“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

Organ/Choral Score-More Love is the cornerstone movement of Songs for the Journey which was commissioned in 2010 to be performed alongside Gabriel Faure's Requiem and utilizes the same sonorous combination of horns harp organ violas cellos and bass. Songs for the Journey outlines and explores similar themes as the traditional Latin Requiem - love faith mortality surrender to an eternal will etc. - but in a less ecclesiastical framework with poems and texts drawn from a variety of sources. In assembling the texts words of a particularly personal nature were chosen to echo Faure's intent. The musical style of More Love is simple and direct and the message is positive and affirming making it appropriate for a variety of performance settings. Duration: 3:15 More Love is the cornerstone movement of Songs for the Journey which was commissioned in 2010 to be performed alongside Gabriel Faure's Requiem and utilizes the same sonorous combination of horns harp organ violas cellos and bass. Songs for the Journey outlines and explores similar themes as the traditional Latin Requiem - love faith mortality surrender to an eternal will etc. - but in a less ecclesiastical framework with poems and texts drawn from a variety of sources. In assembling the texts words of a particularly personal nature were chosen to echo Faure's intent. The musical style of More Love is simple and direct and the message is positive and affirming making it appropriate for a variety of performance settings. Duration: 3:15

from Breaking from Suite Remembrance-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. This movement is the third of the set. The touching text by Emily Dickinson is set to music in the form of an expressive Sarabande. Duration: 4:00 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. This movement is the third of the set. The touching text by Emily Dickinson is set to music in the form of an expressive Sarabande. Duration: 4:00

String Parts

Instrumental Parts

Organ/Choral Score-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 third movement Hodie Christus natus based on the familiar Christmas text Today Christ is born today the Savior has appeared. Themovement begins majestically with the singers declaiming the text against a descending pedal motif. At measure 11 the tempo jumps to Vivo and the descending motif dances through the vocal lines. Light joyful the organ supports and punctuates and finally gets the descending melody all to itself as the choir sings Gloria in excelsis Deo. 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 third movement Hodie Christus natus based on the familiar Christmas text Today Christ is born today the Savior has appeared. Themovement begins majestically with the singers declaiming the text against a descending pedal motif. At measure 11 the tempo jumps to Vivo and the descending motif dances through the vocal lines. Light joyful the organ supports and punctuates and finally gets the descending melody all to itself as the choir sings Gloria in excelsis Deo.

Chamber Orchestra Set of Parts

The traditional text with spiritual roots has been adapted by the composer. With an unadorned melody set in a simple but beautiful musical language with open transparent harmonies this music can be sung well by groups of many different abilities and in many situations. Duration: 3:00 The traditional text with spiritual roots has been adapted by the composer. With an unadorned melody set in a simple but beautiful musical language with open transparent harmonies this music can be sung well by groups of many different abilities and in many situations. Duration: 3:00.

The surprising joy of the Resurrection is conveyed through jubilant fanfares in the accompaniment and a shifting of the rhythm between 3/4 and implied 6/8 meters. As the mood softens a more melodic section expresses the lyrics I know that my Redeemer liveth. After the unaccompanied chorus sings All glorious Risen Christ and a brief moment of silence the piece bursts forth again with fanfares and thicker choral textures that build in excitement to the end. A perfect Easter anthem! Duration: 2:45

The text by Edna St. Vincent Millay speaks of a youthful all-night adventure riding the ferry back and forth with no destination in mind. There is much back-and-forth in the musical setting to a swaying 6/8 meter. Can be sung as part of a larger collection: Passion and Remembrance. Duration: 4:00

From Black Pierrot-From the large work Black Pierrot Jazzonia (1923) describes the scene in a Harlem café of the 1920s in which “six long-headed jazzers play ” and beautiful girls dance. After a short introductory section the music moves into a lively ragtime—complete with drum set—that forms the background for the remainder of the piece. Altogether it is something of a poetic and musical glance at the era of the Harlem Renaissance in which so much African-American music art and poetry emerged as vital forces in the arts. Duration: 4:30

Commissioned by conductor Paul Crabb for the University of Missouri University Singers and the Mizzou New Music Ensemble (Stefan Freund director) with funding from the Sinquefield Charitable Foundation through the Mizzou New Music Initiative. Based on seven poems by Langston Hughes it is scored for SATB Chorus (divisi) and Chamber Ensemble (Flute Clarinet Violin Violoncello Percussion and Piano). Duration: 32:30 Contents: 1. A Black Pierrot 2. Breath of a Rose 3. Jazzonia 4. Justice 5. Song for a Dark Girl 6. Silhouette 7. To a Dead Friend

Arirang is considered the unofficial national anthem of South Korea. This setting for lute and piano features three distinct sections: a gentle and reflective beginning a flowing and lyrical middle section and a grandiose conclusion. Duration: 5:00

The composer dedicated this to Dr. Wilma Jensen. The Fanfare portion is for solo trumpet stop dialoguing with full organ. Snappy but majestic the contemporary tonal language adds to the flair. The Cortège theme is stated twice first in minor then major. A snippet of the Fanfare returns the trumpet having the last word amid some pedal motifs (one in octaves). Duration: 3:00

My People Are Rising

Liebst du um Schönheit-Do You Love for Beauty? (Liebst du um Schönheit) is the second of Mahler's Rückert songs arranged by Stanley M. Hoffman for mixed chorus the first one being Into This World I Came As a Lost One (Ich bin der Welt abhanden gekommen) 5755. This latest arrangement features a new English singing translation by the arranger and sumptuous Romantic harmonies inspired by the piano accompaniment provided by the composer. Duration: 2:50

Lasset uns den Herren preisen-A soaring joyful unaccompanied motet in F major. (Keyboard reduction provided.) Notated on five staves with the soprano 1 and 2 on their own staves. However all parts below that also divide very occasionally. Reger wrote this as an Easter motet but it is a stunning piece with a wide dynamic range and many possible uses. Largely homophonic with a few imitative entrances. Duration: 2:00