Margaret Songs are a collection of three songs of Margaret Elliot a character in Libby Larsen's chamber opera Eric Hermannson's Soul based on a short story of Willa Cather. It charts one woman's emotional journey through a love affair.

Acclaimed composer Libby Larsen set words of a young girl in this choral work that explores the essence of music and singing. Beginning quietly the tones grow into a rushing river of sound or a constellation of stars or a heart full of joy. Duration: ca. 3:00.

Libby Larsen's composition is a great way to engage students in the lives and histories of some of modern music's most influential contributors. From Sedalia Missouri to Ghana and the Ivory Coast Hambone combines three styles ofmusic: hambone rhythms cakewalk melodies and early rock-and-roll. Join in the fun with this rousing and rollicking piece! (Includes score parts and CD-ROM.) Free interdisciplinary curriculum for the piece is available fordownload at http://www.BandQuest.org.

Paperback-Libby Larsen's Eternal Ruler Of The Ceaseless Round for SATB Choir and Organ with optional congregation.Eternal Ruler Of The Ceaseless Round is a joyful and exuberant setting of the well-known hymn by John Chadwick. It begins with a rich Organ introduction before the Choir (and congregation) join in with a unison presentation of the melody.The second section explores the Lydian mode with its rising fourth while the adamantine final verse brings the anthem to a resolute close that reflects the text's profound depiction of unity and human understanding.This piece was commissioned for the American Guild ofOrganists 2014 National Convention in Boston Massachusetts.

Larsen's flowing meditation on the 'Veni creator' tune was written as the Pentecost entry for a multi-composer anthology based on the liturgical year. It was given one of the highest rankings in a survey of pieces that most strongly moved listeners to prayer.

Larsen's song cycle is based on the novel by the American writer Willa Cather and the songs recount Jim Burden's memories of Antonia Shimerda during their shared experiences of the pioneering period of European settlement on the tall-grass prairie of the American Midwest.

This is a moving arrangement of the familiar passage from the Book of John. Larsen takes an original melody and arranges beautiful harmonies underneath with delicate suspensions. This is a rewarding and accessible piece.

Using as its basis two traditional nursery rhymes and an achingly nostalgic poem by Eugene Field Larsen deftly captures the essence of childhood in her clever setting of the three texts whilst offering her own more adult interpretations to the moral of each.

Holy Roller is a revival sermon captured in the sounds of the alto saxophone and piano. It is inspired by classical revival preaching and the music seeks to represent the language: cajoling and incanting with the intention of magnetizing and mesmerizing the listener through the usage of what Larsen describes as musical masterpieces of rhythm tempo and extraordinary tension and release. A version for alto saxophone and concert band is available on hire.

Larsen writes '. . . I have loosely transcribed bell patterns from a field recording of Russian bells . . . the Communist persecution of the Russian Orthodox Church included the removal and destruction of Russian bells many of which were melted down into ammunition.' The piece is a fantasy memorializing the peals of the bells of Moscow square.

Wir küssen Ihnen tausendmal die Hände was commissioned by the Los Angeles Chamber Orchestra as one of four chamber pieces to commemorate the 200th anniversary of the death of Mozart (the others being by DonaldCrockett Rand Steiger and Libby Larsen). It has something of the character of a musical letter to Mozart taking its title from the closing salutation that most often appears in his own letters to his father (“We kiss yourhands a thousand times”). Mozart's “Kegelstett” Trio K.498 for clarinet viola and fortepiano had been my original starting point in thinking about this piece but as it began to take shape in its ratherepistolary stream-of-consciousness fashion I felt the need for more instruments. The ultimate result is essentially a trio for clarinet horn and fortepiano -- arguably Mozart's three favorite solo instruments -- with theaccompaniment of a muted string trio.

The music is composed to create layers of tonality which overlap in space especially in a vast space with a long acoustic decay.

This is a setting of two twelfth-century poems where the choral parts flow in a chant-like way interrupted by ecstatic bursts sometimes of purely instrumental colour. Both the singer and the audience will be swept up in ecstasy of the birth and the peacefulness of renewal.

This ravishing setting of a heartfelt and emotional poem by e. e. cummings captures a sense of the ineffable place of faith in existence that transcends mere worship doctrine even humankind itself.The musical setting is mostly consonant bittersweet and well-attuned to the emotional content of the words. The piece is perfect for church dedications and anniversaries.