Ask of Me What the Birds Sang

Garth Baxter composer

Katie Procell soprano
Jeremy Lyons guitar
Christine Thomas mezzo-soprano
Karen Johnson flute
Jennifer Tscheulin clarinet
Bonghee Lee, Valerie Hsu, Andrew Stewart, Wei-Der Huang, Mariko Hiller piano
The Patagonia Winds | Melissa Lindon flute, Audrey Yu oboe, Emily Robinson clarinet, Tia Wortham bassoon, Jay Chadwick french horn
Kühn Choir of Prague | Lenka Navrátilová conductor, Linda Sitková organist

Release Date: December 9, 2022
Catalog #: NV6481
Format: Digital
21st Century
Vocal Music

Modern traditionalist composer Garth Baxter’s album ASK OF ME WHAT THE BIRDS SANG presents a wide variety of instrumental works as well as vocal music; each of these unique pieces has a special connection with a song. When Lights Begin to Show, for example, includes a musical quote from “Afternoon on a Hill,” which is the first song in Three Poems from Edna St. Vincent Millay. The songs referenced sometimes come from earlier works by Baxter or borrow from folk music. An unabashedly lyrical composer, Baxter combines the traditions of form and clear melodic writing with contemporary approaches to harmony and other elements.


Hear the full album on YouTube

A very diverse take on contemporary chamber sounds, each song resonates with a distinct take on melody, and the unparalleled talent on hand sure do execute flawlessly in Baxter’s inimitable vision.

Take Effect

"...a musical treasure hunt with the composer using melodies and fragments from his own work to create new pieces."

Opera News

Baxter might not be a household name in the same way that certain celebrity figures are, but in giving to the world exceptional music of the kind on Ask of Me What the Birds Sang, he most definitely qualifies as “someone grand.”


Track Listing & Credits

# Title Composer Performer
01 Spanish Johnny Garth Baxter; Willa Cather, text Katie Procell, soprano; Jeremy Lyons, guitar 4:37
02 When Lights Begin to Show Garth Baxter Karen Johnson, flute; Jennifer Tscheulin, clarinet; Jeremy Lyons, guitar 4:59
03 A Jagged Path Garth Baxter The Patagonia Winds | Melissa Lindon, flute; Audrey Yu, oboe; Emily Robinson, clarinet; Tia Wortham, bassoon; Jay Chadwick, french horn; Wei-Der Huang, piano 7:40
04 The Long Hill Garth Baxter; Sara Teasdale, text Katie Procell, soprano; Valerie Hsu, piano 3:02
05 Wrapped in the Wind and the Sun: 1st Movement Garth Baxter Jennifer Tscheulin, clarinet; Andrew Stewart, piano 3:33
06 Wrapped in the Wind and the Sun: 2nd Movement Garth Baxter Jennifer Tscheulin, clarinet; Andrew Stewart, piano 3:46
07 November 1994 Garth Baxter; Cathal Ó Searchaîgh, text Christine Thomas, mezzo soprano; Andrew Stewart, piano 2:32
08 Tattoo Garth Baxter; Nuala O’Connor, text Christine Thomas, mezzo soprano; Andrew Stewart, piano 2:24
09 Flirt Garth Baxter; Nuala O’Connor, text Katie Procell, soprano; Valerie Hsu, piano 2:07
10 Songs Without Words in Miniature: Beneath the Hawthorn Tree Garth Baxter Bonghee Lee, piano 1:54
11 Songs Without Words in Miniature: Hearts as One Garth Baxter Bonghee Lee, piano 2:15
12 Songs Without Words in Miniature: We Sat Snug and Warm Garth Baxter Bonghee Lee, piano 1:41
13 Songs Without Words in Miniature: Starry Wondrous Nights Garth Baxter Bonghee Lee, piano 2:27
14 Songs Without Words in Miniature: The Night Grew Cold Without Garth Baxter Bonghee Lee, piano 2:37
15 Songs Without Words in Miniature: The Little Flirt Garth Baxter Bonghee Lee, piano 1:07
16 A Parting Glass Garth Baxter The Patagonia Winds | Melissa Lindon, flute; Audrey Yu, oboe; Emily Robinson, clarinet; Tia Wortham, bassoon; Jay Chadwick, french horn 6:49
17 The Darkness Between Us: Â lalo lalo lalo Garth Baxter Karen Johnson, flute; Mariko Hiller, piano 4:08
18 The Darkness Between Us: Jwandune's Song Garth Baxter Karen Johnson, flute; Mariko Hiller, piano 7:35
19 Still Falls the Rain Garth Baxter; Edith Sitwell, text Kühn Choir of Prague | Lenka Navrátilová, conductor; Linda Sitková, organ 9:20

Spanish Johnny
Text by Willa Cather

The Long Hill
Text by Sara Teasdale

November 1994
Text by Cathal Ó Searchaîgh
Translated by Nigel McLoughlin

Tattoo, Flirt
Text by Nuala O’Connor

Still Falls the Rain
Text by Edith Sitwell

Tracks 1-18
Recorded June 3-4, 6-7, 2022 at Carl J Murphy Fine Arts Center, Recital Hall, Morgan State University in Baltimore MD
Producer & Engineer Brad Michel
Editing Ethan Fields
Additional Editing & Mixing Lucas Paquette

Track 19
Recorded February 5, 2020 at The Chapel at Korunní in Prague, Czech Republic
Producer, Editing & Mixing Jan Košulič
Engineer Aleš Dvořák

Mastering Melanie Montgomery

Executive Producer Bob Lord

A&R Director Brandon MacNeil
A&R Chris Robinson

VP of Production Jan Košulič
Audio Director Lucas Paquette
Production Director Levi Brown
Production Assistant Martina Watzková

VP, Design & Marketing Brett Picknell
Art Director Ryan Harrison
Design Edward A. Fleming, Morgan Hauber
Publicity Patrick Niland, Aidan Curran

Artist Information

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.

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.

Patagonia Winds


Patagonia Winds is a professional wind quintet known to Washington DC, Maryland, and Virginia audiences since 2010 for its dynamic programming that the whole family can enjoy. Currently Woodwind Ensemble-in-Residence at Washington Adventist University, the group has performed concerts and children’s educational programs throughout the region, and appeared in recital at the Mid-Atlantic Flute Convention and National Flute Association Convention. Committed to promoting chamber music by living composers, the group has commissioned works by Alexandra Molnar-Suhajda and Andrew John Kosinski, and was featured in concert by the Baltimore Composers Forum.

Flutist and Patagonia Winds founder Melissa Lindon is co-principal flute/piccolo with the Avanti Orchestra. She serves on the music faculties at Washington Adventist University, Howard Community College & The Music Institute at HCC, and co-directs Flute-a-rama Summer Flute Camp in Takoma Park and Laurel MD. 

Audrey Yu is principal oboist with the U.S. Army Band “Pershing’s Own.” She completed a performer’s diploma and master’s degree in oboe performance at Meadows School of the Arts (Southern Methodist University), and BMus in oboe performance and music education at Eastman School of Music. Her principal teachers include Erin Hannigan and Richard Killmer. 

Dr. Emily Robinson, clarinetist with the Patagonia Winds, appears with the National Symphony Orchestra, National Philharmonic, Opera On The James, and Avanti Orchestra. Former member of “The President’s Own” U.S. Marine Band, she is co-founder of Balance Campaign, a DC-based contemporary music ensemble. 

Jay Chadwick, horn, is a founding member of the Patagonia Winds, principal horn in the Avanti Orchestra and second horn in the McLean Orchestra. In between rehearsals and gigs, he can be found practicing commercial real estate law in Northern Virginia, or checking out used horns on eBay.

Tia Wortham, bassoonist with the Patagonia Winds, plays contrabassoon/bassoon with the Fairfax Symphony Orchestra. Former principal bassoonist in the U.S. Navy Band of Washington DC, she has played with the York Symphony and National Gallery of Art Orchestra, and teaches bassoon/oboe at Howard University and Suitland High School. 

Katie Procell


Soprano Katie Procell has been praised throughout the Baltimore area for her “golden tone and arresting stage presence” (Peter Dayton). Her musical curiosity includes the avant-garde: Pierrot Lunaire, Ginastera’s String Quartet No. 3, Harawi, Berio Sequenza III, and even Kurtàg’s Attila Fragments. Procell’s opera credits include various roles in two-woman collections of operas: Elevator (ENAEnsemble); Susanna (Le nozze di Figaro, Peabody); Krysia (Out of Darkness, Peabody); Rosina (Il barbiere di Siviglia, JMU); Phyllis (Iolanthe, Luray Opera Theater); Despina (Così fan tutte, Luray). She studied at Peabody Conservatory (M.M., 2018) and James Madison University (B.M. 2016) and trained as an apprentice artist at Opera Roanoke. This summer she will be filming the video premiere of Garth Baxter’s opera Lily and sing the title role.

Jeremy Lyons


Guitarist Jeremy Lyons has been performing, teaching, and living in Baltimore for more than 10 years. He is a founding member of the ensemble Pique Collective and the music organization Mind on Fire. In an effort to present both contemporary and period works of art, he regularly collaborates with artists who work in many disciplines. As a composer, Lyons works on projects that combine music and other artistic media such as poetry, theater, and sculpture. He currently teaches at the Baltimore School for the Arts and privately from his home.

Christine Thomas


Mezzo-soprano Christine Thomas has performed everything from the motets of J.S. Bach to the melodies of Irving Berlin to the minimalism of Philip Glass. The Milwaukee Journal-Sentinel called her voice “an amazing instrument.” The Washington Post said, “her voice is lovely and her stage presence is natural and full of vitality.” Backstage Baltimore called her “a vocal powerhouse.”

Equally at home in opera, oratorio, cabaret, and musical theater, Thomas has performed with Lyric Opera of Chicago, Chicago Opera Theatre, Washington National Opera, Central Maryland Chorale, and Concert Artists of Baltimore.

An advocate for contemporary American music, she has created roles in five world premieres, including The Woman in Red in Dream of Valentino at Washington Opera and Rachel Lynde in Memoirs of Anne by Peter Tutalo. In 2017, she commissioned composer Garth Baxter to set Music’s Path: Six Songs by Irish Poets, featuring poetry by Cathal O Searcaigh, Nuala Ni Chonchüir, and Gabriel Rosenstock.

Thomas received an M.M. in vocal performance from the Peabody Conservatory. She is the sole proprietor of Mezzoid Voice Studio in North Baltimore.

Karen Johnson


Karen Johnson, Principal of the Chesapeake Orchestra, and formerly Principal Flutist of the Washington Bach Consort, combines instrumental mastery, great beauty of sound, and a poetic sensibility in her distinctive and memorable performances. The Washington Post has described her playing as “exquisite” and “mesmerizing”; and in another review the Post said “… flutist Karen Johnson wrought unforgettable magic.”

Her diverse musical repertoire ranges from the sacred to the popular and her many collaborations include appearances with Pop Star Stevie Wonder, the Takacs String Quartet, and the Bach Aria Group. She has performed at the Alba, Italy, International Music Festival and will return there May 2023 to solo with the Rumanian State Orchestra. Johnson brings an amateur adult flute choir called FlutesUSA to perform at the Alba festival. She has also performed at the Bethlehem Bach Festival and others. Her recital venues include the Kennedy Center, the River Concert Series (in Maryland), the National Gallery of Art, and the Washington National Cathedral.

In 2010, Johnson teamed up with like-minded musicians to form the ensemble Dancing Heart. Their mission: to transform audiences as well as themselves through the power of sound. To this end they present diverse programs in an engaging, interactive manner, all to enhance the audience’s experience. Karen’s recent concerts with Dancing Heart include 3 programs for flute, trombone, and piano: Holiday Sounds of the Season, December 2021 in Lewes DE; From Bach to Boogie in Purcellville VA and in Alba, Italy, and The Autumn Muse at the River Road Unitarian Congregation in Bethesda MD.

Jennifer Tscheulin


Jennifer Tscheulin is a vibrant clarinetist and bass clarinetist who regularly performs throughout the Eastern seaboard. She teaches clarinet, Music History, and World of Music at Morgan State University, as well as clarinet at the Peabody Preparatory, both located in Baltimore MD.

Tscheulin currently holds positions in the Washington Chamber Orchestra, Mind on Fire New Music Ensemble, and Maryland Winds. She has also played with the Baltimore Chamber Orchestra, the American Pops Orchestra, the Mid-Atlantic Symphony, and the NakedEye New Music Ensemble. While playing many genres of music, Jennifer has premiered and recorded many new commissions from living composers throughout the United States and abroad.
Tscheulin received her Bachelor of Music degree in Clarinet Performance from Indiana University and her Master of Music degree in Clarinet Performance from the Peabody Conservatory, studying with Howard Klug and Steven Barta, respectively.

Bonghee Lee


Pianist Dr. Bonghee Lee is an avid soloist and chamber musician. Her interviews, performances, and recordings have been broadcast across Croatia, South Korea, and throughout the United States. Having participated in numerous international festivals and concert series, Lee has established her excellent virtuosity and musicality. She has performed and presented masterclasses in numerous venues including Lincoln Center, Yamaha Hall, Columbia University, Strathmore Mansion, Baltimore War Memorial, Shriver Hall, Horowitz Visual and Performing Arts Center, Friedberg Concert Hall, Falvey Hall, and numerous acclaimed venues in France, Canada, China, and South Korea.

Lee is the pianist of the L’abri Trio, a unique collaborative ensemble consisting of piano, saxophone, and cello; their first album Trios Couleurs was released in 2018. In the same year, she was selected as a finalist at the Pro Musicis International Award with L’abri Trio. She is also engaged with the Presence Trio, an ensemble featuring piano and two saxophones, whose latest album was released in 2019 and continues their regular world concert tour.

Lee earned her Doctor of Musical Arts degree with a graduate fellowship at the Peabody Institute of the Johns Hopkins University, where she completed her master’s degree under the Sarah Stulman Zieler Prize and the Lillian Gutman Memorial Prize. Lee holds a Bachelor of Music degree in Piano Performance from Yonsei University in South Korea.

Currently, Lee is a piano professor at the Northern Virginia Community College in Virginia, the International School of Music in Washington DC, the Park School of Baltimore, and the St. Paul’s Schools in Maryland. She is also a staff pianist at Community College of Baltimore County in Maryland. She has been actively working with composers across the globe, commissioning and premiering works related to the most prominent genres today. Lee also has an avid interest in musical criticism, writing critiques and reviews, and has been a music columnist for the Korea Times since 2016 and Yewon Music Journal since 2019.

Valerie Hsu


Valerie Hsu is a collaborative pianist based in Baltimore. A Fischoff National Chamber Music Competition semifinalist, Valerie studied at Vanderbilt University with Craig Nies and Melissa Rose, where she was the inaugural recipient of the Gall/Martin Collaborative Arts Award. Ensemble highlights include a MinEvent performance of the music of John Cage on prepared piano with dancers from the Merce Cunningham Dance Company, the Southeastern United States premiere of George Antheil’s fully-realized Ballet Mècanique, and a 10-day orchestral tour of China. By day, she serves as Executive Director of the Unitarian Universalist Congregation of Columbia in Columbia MD.

Andrew Stewart


Hailed as a “singer’s dream” by Gramophone Magazine, pianist Andrew Stewart has given thousands of performances across a wide spectrum of musical genres. Currently on the music faculty at Goucher College, he has played at venues including the Lyric Performing Arts Center, An Die Musik, the Engineers Club, and the War Memorial (Baltimore); Sidney Harman Hall and American University’s Greenberg Theatre (Washington, D.C.); Maryland Hall for Creative Arts and the Maryland State House (Annapolis); Opera America (New York City); Cal Poly Performing Arts Center and the Berkeley Piano Club (California); and Sala San Gregorio, Sala San Paolo, and La Sala della Conciliazione in Assisi, Italy. He has also performed with the San Luis Obispo County Symphony, the St. Louis Parish Orchestra, Howard County Concert Orchestra, and the Annapolis Chamber Orchestra, and performed on Maryland Public Television, WBAL News Radio, and He is a longstanding accompanist for both the Maryland Opera Company and Baltimore Musicales.

Stewart holds degrees in piano performance from the Peabody Institute of Johns Hopkins University (M.Mus., 2002) and the University of California at Santa Barbara (B.Mus., 2000). He is featured on the albums Katherine Keem Sings Songs and Arias by Garth Baxter (Centaur Records, 2014), ASK THE MOON (Navona, 2018), RESISTANCE (Navona, 2019), and Písně Lásky a Naděje – Songs of Love and Hope (Orpheus Classical, 2021). He is married to guitarist Zoë Johnstone Stewart. They live in Maryland with their two sons.

Wei-Der Huang


Pianist Dr. Wei-Der Huang is a founder of the Octtava Piano Duo; Howard Community College music faculty member, Piano Coordinator, and Concert Series Coordinator; and Music Director and Organist at Greenbelt (MD) Community Church. He received his D.M.A. from the University of Maryland at College Park and his M.Mus. and Professional Performer Diploma from the Manhattan School of Music.

Mariko Hiller


A native of Japan, Mariko Hiller began studying piano at the age of five. Immigrating to the United States, she continued her classical piano study with distinguished pianists, including Nicholas Zumbro (University of Arizona) and Peter Takács (Oberlin Conservatory of Music). She has been an active chamber musician in the Metropolitan Washington area for over 30 years. Hiller has also studied organ, jazz piano, and music education. She has been Music Director at St. Patrick’s Episcopal Church since 1998. Hiller is the founder and the director of the Odeon Chamber Music Series since 2000. She taught general music for 22 years in the Fairfax County Public Schools. She enjoys performing both classical and jazz, and sharing her love for music with everyone. She also writes arrangements of hymns for church services using both classical and jazz renditions. In addition to music, Hiller enjoys playing tennis, skiing, and swing dancing.


Ask Of Me What The Birds Sang is a mixture of instrumental music and vocal works. Over the years, I have written many vocal pieces. Each time I compose an art song, I strive to ensure the words and rhythm fit with the pattern of the speaking voice for the poem. That is rather a specialty of mine, and, in fact, I have been recognized for my gift of blending words and music. In developing my art songs, I find I often have musical themes and harmonies I would like to explore further, as well as rhythms I would like to contemplate, that just won’t work with the vocal piece. Therefore, I have taken this opportunity to draw on themes from vocal pieces and interpret them more fully musically with instrumental combinations alone. I like the result. I hope you will too.

Every piece in this album has a connection to a song. In addition to the five art songs and the choral work included in this album, the seven instrumental pieces also have references to songs. Some use themes from my art songs or quotes from my opera Lily, while others quote a folk song. All the pieces on this album were written in the last seven years with the exception of Spanish Johnny, The Long Hill, and Still Falls the Rain, which were written earlier.

The pieces are grouped together on this album by a sort of inspiration: The first five are based upon American related themes while the next five are Irish based.

For Soprano and Guitar

“Spanish Johnny” was one of Willa Cather’s last poems before she turned her attention completely to novels and short stories. The soprano tells the story of a rough man of the west. The guitar lends a Spanish flavor to the music and imitates the mandolin referred to in the poem, but it is the vocal part that tells the harsh story of the rough man.

“Spanish Johnny” is the final song in the 3rd book Willa from the song cycle From the Heart: Three American Women by Garth Baxter. Published by Columbia Music (Theodore Presser).

For Flute, Clarinet, and Guitar

Although there is a musical quote from the song “Afternoon on a Hill” (the first song in Three Poems from Edna St. Vincent Millay), this work is more fully developed than the song and centers on the interplay between the instruments, particularly between the flute and clarinet. In fact, the opening third of this
instrumental piece is not at all part of the vocal piece it references. This work is not as complex harmonically as the other compositions on the album. Its charm rests in the melody and interplay between the flute and clarinet. The title of this piece comes from the last verse of the poem “Afternoon on a Hill.” When
Lights Begin to Show was written for the marriage of close friends to capture the beginning of their new life together. Published by Les Productions d’Oz.

For Woodwind Quintet and Piano

This rhythmically-driving piece is based on two themes from my opera Lily. I loved the music from Lily so much that I incorporated it into several other instrumental works as well. The beginning and ending sections of A Jagged Path are based on the orchestral part in the opening of Act I, Scene 3 of the opera. There is a theme introduced about midway through this work that uses a short melodic idea from an interaction between two characters in Act II, Scene 1.

This work, as in most of my chamber pieces, treats each instrument as an equal partner. The melodic material is constantly moving between the ensemble members. Published by Alry Publications.

For Soprano and Piano

The Long Hill uses the words of one of my favorite poets, Sara Teasdale. It expresses the realization that at some point most of us will suddenly discover we have reached middle age and our hopes to be someone grand are not going to be met. The “hill” represents life as we move forward, distracted by many things. The awareness that we have reached the crest often comes after we have passed that pivotal point. Published by North Star Music.

For Clarinet and Piano

This two-movement work was written for clarinetist Jennifer (Hughson) Tscheulin. The title of the piece comes from a line in the song “The Long Hill” (also on this album, performed by soprano Katie Procell and pianist Valerie Hsu). “The Long Hill” itself is referenced in the second movement of Wrapped in the Wind and the Sun. This instrumental work was one of the pieces written during the Coronavirus pandemic for friends who were looking for new works during this challenging time. Wrapped in the Wind and the Sun is published by Alry Publications.

For Mezzo Soprano and Piano

This beautiful poem tells of the heartbreaking loss of a great love that will live on in the soul of the narrator. This poem was originally written in Gaelic by Cathal Ó Searchaîgh and was translated into English by Nigel McLoughlin.

November 1994 is the opening song from the cycle Music’s Path: Songs from Irish Poets, commissioned by mezzo soprano Christine Thomas and sung by her on this album. Published by North Star Music.

For Mezzo Soprano and Piano

This song is from the cycle Music’s Path: Songs from Irish Poets, which was commissioned by Christine Thomas. The poem is the central work in the book Tattoo by Nuala O’Connor (Nuala Ní Chonchúír). The song is a declaration of love. Thomas sings two of the songs from Music’s Path: Songs from Irish Poets on this album. Published by North Star Music.

For Soprano and Piano

This song, written for soprano Katie Procell during the Coronavirus pandemic, uses the words of one of my favorite contemporary writers, Nuala O’Connor. This humorous song describes a woman out shopping who comes across a flirtatious butcher. I won’t give away the ending. Published by North Star Music.

For Solo Piano

These six short works for piano are all based on art songs I wrote. Rather than capture the mood of the words, these pieces are inspired by the melodies from those songs. The second song, “Hearts as One” references “November 1994,” which is on this album. The sixth song, “Little Flirt,” is based upon the song “Flirt,” also on this album. The other four miniature songs are based on art songs not included in this album.

Writing for the piano gave me the opportunity to expand on the melodic ideas unconstrained by the words. The styles are somewhat varied: romantic, impressionistic, and jazzy.

Songs Without Words in Miniature was written for pianist Dr. Bonghee Lee, who recorded these pieces on this album.

For Woodwind Quintet

This work was inspired after a trip to Ireland in the fall of 2016 where we enjoyed listening to Irish folk tunes sung in the various pubs around the country. The title of the work is taken from the popular Irish folk song, The Parting Glass. I used several motives from this folk song to build this piece. I also incorporated a bit from another Irish folk song, Cáit Ní Dhuibhir, which is a favorite folk song of mine. Published by Alry Publications.

For Flute and Piano

This work is dedicated to Jwandune, a young casualty of a bomb dropped from a United States drone in Afghanistan. This young girl was leading a typical carefree life playing; then suddenly her face was blown off. Her physical life was saved, but her face was destroyed. Through multiple surgeries, her appearance has been reconstructed. She remains blind. The amazing thing about Jwandune is that she also has recaptured her happy perspective even though the trauma lingers, and her fears remain close to the surface.

The Darkness Between Us is divided into two sections. The first, “Â lalo lalo lalo,” begins with a quote from the Afghan lullaby of the same name. This section represents Jwandune’s easy early life moving into struggle and pain at the moment of the attack. As the music tries to recapture the soft lullaby later, we find it has changed – now sad, never to be quite the same again. The second part is “Jwandune’s Song,” which depicts the uplifting strength she has exhibited in her new life. Published by Alry Publications.

For Chorus and Organ

This work of intense power is based on the poem of the same name by Dame Edith Sitwell, written during the blitz of London during the Second World War. It is a moving tribute to the enduring love of Christ.