Wednesday, October 8, 2014


Today up at 6 AM gassed, oil changed, bank, headed to New Orleans to spend time with David BUT to also reseach
1. Ties from old testament and new testament church music (worship music)
2. Ties from African tribal music (coming in to New Orleans 1700, and how that transitioned into classical, early jazz and zydeco music).

First at NOBTS (New Orleans Baptist Theological Seminary), Wednesday Oct. 8th, Contacted Eric head of the research dept of special collections at
My friend Harry Eskew the author of Singing with Understanding also presented some cassettes of lectures he had given sometime in the 36 year time frame as professor of music at NOBTS, I am trying to get copies of those using David's computer with AUDACITY attached.

Thursday, ‎October ‎09, ‎2014

NOBTS Music Library, Eric Benoy was here and made sure that I had all of Dr. Harry Lee Eskew's cassettes, books he'd written and even a vhs tape of a NOBTS Chapel service from 1999. I was so pleased that just because I am dad to a student here they treated me so very well and with open hospitality.  I was really enthused when Eric came to my aid when one of the cassettes were marked incorrectly and he went in just a few minutes and found the correct tape. I showed Eric what it was I was doing (taking AUDACITY and play the cassette and transferred it from cassette player to computer). I promised him I'd make him a set of copies and put it on cd and send it to his attention.  I slept in late about 12:00 David came back from class, we ate lunch and I headed to the library, as I said everything was already laid out for me to begin my research. Dr. Eskew's knowledge of hymnology should answer some, if not all my questions about the transition of music from old to new testament, whether it is sacred or secular.  I can not help but think the people that Harry Eskew had come in contact with, and now passed on, their spirit helped me with finding just the right thing to pass on to you.  The right thing being "interesting and mind blowing facts about music".  When I return to Alabama I will be a changed man, having sunk myself into the marvel minds of the early 19th century. There are to many to tell about here.  Dr. Eskew's book (his book entitled The Life and Work of William Walker) is so rich of history from a lifetime when life was simple and not rushed. When learning history was a pleasure and not a task. It is with that I start this portion of my search for NOBTS Sacred Music.  Not published in book form (the only copy I know is at the NOBTS Music Library) and it's in their special collections is his William Walker reserach book. This was actually his thesis examination given to him on April 26, 1960.  I can not make out all the names of the professors that signed off on his thesis but I'll try to list them. Dr.  Claude H. Rhea Jr., Beatrice Collins, Frances Brown, Joan Godsey, Clifford E. Tucker, Gantes L. Stephens, Wallace C. Mckenzie and Dr. W. Plunkett Martin.  Dr. Martin is referecned many times in the acknowledgements and thank you pages.  There is so much information about the book alone but I'd be remiss if I didn't take time to say that he is acredited to composed and logged in about 1250 songs into his 1835 Southern Harmony, 1845 Southern & Western Pocket Harmonist, 1866 Christian Harmony and childrens song book 1869 Fruit and Flowers. One word, incredible. 
Shape-Note Hymnody in the Shenandoah Valley 1816-1860 is another gem of Dr. Eskew’s brilliant mind. This extensive study is a result of many years of research set in another book that I don’t think was published per say where on can get a copy of it, the only copy I know of is here at the NOBTS special collections.  I marvel at the research that he has done to keep this art of scared harp music alive for many years. His dissertation was submitted to the Dept of Music at the Uni of Tulane April 1966, Gilbert Chase, chairman and Peter S. Hensen and Robert Preston signed off on his dissertation.
His research begins with the Pilgrams coming from Amsterdam to Plymoth Rock in 1607. The Shenandoah Valley of Virginia is an area of prime importance in the transfer of the center of activity of the American singing-school movement from New England to the South and West, beginning as early as 1790 and reaching fruition by the third decade of the 19th century. This series of Shenandoah Valley publications began in 1816, and maybe as earlier as 1813) with Ananias Davisson’s (born 2/2/1780, first stated printing music around 1816) Kentucky Harmony and closed in 1860 with the 10th edition of Joseph Funk’s Harmonia Sacre. Various spellings (Rockingham Deed Books) show Ananias Davis, Ananias Davidson.
Eskew’s other books include but are not limited to Music of the North American Nation1780 to 1820, Hymnology in the Service of the Church, Church Music in Baptist History, Singing with Understanding and the before talked about Life of William Walker.

inside NOBTS Music Library

inside NOBTS Music Library

inside NOBTS Music Library
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inside NOBTS Music Library

inside NOBTS Music Library

inside NOBTS Music Library

inside NOBTS Music Library

inside NOBTS Music Library

inside NOBTS Music Library

inside NOBTS Music Library
inside NOBTS Music Library

inside NOBTS Music Library

inside NOBTS Music Library

inside NOBTS Music Library

inside NOBTS Music Library

inside NOBTS Music Library

fruits and flowers

inside NOBTS Music Library

inside NOBTS Music Library

inside NOBTS Music Library

inside NOBTS Music Library

inside NOBTS Music Library

inside NOBTS Music Library

Oct 10th (Friday) Up at 8AM showered and ate breakfast with David. Went by the Sellers Music Building on the way to the Cafeteria.  Then we headed to the National World War 2 museum downtown. I see why music played such a key role in the war and war effort, it was so intense and pure hell on earth that just to hear the pieces of music playing in the background of Glenn Miller, Tommy Dorsey, Kay Kyser, Ray Noble was soothing. The pictures of death and destruction in a chronological order from the war against Germany and the war against Japan was so shocking that the museum really shows more than what you see on tv. I was so overwhelmed with the uncensored pictures, some even graphic, I cried in the corner, it was to much to take in.  As you make your way through the museum that takes up almost a city block, every turn is another tank to scale, another plane, gun, weapon, it would take a heart made of stone to not feel something incredible here. World War Vets take you on tours of this magnificent achievement of glass, concrete and steel. How does music play into this ? It's simple, the war as bad as it was, marked in history a new era of music that was more than swing it was HOME. Everything about soldiers being in France, Germany, Japan, over seas, was made real by the music that they took with them or heard on radios from the United States. 1941 to 1947 was a solemn time as much fighting that was going on at the time, anything that reminded you of home was a good thing.   

It's no wonder that people of the 40's and 50's relied on music much more than we do today. It was giving code, telling stories, sending messages, communicating to love ones over seas and abroad.  The Fort Rucker Museum, near Ozark, Alabama is great (it's near home) there is no doubt about it, but this, going and seeing this wonder was an awakening trip to me today.  Songs like "Sentimental Journey", "I'll be Seeing You", "I Only Have Eyes for You", "Moonrise Serenade",  and here are a few more........................

Every lyric, every phrase of these songs, meant more than just words to the GI's fighting for our freedom. Glenn Miller said it best "I can't stay in the United States, I have to play for the boys over seas". WOW, something so taken for granted as music was a great dose of medicine for the home sick soldier.

MORE about that later, and a SHOW ON WSGQ (103.3 Columbia, Alabama) about this too. 

Now to The New Orleans Collection. It really all ties in together. Let's take for example Bing Cosby and the Boswell Sisters. Today I witnessed  another key stone in this reality picture we will call "LIFE",  Located on 410 Saint Charles Street is the Williams Research Center and on 533 Royal Street is the Historical New Orleans Collection these museums are dedicated to the HISTORY of New Orleans and the Boswell exhibit located on 533 Royal Street is a fine display of the Boswell sisters and their lives in New Orleans and how they played a part in the war effort. 

Saturday Oct. 11th (1000 Decatur Street) The Market Cafe.  Located in the heart of New Orleans French Quarter is Decatur Street and there at number 1000 is The Market Cafe. There David and I had lunch. David and his introduction to me of  the "muffuletta sandwich". I had no idea but oh me it was great, one of the best tastes that I experienced during my time there these past few days.  I had the traditional Greek gyro and it was outstanding. So, what makes a great lunch like this even better ? New Orleans light jazz or blues played by a maestro of the art. I am speaking of Darrel "Sugar Bear" Francis.  His voice is past amazing. He doesn't have  the raspy "smoked to many cigarettes" New Orleans traditional voice. No, his is smooth and articulated and his passion is his bass. Let me take a few minutes to introduce him to you. 

The Darrel "Sugar Bear" Francis Quartet, or The Jazz Cats, consisted of Darrel himself,  Steve Allen on sax, Julian Garcia and Eric Robinson.  As I walked up and down the streets of the French Quarter and was introduced to different people,  items of musical interest and musical historical stories that I will try to compile for you here on this music blog, David and I walked past and came back to eat lunch at the Market Cafe not just for the food but the music took my breath away. This man could sing really good. I guess Darrel is in his early 60's or mid 50's (forgive me if I am wrong Darrel) and his playing gave me the impression that he'd been doing it for a LONG time. A friend of his (now passed away is David Armstrong. David and he played in Dothan and played other places, there was to little time to do a full interview with him. Perhaps later. What I did get, is that he'd been playing for a long time and he loves jazz and playing the blues.   Once he was asked what kind of music do you like to play, his answer "Some folks like to hear "Sugar Bear" some like to hear Darrel Francis", when asked what did he mean by that,  he replied "some people want to get "loose" in their toe taping and humming along, that is "the sugar bear", some want the sophisticated style of Darrel Francis (in a three piece tux playing the blues or light jazz".  For me ? I loved the laid back style of the Sugar Bear. I will let you know what I find out about David Armstrong's wife Zoey whom still lives in Dothan. She should not be to hard to find for this probing musicologist.  As for Darrel, I have sent him an email approving a few songs from his "New Orleans Too" cd to entice you to get a copy of his cd for yourself. They are past great.   

Sunday, May 25, 2014

George Skaroulis / Gamble Music Production and Archive

George Skaroulis was driving back from Panama City Beach, Florida one week day in about 2004, when he called me to thank me for my call to him several days prior. I'd just listened to Se Ymnumen (pronounced say' new man), I feature it on another page of this blog, I simply fell in love with the song and being a musicologist and knowing what music moves my innermost thoughts and feelings, I fell in love too; the music George Skaroulis. To date he has credited to his discography 16 discs.
1) Passions 2) Sanctuary 3) Imagine 4) The Divinity of Dogs 5) Songs for Sophie 6) Season Transactions 7) Reunion 8) Forever Young 9) Second Nature
10) Athena 11) Return to Homeland 12) Generations 13) Holiday Collection 
14) Numinous 15) Homeland 16) Essence (Guided Meditation) 17) Adagio 
In the music world that I live in, quickly I gave my friends info on this new to me composer, and soon, it did not take long for them to fall in love with his music as well. WOW, what a great and prolific composer and artist. As one of his promoters in Alabama, I could never think of a better composer that I'd rater have the pleasure of introducing his music.  Se Ymnumen is always going to be one of my favorites, it's what introduced me to a great composer. Enjoy:


At age five, George began playing the piano sitting on the piano bench next to his mother – a classically trained pianist ­– watching and listening.  One day, he started playing along with her by ear, and he was hooked.  Eventually George performed at talent shows in his elementary schools, and on weekends, his father took him to the piano store at the local mall.  Crowds would gather around to watch, perhaps this was an early indication performing was destined to be in George’s future.
At age ten, his parents encouraged him to take piano lessons, yet after a few weeks George found them too limiting and way too structured.  He never learned to read music, preferring to play by ear and from the heart. 

** George told me of some stories of he and his brother and the days he worked as a bus boy and chef at Theos in Panama City. It must run in the family, you see his family (the Patronis' Jimmy and Johnny brothers founded Captain Anderson's in Panama City Beach, Fl). George's father would have him play piano when they'd go anywhere that had a piano. He was proud of George's playing, as he should have because he is really awesome. His albums do not have songs that just "fill in" they are there for a purpose. I will expound later on some stories once I'm cleared to tell them.   

As a teenager, George followed the footsteps of his Greek grandfather and had a rewarding career in the restaurant industry.  He studied culinary arts, and eventually spent over 20 years in the restaurant business. Privately, he continued to play piano and eventually compose and create his own songs. After moving to Atlanta, he had an opportunity to record his debut album Homeland in 1996. It was then that George’s independent record label Evzone Music was born.  His soothing style and flowing melodies struck a chord with massage therapists, Yoga instructors, spas and the healing arts. 
After releasing 4 albums, George decided to put his restaurant career on the back burner, and took a leap of faith to pursue his passion for music full time.  Since then George has recorded 16 albums including Homeland, Numinous, Season Traditions, Athena, Generations, Second Nature, Return to Homeland, Snow, Forever Young, Adagio: the music of Chris Spheeris, Sanctuary,  Reunion , Imagine,  and Songs for Sophie. In addition, George has released two sheet music books of his original compositions.

Even animals have a positive response to George’s music.  When the training and behavior coordinator of the Atlanta Humane Society began using George’s soothing piano music to relax anxious dogs in their kennels overnight, the calming results were remarkable.  George organized several successful fundraisers to benefit the group and was soon named the Humane Society’s official musician in Atlanta.

Recently, George's CD soundtrack, “The Divinity of Dogs- Music to Calm Dogs and the People Who Love Them” hit the #3 spot on Amazon's Hot New Age Release chart. 

George’s music has also been featured in several nationally aired PBS documentaries, and can be heard on: Music Choice, Sirius Satellite Radio, Martha Stewart Living Radio and NPR.  George's Christmas album Season Traditions won Best Holiday Album of 2011 by   He generously has performed benefit concerts for nonprofits including Haiti Disaster Relief, Tsunami Relief, Georgia Campaign for Adolescent Pregnancy Prevention, as well as the Humane Society, the American Cancer Society and AIDS research.

New, Now, Next:
George’s latest collection of all new intimate piano is the recently released Passions.  Even before it’s official release, the overwhelming response from listeners was quite promising.  Passions is a collection of 19 all new solo piano compositions, and these songs are destined to appear as film soundtracks of the future. One of George’s other passions is photography. George is a talented photographer and the photography page on his website features many of his “passions” including vintage machinery and old pianos as well as his love for the world of food.   He also offers cooking classes for Piedmont Hospital’s Cancer Wellness program in Atlanta.

Currently George is working with a company in Denmark  creating music for a series of videos to promote awareness about  securing safe and clean water for all. In the summer of 2013 he will perform his first concert tour in Korea.  His Passions sheet music book will be available soon, and George will be releasing a guided meditation project in the very near future.
All of George’s music can be found at as well on iTunes and Amazon.  

Sunday, April 6, 2014

Concert Review / Montgomery Chorale and Atlanta Baroque Symphony under the direction of Rebecca Taylor

So, last night I drive up to Montgomery to hear the Atlanta Baroque Symphony and the Montgomery Chorale under the direction of Becky Taylor perform flawlessly the Bach Mass in B minor. This almost 3 hour concert was done in its entirety, when some times parts are left out due to the very length of the piece. Becky (Rebecca Taylor) arm must have been sore after the beautiful and tranquil, yet energetic at times, Mass in B minor because she never missed a beat if her butterfly arm movements conducting and Chorale and the Symphony. I swear, if the Montgomery Advertiser does not give her, the Chorale and the ABS a flawless review, they should be horse whipped. Because my and everyone "bravo" and 5 minute plus standing ovation meant something. If you missed it, you missed a treat but maybe I may oblige and offer a play by play dissertation as to what you missed. Once again an absolute great performance to our Lord and Savior Jesus Christ by the hand of J.S. Bach and the again flawless epic ear candy provided by the Montgomery Chorale and the Atlanta Baroque Symphony Orchestra under the direction of Rebecca Taylor.    

The Montgomery Chorale :

Montgomery has been blessed by the arts, and in the case of the choral arts, it has been especially blessed to receive 40 years of professional quality music from the Montgomery Chorale, one of the city’s oldest musical performing arts organization and its official performing choral group. The Chorale has made a significant contribution to the musical enrichment of the community.

The Chorale’s dedication to presenting professional quality choral performances and its requirement that all members must audition in order to participate have helped produce a musically compatible blend of voices at ease with any musical composition from Beethoven to Berlin.
For all of its national and international accomplishments, the Chorale’s first priority is the citizens of Montgomery and the surrounding region, and it has been involved in a broad range of community events, including Jubilee Weekend, the Christmas Light Show at the Montgomery Zoo, Festival in the Park, Zoo Weekend, and in working jointly in concerts with other arts organizations, including the Montgomery Symphony Orchestra, whose members frequently accompany Chorale concerts, the Alabama Dance Theater, and the Montgomery Ballet.
atlanta baroque symphony orchestraThe Chorale’s audiences have been the real beneficiaries of the group’s unique ability to master both classical and popular compositions, from Mozart to Gershwin. Year in and year out, the Chorale’s talented singers have provided something for everyone.
Montgomery is a city rich in tradition, and it is replete with landmarks glorifying that tradition. One of its finest and oldest musical performing arts traditions is the Montgomery Chorale, still young at 40 and looking forward to many more years and many more generations of music lovers to entertain.

The Montgomery Chorale is under direction of Rebecca (Becky) Taylor

Becky is the Director of Music Ministries, Organist, and Choirmaster at Church of the Ascension in Montgomery, Alabama.

In 2000, she earned a Master of Music Degree in Organ Performance and Choral Conducting at the University of Alabama, studying with Warren Hutton and Sandra Willetts. Prior to studying in Tuscaloosa, she had served at Ascension since 1984 as both Organist and Choir Director. Her under-graduate degree is in Music Education from Florida State University.

Becky's musical background is varied, including her two-year tenure as the initial director (and current board member) of the Montgomery-based Alabama Institute for Education in the Arts, which trains teachers in discipline-based arts education. She has taught music at both The Montgomery Academy and Saint James School. In addition to teaching summer programs and working with Jubilee and Children's Theatre for the City of Montgomery, she was founding director of the Montgomery Area Girls' Chorus. She has performed with the Alabama Shakespeare Festival and the Montgomery Symphony, among numerous performances as solo performer, accompanist, and conductor.
Becky served as accompanist for many years for the Montgomery Chorale and served as interim-director for the 1998-1999 season. She has been musical director for the Jasmine Hills Arts Council, helping to direct and produce five shows. While in Tuscaloosa, she was the organist at Christ Episcopal Church and was invited to prepare the choruses for the world premiere of a work written to celebrate the birthday of Martin Luther King by internationally recognized composer Gunther Sch├╝ller. She currently serves as Sub-Dean of the Montgomery Chapter of the American Guild of Organists and serves in the Department of Liturgy and Music for the Episcopal Diocese of Alabama.

The Atlanta Baroque Symphony Orchestra: 

atlanta baroque symphony orchestra

atlanta baroque symphony orchestra

The Atlanta Baroque Orchestra (ABO), founded in 1997 in Atlanta, Georgia, is the first and oldest professional orchestra in the Southeastern United States of America dedicated to historically informed performance, (also called "authentic performance practice") of music from the Baroque era on period instruments. The Atlanta Baroque Orchestra gave its premiere concert in January, 1998. The first Director of the ABO was lute and theorbo player Lyle Nordstrom, who departed in 2003. As several guest directors were brought in for concerts, John Hsu, noted performer on the viola da gamba and baryton, took the title of Artistic Advisor, becoming Artistic Director in July 2004; he continued through the 2008-2009 season. From 2004 through 2011, the Resident Director was founding member Daniel Pyle, harpsichordist and organist, and also Instructor of Music at Clayton State University and Organist and Choir Director at the Anglican Church of Our Saviour in Atlanta. Violinist, dancer and choreographer Julie Andrijeski became Artistic Director in February, 2011.[1]
The ABO usually performs four to six concerts per year, concentrating on orchestral works and concerti, but often featuring chamber piecesvocal cantatas, and other works with vocal soloists. The range of works performed by the ABO stretches back to the beginnings of Baroque style around the year 1600, while their core repertoire is centered in music from many composers who worked in the Middle Baroque era of Pachelbel and Corelli (the late 1600s) and the High Baroque era of Vivaldi, Bach, Handel and Telemann (up through 1750). They have also performed the music of Mozart and Haydn, and the string symphonies of Mendelssohn from the 1820s.
Several concerts have featured the orchestra accompanying Baroque dancers. Most performers with the ABO are university instructors and professors with advanced degrees, and all are specialists in authentic performance practice, playing replicas of the actual instruments used in the Baroque era. Such an ensemble produces a sound that is quite different from that of ensembles that use modern orchestral instruments. Baroque violins, violas and cellos use strings of sheep gut and bows of an earlier design, rather than the louder string instruments strung with steel strings played by conventional orchestras. Likewise, the Baroque flute is made of wood and does not have keys, while the Baroque horn (often called the natural horn) has no valves. Other instruments featured in a Baroque orchestra include the harpsichord and lautenwerk, viola da gamba and bass viol, recorderBaroque bassoon, lute and theorbo.
Because of the relatively small number of musicians who specialize in playing Baroque-era instruments, the ABO consists of a smaller core of regular musicians who live in the Atlanta area, supplemented for each concert by performers and featured soloists brought in from throughout the United States of America and occasionally from overseas.
Guest artists and directors have included leading Baroque and Classical-period performers: violinists Stanley Ritchie, Monica HuggettSergiu Luca, and Dana Maiben; Paul O'Dette, lute; Aldo Abreu, recorder; soprano Julianne Baird;  Stephen Rickards, countertenor; oboist Matthew Peaceman; and Baroque dancers Paige Whitley-Bauguess and Thomas Baird.
Signatory concerts of the ABO include the first performances in Atlanta on period instruments of:
and a year-long celebration of the 250th anniversary of the birth of Mozart in 2006. In 2009, they devoted concerts to the symphonies of Haydn, celebrating the 300th anniversary of his birth.
In addition to its own concerts, the orchestra has performed in collaboration with other organizations throughout the Southeast, including at conferences of the National Flute Convention, the American Musicological Society, and the Southeast Historical Keyboard Society. The ABO has performed on the campuses of Emory University, the University of GeorgiaFlorida State UniversityKennesaw State UniversityClayton College and State UniversityOglethorpe University, and Valdosta State University. The ABO has performed in venues in Birmingham, AlabamaPensacola, FloridaRome, Georgia, and Conyers, Georgia. The orchestra has also partnered with choral organizations including the Emory Concert Choir, Atlanta Choral Artists, the Schola Cantorum of Atlanta, Clayton State Collegiate Chorale, Clayton Camerata, Dekalb Choral Guild, the Westminster Choir, Chandler Choraliers, and choirs from Peachtree Road United Methodist Church in Atlanta, Intown Community Church in Atlanta, and Independent Presbyterian Church, Birmingham, Alabama.
To date the Atlanta Baroque Orchestra has not released any recordings.
(borrowed from their website

Bach - Mass in B minor / Montgomery Chorale, Atlanta Baroque Orchestra under the direction of Rebecca (Becky) Taylor. April 5th, 2014.  Saint John Episcopal Church in Montgomery, Alabama. 
++ Sold out performance: 
I drive up to Montgomery with my friend Gene to hear the Atlanta Baroque Symphony and the Montgomery Chorale under the direction of Becky Taylor and it was absolutely performed flawlessly. The Bach Mass in B minor starts in a minor key of B minor and increases in excitement and tension until it culminates into a B major ending. It is very eye opening and very moving. I wiped tears from my eyes many times at the beauty this piece brings and if it is done exceptionally well, as it was tonight.  
It started a little past 7 PM, as it was SOLD OUT and folks were still coming in at 7PM, but tickets being 50 and 25 dollars, people were able to come on in and experience this 3 hour concert. It was done in its entirety, when some times parts are left out due to the very length of the piece. Becky (Rebecca Taylor) arm must have been sore after the beautiful and tranquil, yet energetic at times, because she never missed a beat.  Her butterfly arm movements conducting and Chorale and the Symphony seemed as poetry in motion. I swear, if the Montgomery Advertiser does not give her, the Chorale and the ABS a flawless review, they should be horse whipped. Because my and everyone "bravo" and 5 minute plus standing ovation meant something. 
If you missed it, you missed a treat but perhaps I may oblige and offer a play by play dissertation as to what you missed. Once again an absolute great performance to our Lord and Savior Jesus Christ by the hand of J.S. Bach and the again flawless epic ear candy provided by the Montgomery Chorale and the Atlanta Baroque Symphony Orchestra under the direction of Rebecca Taylor.

First and Foremost - The ABSO used period instruments. Cat gut strings on the stringed instruments (meant adjusting several times throughout the concert and valveless brass wind instruments that needed (well lets just say the "spit" knocked out of them several times" Here is the review:

The Mass in B minor - J.S. Bach

Kyrie (Kyrie eleison) "Lord, have mercy" Chorus

Christie "Christ, have mercy" duet sopranos Erin Joyce and Janet Gibson
*(Erin and Janet will be stars in a few years of opera or church worship music, both are excellent)

Kyrie "Lord, have mercy" Chorus

Gloria "Glory to God in the highest" Chorus

Laudamus te "We praise You" - aria soprano Janet Gibson

Gratoas "We give you thanks" Chorus

Domine Deus "Lord God, King of Heaven" duet soprano and tenor Turia Stark 
Williams and John Martin
*(Turia is a fine soprano, no flaws and projects very well. Ok, this tenor (John Martin) is fine, dare I say great. His angelic yet masculine voice is that of a young Paul Groves but is so strong, truly his voice is unbelievable, I almost want to jump the pew), WOW !! 

Qui Tollis "Who takes the sins of the world" Chorus

Qui sedes "Who sits at the right hand of God"   aria alto Lauren Simpson
*(I most likely could hear Lauren sing all night long) Wow what a great alto voice, strong and delicate both at the same time.

Quoniam "For You alone are worthy"  aria bass Bill Taylor
*(I've heard Bill sing many times and he's like wine or cheese, the older he gets the better his voice is, great flawless piece of music by Bill)

Cum Sancto "With the Holy Spirit in the glory of God the Father"   Chorus

Credo "I believe in one God"     Chorus

Patrem omnipotentem "the Father, the Almighty"     Chorus

Et in unnum "and in one Lord Jesus Christ, the only Son of God" duet soprano and alto Erica Jenkins and Lauren Simpson

Et incarnatus "By the power of the Holy Spirit"    Chorus

Crucifixus "for our sake he was crucified"       Chorus     


Et resurrexit "on the third day, He arose"     Chorus

Et in Spiritum "and I believe in the Holy Spirit" aria bass Bill Taylor  

Confiteor "I acknowledge one baptism"     Chorus

Sanctus "Holy, Holy, Holy Lord God of Hosts"   Chorus

Osanna "Hosannah in the highest"     Chorus

Benedictus "Blessed is He who comes in the name of the Lord"  aria tenor John Martin

Osanna "Hosannah in the highest"    Chorus

Agnus Dei "Lamb of God, who takes away the sins of the world"  aria alto Lauren Simpson

Dona nobis pacem " grant us peace"    Chours    (in B major), was exciting as an ending should be and bravos and applause filled St. John's.