Lightly Latin

An Introduction to Hark the Glad Sound for soprano saxophone mixed voice choir and organ by Judith Bingham. An Introduction to Hark the Glad Sound for soprano saxophone mixed voice choir and organ by Judith Bingham.

Paginula

In the words of Anne Frank: How wonderful it is that nobody need wait a single moment before starting to improve the world. These sage words from a young Anne are the foundation for this original song. One child can change the world. No matter how big and no matter how small. These powerful lyrics gently set provide a message that all young children need to hear. In the words of Anne Frank: How wonderful it is that nobody need wait a single moment before starting to improve the world. These sage words from a young Anne are the foundation for this original song. One child can change the world. No matter how big and no matter how small. These powerful lyrics gently set provide a message that all young children need to hear.

This arrangement of one of the most beloved spirituals begins with some Jazz-style scat singing in all the voices before the altos and sopranos begin the first refrain. The style shifts to driving straight eighth notes to bring the arrangement to an exciting conclusion. Duration 4:17 This arrangement of one of the most beloved spirituals begins with some Jazz-style scat singing in all the voices before the altos and sopranos begin the first refrain. The style shifts to driving straight eighth notes to bring the arrangement to an exciting conclusion. Duration 4:17

Hodie Christus natus est from Vidimus stellam

In the tradition of Daniel Pinkham’s Christmas Cantata Kevin Siegfried’s Vidimus stellam (We Have Seen His Star) is a radiant and uplifting work for SATB Chorus and Brass Quintet or Organ. Using traditional Latin texts drawn from Advent Christmas and Epiphany Vidimus stellam evocatively traces the theme of Light through the Christmas season. In the choral parts an expressive lyricism predominates revealing Siegfried’s affinity for chant and early music. A balance between accessibility and challenge is maintained throughout. This is the second movement Rorate caeli based on the Advent text Let the earth be opened and send forth a Savior. The organ provides quiet andspare fanfare passages as an introduction and throughout. As the texture builds the fanfare occurs in two voices imitatively. Otherwise the vocal parts are very much in the foreground and predominate the movement. In the tradition of Daniel Pinkham’s Christmas Cantata Kevin Siegfried’s Vidimus stellam (We Have Seen His Star) is a radiant and uplifting work for SATB Chorus and Brass Quintet or Organ. Using traditional Latin texts drawn from Advent Christmas and Epiphany Vidimus stellam evocatively traces the theme of Light through the Christmas season. In the choral parts an expressive lyricism predominates revealing Siegfried’s affinity for chant and early music. A balance between accessibility and challenge is maintained throughout. This is the second movement Rorate caeli based on the Advent text Let the earth be opened and send forth a Savior. The organ provides quiet andspare fanfare passages as an introduction and throughout. As the texture builds the fanfare occurs in two voices imitatively. Otherwise the vocal parts are very much in the foreground and predominate the movement.

A syncopated setting with a sweet sprightly piano accompaniment this piece is a fine teaching tool for unison singing vowel formation and handling skips and leaps. There are a very few places where two parts are written but they are easy. Useful and charming for any treble group at Christmas time. Duration: 2:25 A syncopated setting with a sweet sprightly piano accompaniment this piece is a fine teaching tool for unison singing vowel formation and handling skips and leaps. There are a very few places where two parts are written but they are easy. Useful and charming for any treble group at Christmas time. Duration: 2:25

This setting of the Mother Goose nursery rhyme is dangerously close to a groovy choral vamp! The scoring is for mixed chorus and jazz trio but it certainly could be performed with just a piano (probably best with three hands). The storytelling aspect of the text allows for some intriguing performance opportunities. The moments of unison singing call and response singing and a relentless rhythmic drive make this a great option for a concert closer. -Ken Berg Duration: 3:00This setting of the Mother Goose nursery rhyme is dangerously close to a groovy choral vamp! The scoring is for mixed chorus and jazz trio but it certainly could be performed with just a piano (probably best with three hands). The storytelling aspect of the text allows for some intriguing performance opportunities. The moments of unison singing call and response singing and a relentless rhythmic drive make this a great option for a concert closer. -Ken Berg Duration: 3:00

This is the central movement of Angel of Light a cantata based on Shaker themes. A dancing and playful rhythmic ride it is ideal as a light-hearted opening or closing piece. The text dates from 1844 and is a lively example of a Shaker dance song. The vocal sounds represent a uniquely American form of mouth music- a style of traditional singing where nonsense words are used to mimic the sounds of instruments or the rhythms of a dance. Duration: 2:00 Part of the Dale Warland Choral Series.This is the central movement of Angel of Light a cantata based on Shaker themes. A dancing and playful rhythmic ride it is ideal as a light-hearted opening or closing piece. The text dates from 1844 and is a lively example of a Shaker dance song. The vocal sounds represent a uniquely American form of mouth music- a style of traditional singing where nonsense words are used to mimic the sounds of instruments or the rhythms of a dance. Duration: 2:00 Part of the Dale Warland Choral Series.

The origin of the melody My Country ’Tis of Thee is not known but assumed to generate from Europe. The melody is also used for the national anthem of the United Kingdom God Save the Queen. The text for My Country ’Tis of Thee was written by Samuel Francis Smith and was given its first public performance on July 4th 1831 at an Independence Day celebration in Boston. It was published a year later under the title America. The SSATB arrangement (1.3560) was performed at the Capitol for the Inauguration of Donald Trump 45th President of the United States on 20 January 2017. This SSA version was performed 12 May 2014 at the reopening of the Washington Monument following the earthquakedamage. Required to be an unaccompanied arrangement it follows a theme and variations structure where the melody is passed throughout the choir. Due to the nature of the event this arrangement is deliberately “ceremonial” in feel. Duration: 2:15 The origin of the melody My Country ’Tis of Thee is not known but assumed to generate from Europe. The melody is also used for the national anthem of the United Kingdom God Save the Queen. The text for My Country ’Tis of Thee was written by Samuel Francis Smith and was given its first public performance on July 4th 1831 at an Independence Day celebration in Boston. It was published a year later under the title America. The SSATB arrangement (1.3560) was performed at the Capitol for the Inauguration of Donald Trump 45th President of the United States on 20 January 2017. This SSA version was performed 12 May 2014 at the reopening of the Washington Monument following the earthquakedamage. Required to be an unaccompanied arrangement it follows a theme and variations structure where the melody is passed throughout the choir. Due to the nature of the event this arrangement is deliberately “ceremonial” in feel. Duration: 2:15

This strong tune and text speaks to the respect with which any nation treats the men and women who serve in their military. Beginning softly the effect is like a parade that starts in the distance and gradually progresses ever closer to the listener. Following a brief introduction the first verse is in unison. Each successive verse expands not only the part writing but the sound and effect. The strength of the harmonic structure the depth of the textual importance and a relentless rhythmic drive make this piece a strong addition to any program. Duration: 2:43This strong tune and text speaks to the respect with which any nation treats the men and women who serve in their military. Beginning softly the effect is like a parade that starts in the distance and gradually progresses ever closer to the listener. Following a brief introduction the first verse is in unison. Each successive verse expands not only the part writing but the sound and effect. The strength of the harmonic structure the depth of the textual importance and a relentless rhythmic drive make this piece a strong addition to any program. Duration: 2:43

A set of four contrasting “memorial dances” for unaccompanied mixed chorus Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving and each takes after a dance form: I. Todtentanz (Saltarello) II. All Flesh is Grass (Gavotte) III. If I can Stop One Heart from Breaking (Sarabande) and IV. Mourning into Dancing (Gigue)- the fourth movement is for double chorus. Duration: 8:30 Contents: I. Todtentanz (Saltarello) II. All Flesh Is Grass (Gavotte) III. If I Can Stop One Heart from Breaking (Sarabande) IV. Mourning into Dancing (Gigue)A set of four contrasting “memorial dances” for unaccompanied mixed chorus Suite Remembrance was commissioned by the Saint Louis Chamber Chorus. Movements range from energetic to lyrical and moving and each takes after a dance form: I. Todtentanz (Saltarello) II. All Flesh is Grass (Gavotte) III. If I can Stop One Heart from Breaking (Sarabande) and IV. Mourning into Dancing (Gigue)- the fourth movement is for double chorus. Duration: 8:30 Contents: I. Todtentanz (Saltarello) II. All Flesh Is Grass (Gavotte) III. If I Can Stop One Heart from Breaking (Sarabande) IV. Mourning into Dancing (Gigue)

“The Friendly Beasts” portrays the animals who have protected Jesus and Mary during the birth. Each animal proudly takes its turn announcing its contribution. The donkey carried Mary “up hill and down.” The dove “cooed” the Child to sleep. At the end of the song all of the animals reappear in quick succession: donkey cow sheep dove. They recount the gifts they brought to Immanuel. The Clarinet plays a featured role enhancing the message of the lyrics. For example the Clarinet associates with each animal braying as a donkey warmly mooing as a cow embellishing as a sheep with “curly horns ” and fluttering upward with trills as a dove in flight. Duration: 4:15“The Friendly Beasts” portrays the animals who have protected Jesus and Mary during the birth. Each animal proudly takes its turn announcing its contribution. The donkey carried Mary “up hill and down.” The dove “cooed” the Child to sleep. At the end of the song all of the animals reappear in quick succession: donkey cow sheep dove. They recount the gifts they brought to Immanuel. The Clarinet plays a featured role enhancing the message of the lyrics. For example the Clarinet associates with each animal braying as a donkey warmly mooing as a cow embellishing as a sheep with “curly horns ” and fluttering upward with trills as a dove in flight. Duration: 4:15

Composed at the request of Lincoln Center to serve as a unifying element of the twelve concerts of the White Lights Festival’s “Psalms Experience ” featuring the Tallis Scholars The Norwegian Soloist Choir The Netherlands Chamber Choir and The Choir of Trinity Wall Street. I intentionally wrote a hymn that felt reminiscent of the grand hymns of Edwardian England choosing a melodic contour and harmonic language that pulls at the heart strings. Having discovered this wonderful alternate versified version of Psalm 90 (the usual being “O God our help in ages past) by Robert Burns it made an obvious choice to accompany the entire Psalter as it depicts the minusculenature of humanity’s cycles of life in comparison to that of God. This arrangement would work well for almost any function that comments on our fleeting life-span whether a funeral wedding baccalaureate or commencement service. —Julian Wachner Duration: 3:12 Composed at the request of Lincoln Center to serve as a unifying element of the twelve concerts of the White Lights Festival’s “Psalms Experience ” featuring the Tallis Scholars The Norwegian Soloist Choir The Netherlands Chamber Choir and The Choir of Trinity Wall Street. I intentionally wrote a hymn that felt reminiscent of the grand hymns of Edwardian England choosing a melodic contour and harmonic language that pulls at the heart strings. Having discovered this wonderful alternate versified version of Psalm 90 (the usual being “O God our help in ages past) by Robert Burns it made an obvious choice to accompany the entire Psalter as it depicts the minusculenature of humanity’s cycles of life in comparison to that of God. This arrangement would work well for almost any function that comments on our fleeting life-span whether a funeral wedding baccalaureate or commencement service. —Julian Wachner Duration: 3:12

This simple but tender setting of The Lord’s Prayer features a cantor who intones the text on a single note and a chorus that echoes the text with rich chords. Composed in 2010 for Stephen Kennedy and the Christ Church Schola Cantorum of Rochester New York for their weekly compline service. Duration: 3:15 This simple but tender setting of The Lord’s Prayer features a cantor who intones the text on a single note and a chorus that echoes the text with rich chords. Composed in 2010 for Stephen Kennedy and the Christ Church Schola Cantorum of Rochester New York for their weekly compline service. Duration: 3:15

Released in 2007 this original setting of an anonymous 19th-century text is written in verse-anthem style. The scoring for chorus harp and keyboard makes it an ideal companion piece for Britten’s A Cermony of Carols and Susa’s Carols and Lullabies. Equally effective with organ or piano making it practical for use in both churches and schools. This is especially true for the three new arrangements with keyboard accompaniment only. Duration 4:00 Released in 2007 this original setting of an anonymous 19th-century text is written in verse-anthem style. The scoring for chorus harp and keyboard makes it an ideal companion piece for Britten’s A Cermony of Carols and Susa’s Carols and Lullabies. Equally effective with organ or piano making it practical for use in both churches and schools. This is especially true for the three new arrangements with keyboard accompaniment only. Duration 4:00

Velocity

Triptico Porteno for violin and guitar by Máximo Diego Pujol. Triptico Porteno for violin and guitar by Máximo Diego Pujol.

Three pieces for solo piano by Russian composer Ivan Wyschnegradsky. Three pieces for solo piano by Russian composer Ivan Wyschnegradsky.