Peter’s Lament was written as a reflective sacred solo intended for worship settings where storytelling and emotional honesty are central.

The German phrase „bei Ebbe“ translates to “at low tide.” Rather than functioning as a poetic meditation, the text operates almost like a narrated scene. Its delivery is intentionally direct, rhythmic, and at times understated, allowing the ensemble to shape the drama through timing, articulation, and ensemble precision.

Psalm 100 has long been one of the Church’s most beloved calls to worship. Its opening command— “Make a joyful noise to the Lord, all the earth” —is both exuberant and expansive, inviting praise that is active, communal, and global in scope. Mshangilieni Bwana  was written with that spirit in mind: a setting that celebrates joy, movement, and the shared language of worship across cultures. Why Swahili? The central phrase of this piece, “Mshangilieni Bwana,”  is a Swahili rend