From Songs for the Journey-This movement from Songs for the Journey is based on Psalm 31:5 and an excerpt from Confessions by St. Augustine. Duration: 3:00

Longfellow's poem The Day is Done speaks of evening as the time when poetry and music come alive and soothe the cares of day. The musical setting presents the opening lyrics in the children’s voices: The day is done and the darkness falls from the wings of night. These phrases or slight variations thereof return as refrains throughout the song. The verses alternate between the men’s and women’s voices with the children interjecting refrains or offering commentary in the background. Finally the children interrupt the SATB dialogue with exclamations of a song! a song! a song! These lead to the climax of the song given to the children’s chorus singing And the nightshall be filled with music. All voices then join together in celebration: Our song shall fill the night. The accompaniment (originally composed for piano later adapted for flute strings and percussion) delights in text-setting with sparkling arpeggios depicting the celestial harmonies and filigree patterns for the star-filled night sky. Duration: 5:00

From I've Known Rivers

From I've Known Rivers

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.

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.

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

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 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.