfully crafted. Worthy addition to religious canon. Bravo and congratulations!”
– Rodney Punt, The Huffington Post contributor and LA Opus publisher

Watch the vocal score and hear the premiere on YouTube.

flute, viola, harp    [c. 14.30]

Commissioned, premiered, and recorded by the Debussy Trio.
Movements include:
I. Forgetting the Words
II. How sad, how strange the days that are no more
III. DT Variations in a Tasty Rondo Shell

Read a review of the CD.

Download the whole piece for $1.99

SATB, unaccompanied    [c. 2:50]

An old German Christmas poem inspired a bouncy, lilting melody for this charming motet in a neo-Praetorius style, culminating with a joyous cascade of “Alleluias.” (German or English) Performed by the Los Angeles Master Chorale, under Grant Gershon, at Walt Disney Concert Hall.
“An exquisitely crafted jewel of a carol, both original and timeless…a fresh and welcome addition to the a cappella Christmas repertoire.” – Grant Gershon, Artistic Director, Los Angeles Master Chorale

[Chorus Angelorum, Dominic MacAller, conductor]

Tenor, oboe, viola, and cello    [c. 12:00]

In settings that echo the poems’ atmosphere of bittersweet longing, the singer and instrumentalists interact as equals. Using English versions prepared by the composer, the two songs are “I Wait in the Dark” and “So Many Years.”

"I Wait in the Dark" performed by Charles Lane, Paul Sherman, Melinda Rice, Roger Lebow

SATB, unaccompanied    [c. 7:30]

Commissioned by Holy Family Cathedral (Orange, CA) this extended setting was specifically designed for lengthy Holy Thursday processions. The English text, in a new translation, is sprinkled with brief Latin fragments. Gregorian chants and new melodies interweave in this meditative anthem.

[Excerpt performed by the American Repertory Singers (Dr. Leo C. Nestor, director) for ECS.]

SATB, unaccompanied    [c. 3:00]

Commissioned by Holy Family Cathedral, Orange, CA, this rich choral enhancement of the Gregorian Pentecost Sequence may be sung in Latin or in a new English version that adheres to the accents of the original. Chosen by Creator magazine as one of the 10 Best Sacred Works of 2001.
“A chant-based but harmonically accessible anthem which would work well in the context of Pentecost’s ‘mystery.’ Well done.”
from Creator magazine

[Excerpt performed by Philovox of Boston (Jennifer Lester, conductor) for ECS.]

Tenor, cello, harp    [c. 10:00-11:00]

Cellist Roger Lebow commissioned this set of three songs on poems by W.B. Yeats for his son, outstanding tenor Theo Lebow. Details of the premiere featuring the two musicians plus harpist Marcia Dickstein are to be announced. In order, the poems are He Wishes for the Cloths of Heaven, The Stolen Child, and When You Are Old.