Four poems sharing a common motif of 'Night' provide the texts for my choral cycle Nocturnes the American Choral Directors Association's commissioned work for its 2005 national convention. For Rilke's atmospheric “Sa nuit d'ete ” several melodic themes are supported by dense colorful harmonies in both the choral and piano parts leading to a climactic section where all are combined and stated simultaneously. Neruda's “Soneto de la Noche ” from his Cien Sonetos de Amor speaks of an eternal love that transcends death while reaffirming life. My a cappella setting of this gorgeous poem is predominantly quiet serene and folk-like utilizing direct harmonies accompanying long lyrical vocal lines. Agee's wondrous “Sure on this Shining Night” is set much like a song from the American musical theater a genre for which I have held a life-long esteem. Rilke's poignant “Voici le soir” recalls the opening bell sounds and jazz-tinged chords of the first movement and serves as an epilogue quietly concluding this cycle of night songs as darkness descends.

Premiered at Carnegie Hall for the Shawnee Press 75th Anniversary this powerful and inspirational work now set for TTBB voices sings of hope described through the phases of life such as a newborn's cry the laughter of children the ashes of the fire of love that has died the quiet comfort of a dream. Set to haunting and dynamic music with piano or optional orchestra the work comes to a moving conclusion of hope is not lost...hope will arise. Gorgeous moving and timely.

from Te Deum (Verba Domini cum verbis populi)-The anonymous Middle English text is a beautiful poignant contemplation of mortality and Argento's setting of it casts a quiet haunting spell. The men's chorus is occasionally joined by an insistent single chime note. The complete major work Te Deum (979-0-051-32380-7) was performed at the 2017 National ACDA Conference in Minneapolis.

You've heard this famous spiritual before, but wait until you hear it in the skillful hands of Mark Hayes! The piano part offers a fun-filled adventure---challenging, yet doable. The choral parts are so compelling that choir members will beg to sing them again and again. Listeners will be hard pressed to sit quietly in their seats when these walls come a-tumblin' down! / Choeur TTBB

Goldfinger will always call to mind Shirley Bassey 's assertive vocal on the soundtrack of the James Bond film of the same name. Written by John Barry, Leslie Bricusse and Anthony Newley, it became the definitive in-your-face Bond song before the series' theme tunes became quieter and more pop-oriented. This version has been arranged for TTBB choir with piano accompaniment by Thomas Lydon. / Choeur TTBB Et Piano

This is an interesting treatment of Psalm 150. Each of three sections starts very quietly and builds the middle section is done in counterpoint with the lines of the psalm over and against a constant rhythmic 'praise Him praise Him praise Him'. It is a stirring anthem for any season! Also available in TTBB (HMC1257)|||||| HL08763537|Lively original work by Mark Hayes this would be a great stand by for any choir.|||||| HL08763538|Great for a moderately advanced children's choir_x000D_In choosing William Wordsworth Robert Herrick and Robert Browning Jean Coulthard has provided a wonderful opportunity for great artistic expression. While the piano accompaniment does work it is much more effective if performed with string orchestra'.-Jean Ashworth Bartle.