2 trumpets, horn, trombone, tuba     [c. 7:45]

A series of variations on the plainchant Ave Maria in several contrasting styles, beginning with solo tuba. Premiered by the Crown City Brass Quintet.

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

This "moving" (Los Angeles Times) multi-movement work, played continuously, is inspired by Margaret Craven's affecting novella of Inuit life, I Heard the Owl Call My Name.

"Gibson's The Calls of the Owl evoked nature imagery with lyrical counterpoint and flowing ostinatos."
Los Angeles Times

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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.

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Los Angeles Children's Chorus, Anne Tomlinson, music director

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.

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

SSA, unaccompanied     [c. 3:00]

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

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

SATB, unaccompanied     [c. 2:00]

A straightforward but 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.

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[excerpt by Chorus Angelorum, conducted by Dominic MacAller]

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.

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[Excerpt from the premiere, conducted by Frank Brownstead]

Organ     [c. 5:00]

Organist Audrey Jacobsen commissioned this work, whose quiet reflective nature was designed to provide contrast between two large virtuoso pieces on a recital.

SATB, unaccompanied     [c. 3:30]

Composed for Zephyr's planned CD of wine music, this light and jazzy piece sets a text of bittersweet nostalgia.

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[Excerpt performed by Zephyr: Voices Unbound]

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.

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SATB, unaccompanied     [c. 3:10]

One of Emily Dickinson's darkest poems, which manages to describe the experience of an utterly hopeless (and clinically depressed) person with stunning clarity. The music strives to match word and meaning every step of the way. When performed with Gibson's other two Dickinson settings, this should come first.

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Los Angeles Chamber Singers, Peter Rutenberg, director

SA, oboe, piano     2:30

TBB, unaccompanied      [c. 8:00]

Composed for and premiered by Paul Salamunovich and the Loyola-Marymount Men's Chorus, this English setting (based on a beautiful Epiphany chant) has moments of exhilarating power and prayerful repose. Also usable in some liturgical settings.

"The Kyrie is like incense rising up to heaven."
Paul Salamunovich,
Music Director Emeritus of the Los Angeles Master Chorale

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

SATB, unaccompanied     [c. 3:30]

Using 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. Part of a set entitled A Heart So Touched.

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

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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. Part of a set entitled A Heart So Touched.

"A most precious composition with great beauty contained in sustained lines, underpinned with tender harmonic weaving."
Robert Kreutz, composer

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

SATB, unaccompanied     [c. 3:15]

Gibson's third Emily Dickinson setting, now making a triptych with He Fumbles At Your Spirit and It Was Not Death. When performed as a unit, It Was Not Death would be first, and The Pretty Rain last. Commissioned and premiered by Matt Gray and the De Angelis Vocal Ensemble (Orange County, California).

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De Angelis Choral Ensemble, Matt Gray, director

SATB, celesta     [c. 3:10]

Almost a lullaby (marked "Tender, with quiet joy"), this setting of the Gregorian chant 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.

Flute, viola, and harp     [c. 6:10]

Commissioned for and premiered by the Debussy Trio, this highly rhythmic chamber work uses both tonal and serial techniques in contemplation of divine interplay. The Debussy Trio has recorded it for release in 2007.

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[Excerpt 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.

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

SATB, unaccompanied      [c. 4:15]

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 the ensemble's first CD.

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

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).

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[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." Parts of this work are heard in the Academy Award-nominated documentary about LACC, Sing!.

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

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, for their 2004 holiday programs 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,
music director, Los Angeles Master Chorale

Music Sample: Click Here

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

Tenor, oboe, viola, and cello [c. 4:30/c. 5:00]    

In a setting that echoes the poems' atmosphere of bittersweet longing, the singer and instrumentalists interact as equals.