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Release Date: October 9, 2020
Catalog #: NV6299
Format: Digital & Physical

Voices of Earth and Air Vol III

Works For Chorus

Kong-yu Wong composer
Scott Anthony Shell composer
William Copper composer
Deborah Anderson composer
Theresa Koon composer
Hans Bakker composer
Santiago Kodela composer
Christopher J. Hoh composer
Garth Baxter composer

Kühn Choir of Prague | Lenka Navrátilová conductor
Vox Futura | Andrew Shenton conductor

Judging by Navona's VOICES OF EARTH AND AIR VOL III, this century is facing a significant paradigm shift in contemporary composition. The third installment of the trailblazing series again showcases contemporary choral music, and once more, it is mesmerizing – mesmerizingly tonal and aesthetic.

Cantonese-born Kong-Yu Wong introduces the album with Three Lyrics of Lu Fang Weng. The work consists of a prelude and three choral works based on poems by the 12th-century Chinese poet, which are so timeless in nature that they might well have been written yesterday. Ever careful to preserve the clarity of his choral composition, Kong-Yu Wong subtly frames these pieces with a solo piano part. The poetic theme is continued with Gitanjali 1, Scott Anthony Shell's interpretation of spiritual poetry by mystic Bengali poet Rabindranath Tagore. Despite the ethereal nature of the text, the music is accessible, evoking a sense of cosmopolitan sanctity.

William Copper carries on the spiritual subject with his Ave Regina Caelorum, a beautiful example of compositional craftsmanship. Quite a unique take on what could be called a bel canto choral work, it dazzles with impeccable structure and intonation. Deborah Anderson is featured with two sublime compositions. Windows is a work for women's choir, based on a poem by a French priest. Colorado Prayer is scored for mixed choir and based on a text by a traveling minister.

Mother of Exiles, written by Theresa Koon, aims not only to address the complex issue of immigration, but to offer a voice to immigrants who lack one. It is centered around Emma Lazarus’ poem The New Colossus, which is inscribed in the Statue of Liberty. Hans Bakker strikes a philosophical note with Rat (English: "counsel"), based on a life advice-giving poem by little-known German mystic Joseph Anton Schneiderfranken. Even more metaphysical is his second featured work, Ich habe den Menschen gesehen (I have seen Man [in his deepest form]), a reflective poem by the late 19th-century wordsmith Christian Morgenstern.

Santiago Kodela's The Gulag Within may well be the most modernist piece on this album. With inexorable clarity, it illustrates the various facets of human dilemma, showcasing various limits that are often subconsciously self-imposed. Music at the Heart of Creation by Christopher J. Hoh aims to portray the centrality of music to both spiritual worship and to Life itself.

Noted for his ability to set lyrics to music to enhance the poem's intent, Garth Baxter rounds off the album with Still Falls the Rain, a lyrical, powerful piece based on one of Edith Sitwell's best- known poems. It is a plea to God in times of strife, mirroring the trials and tribulations of the Second World War, but also advocating a message of hope.


Hear the full album on YouTube

"Tonality and atonality coexist in perfect harmony"


"Based on the evidence at hand, choral composition writing and performance has never been healthier and more abundant than it is today"


An Inside Look

Theresa Koon - Mother of Exiles | Hans Bakker

Track Listing & Credits

# Title Composer Performer
01 3 Lyrics by Lu Fang Weng (Excerpts): Prelude I Kong-Yu Wong Vox Futura | Andrew Shenton, conductor; Yoko Hagino, piano; Noel Smith, choir director; Wee Kiat Chia, language coach 1:34
02 3 Lyrics by Lu Fang Weng (Excerpts): No. 1, Where Is the Mountain? Kong-Yu Wong Vox Futura | Andrew Shenton, conductor; Yoko Hagino, piano; Noel Smith, choir director; Wee Kiat Chia, language coach 3:30
03 3 Lyrics by Lu Fang Weng (Excerpts): No. 2, On a Homecoming Boat Kong-Yu Wong Vox Futura | Andrew Shenton, conductor; Yoko Hagino, piano; Noel Smith, choir director; Wee Kiat Chia, language coach 2:32
04 3 Lyrics by Lu Fang Weng (Excerpts): No. 3, Avoiding Songs & Dances - Postlude Kong-Yu Wong Vox Futura | Andrew Shenton, conductor; Yoko Hagino, piano; Noel Smith, choir director; Wee Kiat Chia, language coach 3:34
05 Gitanjali 1 Scott Anthony Shell Vox Futura | Andrew Shenton, conductor; Noel Smith, choir director 5:20
06 Ave Regina Caelorum William Copper Kühn Choir of Prague | Lenka Navrátilová, conductor 4:21
07 Windows, Op. 6 (Version for Choir & Piano) Deborah Anderson Kühn Choir of Prague | Lenka Navrátilová, conductor; Daniela Valtová-Kosinová, piano 2:21
08 Colorado Prayer, Op. 39 Deborah Anderson Kühn Choir of Prague | Lenka Navrátilová, conductor; Daniela Valtová-Kosinová, piano 2:21
09 Mother of Exiles Theresa Koon Kühn Choir of Prague | Lenka Navrátilová, conductor 4:10
10 Rat (Version for Male Choir) Hans Bakker Kühn Choir of Prague | Lenka Navrátilová, conductor 1:39
11 Ich habe den Menschen gesehen Hans Bakker Kühn Choir of Prague | Lenka Navrátilová, conductor 6:14
12 Rat (Version for Mixed Choir) Hans Bakker Kühn Choir of Prague | Lenka Navrátilová, conductor 1:44
13 The Gulag Within Santiago Kodela Kühn Choir of Prague | Lenka Navrátilová, conductor 4:40
14 Music at the Heart of Creation Christopher J. Hoh Vox Futura | Andrew Shenton, conductor; Noel Smith, choir director; Dana Oakes, Andrew Sorg, Mary-Lynne Bohn - trumpets; Robert Marlatt, Kate Gascogne, Sarah Sutherland - french horns; Hans Bohn, Alexei Doohovskoy - trombones; Angel Subero, bass trombone; Takatsugu Hagiwara, tuba 8:36
15 Still Falls the Rain Garth Baxter Kühn Choir of Prague | Lenka Navrátilová, conductor; Linda Sítková, organ 9:23

Text by Lu You (1125–1210)

Text by Rabindranath Tagore

Text by Anonymous

Text by Michel Quoist

Text by Barney C. Crockett

Text by Emma Lazarus

Text by Joseph Anton Schneiderfranken (Bô Yin Râ)

Text by Christian Morgenstern

RAT - Counsel for mixed choir SATB
Text by Joseph Anton Schneiderfranken (Bô Yin Râ)

Text by Santiago Kodela

Text by Barry E.B. Swain & Christopher J. Hoh

Text by Edith Sitwell

Recorded September 21-22, 2019 at Futura Productions in Roslindale MA
Session Producers John Weston & Noel Smith
Session Engineer John Weston
Assistant Engineer Jacob Steingart

Recorded September 16, 2019 in The Chapel at Korunní in Prague, Czech Republic
Session Producer Jan Košuli
Session Engineer Aleš Dvořák
Assistatnt Engineer Jana Jelínková

Recorded September 17, 2019 at The Chapel at Korunní in Prague, Czech Republic
Session Engineer, Producer Jan Košulič
Assistant Engineer Jana Jelínková

Recorded December 13, 2019 at the Czech TV Music Studio in Prague, Czech Republic
Session Producer Jan Košulič
Session Engineer Jan Košulič
Assistant Engineer Roman Sklenář

Recorded February 5, 2020 in The Chapel at Korunní in Prague, Czech Republic
Session Producer Jan Košulič
Session Engineer Aleš Dvořák

Recorded November 9, 2019 at Futura Productions in Roslindale MA
Session Producers John Weston & Noel Smith
Session Engineer John Weston
Assistant Engineer Jacob Steingart

Executive Producer Bob Lord

Executive A&R Sam Renshaw
A&R Director Brandon MacNeil
A&R Quinton Blue, Danielle Lewis, Morgan Santos, Jacob Smith, Chris Robinson

VP, Audio Production Jeff LeRoy
Audio Director, Editing & Mixing (tracks 1-5, 13-15) Lucas Paquette
Recording Sessions Director Levi Brown
International Recording Sessions Manager, Editing & Mixing (tracks 6-13, 15) Jan Košulič
Mastering Shaun Michaud

VP, Design & Marketing Brett Picknell
Art Director Ryan Harrison
Design Edward A. Fleming
Publicity Patrick Niland, Sara Warner

Artist Information

Kong-Yu Wong


Kong-Yu Wong was born in Canton and he then became a HongKonger. He studies music at different institutes in China and Hong Kong, and was awarded a PhD from the University of York in England. Principal mentors of his include composers Gao Weijie and Nicola LeFanu. Wong’s recent works include a number of vocal compositions in varied forces and different languages. His piano music for young people is especially welcomed by pianists and audiences alike.

Scott Anthony Shell


Scott Anthony Shell was born in Omaha Nebraska USA but grew up near Chicago IL. He earned a degree in music composition at DePaul University while studying voice and singing in choirs. Instead of pursuing academic degrees, he immersed himself in the Chicago indie rock scene and created a record label and rock band (singer / songwriter / guitarist) called Cats & Jammers that released several recordings and toured all over the USA. S.A. is fluent in Spanish and has spent quite a bit of time in South America. Currently he resides in in Patagonia AZ.

William Copper

William Copper


William Copper is an American composer of contemporary classical music, a theorist, and the authority on Intonalism, the science of structuring music according to intonation. His music is praised for its beauty, structural integrity, and innovative originality. He has been a life-long supporter and volunteer as Board Member and officer for music and cultural organizations.

Deborah J. Anderson


Deborah J. Anderson grew up in Tacoma WA and began composing at age 6. As a teenager she studied piano and voice. In college she majored in languages and she later served in the Peace Corps in Tunisia, where she taught English, studied Arabic music, and learned to play the ‘oud and sing in Arabic. After earning a master's degree in French (University of Washington, Seattle), she taught at the college level for a number of years. From 2000 to 2011 she sang in the Pacific Lutheran University Choral Union. She enjoys her four adult children, the arts, travel, and gourmet cooking.

Theresa Koon


Theresa Koon composes music primarily for voice, emerging from an international vocal performance career including several years at the Thüringerlandestheater in Germany. Operas, song cycles, and choral music make up the center of her work, generally inspired by explorations into social issues or current events. Koon’s chamber opera PROMISE, which considers the social significance behind artistic “promise,” was conceived as a vehicle for regional and conservatory opera productions and has been performed across the United States.

Hans Bakker


After he finished his studies piano, church organ, and choral conducting at the Dutch Institute for Church Music in Utrecht, Hans Bakker (b. 1945) worked as a teacher at two music schools in the Netherlands. He also conducted two choirs and was active in the improvisational music scene. His career in music was followed by the study of Sanskrit. After obtaining his master's degree at the University of Amsterdam, he returned to music, becoming completely occupied by teaching at Globe Center for Art and Culture in the city of Hilversum.

Santiago Kodela

Composer, Guitarist

Santiago Kodela is an award-winning Classical Guitarist & Composer working in the areas of concert, solo instrument, chamber, and choral music. His works explore various aspects of sound and harmony, adventuring intensely into the areas of iso-rhythms, metric modulation, and chord harmonization. In 2022 the album PINNACLE VOL. 2 was awarded the 2nd Prize Silver Medal by North-American Global Music Awards in the classical category. Furthermore, his piece Delicate Soliloquies was shortlisted as a finalist in the 2nd Composition Competition by the Dutch Guitar Foundation by a jury integrated by Steve Goss, JacobTV, and Nikita Koshkin.

Christopher J. Hoh


“Full of charm and shapely allure” (Opera News) and “a tapestry of immense grace” (Textura) are some of the praises Christopher J. Hoh has received for his music. He grew up in Reading PA and was influenced as a young singer and accompanist by great works under conductors in Pennsylvania, New York, and Washington. He has been in Alice Parker’s composer seminar as well as workshops with Jean Berger, Daniel Moe, Robert Page, and Craig Jessop. 

Garth Baxter


Composer Garth Baxter is noted for his modern traditionalist style of writing. He combines the traditions of form and clear melodic writing with contemporary approaches to harmony and other elements. He is recognized as one of the preeminent composers of art songs and has been described as an unabashed lyrical, tonal composer.

Vox Futura


Vox Futura is New England's premier recording choir for composers, recording artists, film, television, and video games. Past projects have included work with internationally distributed classical production house PARMA Recordings, video game companies Nintendo and Bandai Namco, legendary German power metal band Blind Guardian, and platinum selling world music artist Sami Yusef.

Kühn Choir of Prague


The Kühn Choir of Prague is one of the largest Czech choirs and has been part of the musical world for over 60 years. It devotes itself to the choral repertoire of all periods, and its activities include significant performances of contemporary music, performances of large vocal-instrumental works in collaboration with leading Czech orchestras and, last but not least, projects for the performance and recording of film music.

Lenka Navrátilová


Lenka Navrátilová studied piano and harpsichord at the Teplice Conservatory and choral conducting (sacred music) under the guidance of Jiří Kolář and Marek Štryncl at the Faculty of Education of Charles University in Prague. She is second chorus master of the Kühn Choir of Prague, professor of opera coaching at the Prague Conservatory, and répétiteur of the Prague Philharmonic Choir. As the assistant to the chorus master of the Prague Philharmonic Choir, she has participated in its appearances in Doha, Berlin, and at the Sankt Gallen opera festival.


Text by Lu You

…as a wayfarer in the world I have reached my old age…
…tomorrow I will ride on the wind regardless which direction it goes…
…I regret the shadows of flowers are too slight and the candle lights for my drawing room are too bright.

The lyrics by the 12th-century poet Lu You, whose pen name was Fang Weng, sound as intimate as if they were written yesterday. The longing, the joy, and the sorrow in the words affect the reader regardless of any boundary of time and place. I chose three of the lyrics to set to music; each is assigned a particular type of harmony, line, and texture. The piano solo then frames the choir at the beginning and the end. This work was written between 2009 and 2013 and it was my first choral work in the Chinese language.

— Kong-Yu Wong

Text by Rabindranath Tagore
Gitanjali 1 is set to a portion of the first poem from the collection of devotional poetry called Gitanjali by the mystic Bengali poet Rabindranath Tagore. Fluent in English, the author also did his own English translation. In this piece, the text was converted slightly from the original which was set in old English, to make it easier to sing and understand.

The composition explores various counterpoint techniques including a brief fugue, following the feelings behind the text: joy, reverence, humility, awe, mystery, etc. The frequent alternations between major and minor modes help create a sense of ambiguity.

— Scott Anthony Shell

You have made me endless, such is your pleasure. This frail vessel you empty
again and again, and fill it ever with fresh life.

This little flute of a reed you have carried over hills and dales, and have
breathed through it melodies eternally new.

At the immortal touch of your hands my little heart loses its limits in joy and
gives birth to utterance ineffable.

Your infinite gifts come to me only on these very small hands of mine.

Text by Anonymous
Ave regina caelorum,
Ave Domina angelorum.

Salve radix, salve porta,
Ex qua mundo lux est orta.

Gaude Virgo gloriosa,
Super omnes speciosa.

Vale O valde decora,
Et pro nobis Christum exora.

Literal translation:
Hail, queen of the heavens,
Hail, Lady of the angels.

Greet Thee, the Root, Greet Thee, the Door,
From whom to the world light is come.

Praise the Virgin glorious,
Over all beauteous.

Be well, o greatly comely,
And for us with Christ plead.

Text by Michel Quoist

This work for women’s voices will leave a deep and lasting impression on the singers and the congregation. The simplicity of the music and the text touches the heart with its message. The text was written by a French priest; I used just a few lines from the English translation.

Text by Barney C. Crockett

The inspiration for Colorado Prayer came from words written by the father of a friend of mine. From his home in Arkansas, Barney Crockett traveled in the early 1940’s to Colorado to attend a church camp. Being a minister, he was familiar with all the great old church hymns. The amazing beauty of Colorado led him to write new words to an old tune. I was given a copy of this version, and immediately felt drawn to compose an anthem using his words.

The unusual modulations in Colorado Prayer create a mood of the mystery and awe so often found in nature. The director, the pianist, and the singers should approach their interpretation of this piece with a sense of freedom to take it beyond what is written.

— Deborah J. Anderson

God, our Creator, Builder of the mountain,
'Stablish our courage as the hills eternal.
Should care o'erwhelm us, may thy towers direct us,
O Lord, to Thee.

God, our Creator, Spirit of the river,
Cleanse our impurities by Thy living waters.
Freshen our spirits by Thy cooling showers.
O Lord, we wait on Thee.

God, our Creator, Ruler of the tempest,
Thy face the lightning and Thy voice the thunder:
Speak to our longings, satisfy our yearnings,
Hear us, O Father.

God, our Creator, from the highest heavens
Sun, moon and stars shine to illumine our pathway.
Be Thou our leader, give to us true wisdom,
So may we follow Thee.

— Barney C. Crockett (1996 - 1957)

Adapted from “The New Colossus” by Emma Lazarus, 1883

The Statue of Liberty, with its famous inscription of Emma Lazarus’ poem “The New Colossus,” has been in the news a lot during the past year, including various reinterpretations of its significance. Originally, France offered the statue to commemorate the ending of the Civil War in the United States, proclaiming that only by prohibiting slavery had this country finally become a democracy. Lazarus expanded that sentiment in her sonnet, expressing gratitude on behalf of her Jewish ancestors who had escaped Russia during the pogroms. When the poem was inscribed on the Statue in New York Harbor after Lazarus’ death, both Lady Liberty and “The New Colossus” combined to represent the face and voice of US democracy, of freedom from slavery, and also as a welcome to desperate people in need of asylum. I believe the majority of Americans, despite our differences, still view the Statue of Liberty and her torch in this light, since most of us have ancestors who emigrated from somewhere else.

We are living at a time when immigration is a world-wide issue, which no one country can solve alone. To me, this is a delicate and complex situation that deserves compassionate consideration and collaboration. Since I don’t have the temperament or money for political campaigning, music is the vessel I can offer to give voice to the thoughts and feelings of people who have no voice in the world.

In working with the public domain text, I chose to set 11 of the 14 lines in Lazarus’ sonnet, which include those that are best-known. At the point when the text refers to the Statue as “Mother of Exiles,” I began overlapping translations of that name in 16 different languages, and also adopted it as the title of my choral version.

My dream is for Mother of Exiles to be performed by choirs around the world, with hopes that it will become an anthem for campaigns and organizations who believe in its purpose. If you are interested in furthering this mission, please visit

You can find out more about this project by visiting the following link:

— Theresa Koon

Mother of Exiles
Not like the brazen giant of Greek fame,
With conquering limbs astride from land to land;
Here at our sea-washed, sunset gates shall stand
A mighty woman with a torch, whose flame
Is the imprisoned lightning, and her name
Mother of Exiles.

Madre des exiliados, mére des exiles, Mutter der Verbannten,
mat' izgnannikov, madre di esuli, 'ama almunfiiyn, eksilens moder, muter fun exeylz, majka izgnanica, matka exulantů, mitéra exóriston, mama wa wahamisho, umama wabathunjwa, nirvaasan kee maan, Bōmei-sha no haha, ka makuahine o ka poʻe pio

From her beacon-hand
Glows world-wide welcome:

“Give me your tired, your poor,
Your huddled masses yearning to breathe free,
The wretched refuse of your teeming shore.
Send these, the homeless, tempest-tossed to me,
I lift my lamp beside the golden door!”

Text by Joseph Anton Schneiderfranken (Bô Yin Râ)

After reading the original German text of “Rat” by the German painter and writer Joseph Anton Schneiderfranken in the edition of Kober Verlag, next to the equally catchy English translation “Counsel” in the bilingual edition of the The Standard-translation of the book "Showing the way" it occurred to me to put this learning poem to music for the benefit of the interested reader/singer/choir conductor.

Nimm dein Leben wie es ist!
Denke nicht: "So könnt' es sein."
Fluche keinem deiner Tage!
Was du tragen musst, ertrage!
Alles, was dir je begegnet,
Segne, und du wirst gesegnet!-

COUNSEL (In English)
Take your life as it is!
Think not: "It could be like this."
Curse none of your days!
Bear the things you must bear!
Everything that comes in your way,
Bless it, and you will be blessed!-

Text by Christian Morgenstern

I was struck by the profundity of this text by the German poet Christian Morgenstern. Various composing techniques were used in the music. The piece happened to be  finished exactly on Pentecost 2019.

Here is the original text: "Ich habe den Menschen gesehen in seiner tiefsten Gestalt, / ich kenne die Welt bis auf den Grundgehalt. / Ich weiss, dass Liebe, Liebe ihr tiefster Sinn / und dass ich da um immer mehr zu lieben, bin. / Ich breite die Arme aus, wie Er getan, / ich möchte die ganze Welt, wie Er, umfahn."

In English: 'I know the human being in its deepest form / I know the world down to the basics / I know that love, love is their deepest meaning / and that I am there to love more and more / I extend my arms as He did, / I would like to embrace the whole world like Him.'

— Hans Bakker

Text by Santiago Kodela

The music and text of The Gulag Within was inspired by the tragic events that occurred in the infamous communist Soviet forced labor camp system, also known as Gulags, that took place in the Socialist Soviet Union throughout most of the 20th Century.

The events and accounts of what happened during this timeframe inspired the book “The Gulag Archipelago,” a book considered by many as one of the most important documents in helping to dissolve the Soviet Union. It was written by Aleksandr Solzhenitsyn.

The text of this piece was inspired by the author’s point of view of the political agenda and propagandistic paradigms of the Russian Soviet Union and the roles and responsibilities of ourselves at an individual level. The text dwells on the tragedies of life, the need to accept and face them with courage, humility, and integrity, and the importance of accepting that living a meaningful life is a responsibility at an individual level.

The music progresses slowly, in the same manner as the phases of acceptance a person experiences when dealing with a tragedy. It reflects these stages, makes one wonder, and invites one to reflect on the need to accept one’s fate. Am I doing the best to achieve that which I desire? Am I the best person to society I can be right now? Where am I falling short? Will I become responsible for my own reality?

The piece dwells on the importance of individuals in a society and the intrinsic value absolutely every person has within its community.

— Santiago Kodela

Look to the heavens
Clear its skies
Stare down this cold hell
Threatening black
Switch to the inside
All will reveal with time
As horrors stretch their hands to aid in treachery
We shall not succumb to temptation
Gaze at the lion
Fangs razor sharp
Confront the tyrant
Rival the foe that dwells and tempts us to false light
The abyss of the mind, endless
Abyss holding us down
Dim and blight
Cold, untrodden, winding
Culprit ridden
The abyss of the mind, endless
The abyss of the mind, let the light inside transcend with truth
For is the path to rid the being of suffering
Truth is transcendence
Transcend the vile
Horrors are dormant
Sleeping within
Coiled into strike

Text by Barry E.B. Swain & Christopher J. Hoh
There is music at the heart of Creation; There is music at the heart of worship; There is music at the heart of God.

There’s no preaching in heaven; it’s not needed. There’s no social philanthropy there; it’s not needed. There’s no reading however refined.
In heaven, there’s no need.

Heaven needs no pastoral care;
Heaven needs not even Bible reading;
Heaven indeed endures without Higher Historical Criticism. Without a doubt, there’s no need.

There is music, etc.

Heaven, we know, is the presence of God.
In heaven the Maker is venerated.
And there, veneration is song:
Hymnus, decus, laus perennis, gratiarum actio.
There is music, etc.

(Hymn, honor, eternal praise, thanksgiving.)

Adapted by the composer from Rev. Canon Barry E.B. Swain, “Theology of Music,” New York, 2015. Used by permission.
Latin quotation from Aurellius Prudentius, “Corde Natus Ex Parentis,” Roman 5th century.

Still Falls the Rain is among Edith Sitwell’s best-known poems. It portrays the sorrow experienced during the German bombing campaign, known as the blitz, against the United Kingdom during the Second World War. There was such fear and suffering during that time. Yet with all the anguish and despair, Dame Edith Sitwell found words to lift the spirit and pay tribute to the enduring love of Christ. As with all of my choral works, my goal was to magnify those words and, in this case, to touch the soul with hope and love.

There is much imagery in the poem that draws on scripture, as well as the pain brought on by wars. Even in turmoil, the ultimate sense is one of hope. It is the concluding part of the poem, where Christ expresses His continuing love for us, that most attracted me to this text by Sitwell. The final section, with the power of sound and voice, brings the sense of hope, love, and continuing faith in the face of heartache.

I wrote this piece for Dr. Margaret Boudreaux and the Masterworks Chorale of Carroll County, who performed and commissioned many of my choral works.

Still Falls the Rain
Still falls the Rain---
Dark as the world of man, black as our loss---
Blind as the nineteen hundred and forty nails
Upon the Cross.

Still falls the Rain
With a sound like the pulse of the heart that is changed to the hammer-beat
In the Potter's Field, and the sound of the impious feet

On the Tomb:
Still falls the Rain

In the Field of Blood where the small hopes breed and the human brain
Nurtures its greed, that worm with the brow of Cain.

Still falls the Rain
At the feet of the Starved Man hung upon the Cross.
Christ that each day, each night, nails there, have mercy on us---
On Dives and on Lazarus:
Under the Rain the sore and the gold are as one.

Still falls the Rain---
Still falls the Blood from the Starved Man's wounded Side:
He bears in His Heart all wounds,---those of the light that died,
The last faint spark
In the self-murdered heart, the wounds of the sad uncomprehending dark,
The wounds of the baited bear---
The blind and weeping bear whom the keepers beat
On his helpless flesh... the tears of the hunted hare.

Still falls the Rain---
Then--- O Ile leape up to my God: who pulles me doune---
See, see where Christ's blood streames in the firmament:
It flows from the Brow we nailed upon the tree

Deep to the dying, to the thirsting heart
That holds the fires of the world,---dark-smirched with pain
As Caesar's laurel crown.

Then sounds the voice of One who like the heart of man
Was once a child who among beasts has lain---
"Still do I love, still shed my innocent light, my Blood, for thee."

— Dame Edith Sitwell


Three Lyrics of Lu Fang Weng (excerpt)

Wong Kong-Yu

Ave Regina Caelorum (excerpt)

William Copper


Dianne Everson

Colorado Prayer

Larry Crockett

Mother of Exiles

Theresa Koon

RAT - Counsel for male choir

Hans Bakker

Ich habe den Menschen gesehen für

Hans Bakker

RAT - Counsel for mixed choir

Hans Bakker

Music at the Heart of Creation

Christopher J. Hoh