Brass Parts

Clarinet Part

Piano/Choral Score-Commissioned by Classical Movements for an incredibly large ensemble of primarily “older” singers. Along with some brass keyboard and timpani this work serves as a fun fanfare-like flourish-filled opener for a festive program. Just as the constraints in place for the aging voice play to the strengths of this unique ensemble so do these simpler vocal requirements make this an ideal piece for student ensembles at both middle and high school levels. -Julian Wachner Duration: 2:35 Instrumental Parts include: F Horn Trombone (substitue for Horn) Trumpet I and II in C and B-flat TimpaniCommissioned by Classical Movements for an incredibly large ensemble of primarily “older” singers. Along with some brass keyboard and timpani this work serves as a fun fanfare-like flourish-filled opener for a festive program. Just as the constraints in place for the aging voice play to the strengths of this unique ensemble so do these simpler vocal requirements make this an ideal piece for student ensembles at both middle and high school levels. -Julian Wachner Duration: 2:35 Instrumental Parts include: F Horn Trombone (substitue for Horn) Trumpet I and II in C and B-flat Timpani

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

Commissioned by Hennepin Avenue United Methodist Church in Minneapolis Minnesota to celebrate the service of William H. Mathis Minister of Music and Fine Arts. It was first performed on June 11 2017. The noble spaciousness of this wonderful poem by Catherine Cameron is set to original music expressed in the nature of an arpeggio which can take us to the heights in just an instant. Trumpet calls echo through this arrangement: you'll find them in all the parts. For SATB chorus sometimes in unison sometimes in two parts the piece moves to its soaring conclusion “Great Creator give us guidance Till our goals and yours are one.” Duration 2:45Commissioned by Hennepin Avenue United Methodist Church in Minneapolis Minnesota to celebrate the service of William H. Mathis Minister of Music and Fine Arts. It was first performed on June 11 2017. The noble spaciousness of this wonderful poem by Catherine Cameron is set to original music expressed in the nature of an arpeggio which can take us to the heights in just an instant. Trumpet calls echo through this arrangement: you'll find them in all the parts. For SATB chorus sometimes in unison sometimes in two parts the piece moves to its soaring conclusion “Great Creator give us guidance Till our goals and yours are one.” Duration 2:45

An Alleluia Flourish

Chamber Music Volume 3: Four Joyce Songs

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 first. The text is by Nathaniel Schlott (1701) and it's paired with music in the form and feel of a rather jaunty Saltarello despite the grim title! Duration: 1:30 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 first. The text is by Nathaniel Schlott (1701) and it's paired with music in the form and feel of a rather jaunty Saltarello despite the grim title! Duration: 1:30

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 final one. The text from Psalm 30 (KJV) is set to a sprightly Gigue. This movement differs from the other three in that it is written for double SATB chorus. But the textures are light and dance-like perhaps not requiring huge forces. Duration: 1:30A 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 final one. The text from Psalm 30 (KJV) is set to a sprightly Gigue. This movement differs from the other three in that it is written for double SATB chorus. But the textures are light and dance-like perhaps not requiring huge forces. Duration: 1:30

This serene music is an arrangement of Scene XIV from the composer's oratorio Paradiso which is a setting of the third part of Dante's Divine Comedy (Commedia). The music is an evocation of Dante's passage into the hightest realms of heaven. The vocal parts are wordless unaccompanied and sublime representing a song that accompanies his transformation of consciousness as he is surrounded by love that moves the sun and other stars. Duration 5:45 This serene music is an arrangement of Scene XIV from the composer's oratorio Paradiso which is a setting of the third part of Dante's Divine Comedy (Commedia). The music is an evocation of Dante's passage into the hightest realms of heaven. The vocal parts are wordless unaccompanied and sublime representing a song that accompanies his transformation of consciousness as he is surrounded by love that moves the sun and other stars. Duration 5:45

Except from the classic Susa collection Carols and Lullabies. Except from the classic Susa collection Carols and Lullabies.

“Angels Singing ” is based on the carol “Angels We Have Heard on High.” This new arrangement opens with shepherds (Tenor and Baritone soli) hearing angel voices “o’er the mountains guided by a Holy light.” A few angels (Tenor voices) sing in the distance. The carol now shifts to full chorus. Often the Basses portray the shepherds and the Tenors sing as angels. The Clarinet plays a featured role enhancing the message of the lyrics. Duration: 4:30 “Angels Singing ” is based on the carol “Angels We Have Heard on High.” This new arrangement opens with shepherds (Tenor and Baritone soli) hearing angel voices “o’er the mountains guided by a Holy light.” A few angels (Tenor voices) sing in the distance. The carol now shifts to full chorus. Often the Basses portray the shepherds and the Tenors sing as angels. The Clarinet plays a featured role enhancing the message of the lyrics. Duration: 4:30

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 fifth and final movement Vidimus stellam based on the Epiphany text We have seen his star in the East. The organ begins quietly asif in awe with the same material the choir will sing as Vidimus stellam. The mood remains quiet and adoring until it is interrupted by a majestic restatement of the opening material. A gentler section follows Venit lumen tuum (Your light is come). And again bursting out the same text is repeated in a grand conclusion to this movement and the entire work. 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 fifth and final movement Vidimus stellam based on the Epiphany text We have seen his star in the East. The organ begins quietly asif in awe with the same material the choir will sing as Vidimus stellam. The mood remains quiet and adoring until it is interrupted by a majestic restatement of the opening material. A gentler section follows Venit lumen tuum (Your light is come). And again bursting out the same text is repeated in a grand conclusion to this movement and the entire work.

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 fourth movement Surge illuminare based on the Epiphany text Rise shine...for the glory of the Lord is risen upon you. Like thethird movement this begins dramatically with the men first then the women proclaiming the opening text. At measure 11 the tempo launches into Vivo with a 3+3+2 feeling and mixed meters. Rhythmic dance-like and fun. The organ accompaniment sometimes doubles sometimes punctuates. The movement ends much as it began in the dramatic slow statement of Surge illuminare. 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 fourth movement Surge illuminare based on the Epiphany text Rise shine...for the glory of the Lord is risen upon you. Like thethird movement this begins dramatically with the men first then the women proclaiming the opening text. At measure 11 the tempo launches into Vivo with a 3+3+2 feeling and mixed meters. Rhythmic dance-like and fun. The organ accompaniment sometimes doubles sometimes punctuates. The movement ends much as it began in the dramatic slow statement of Surge illuminare.

Be/dazzled concertino for Electric Violin and Chamber Orchestra draws its inspiration from the first line of a text that is a paraphrase of the second Logion (sayings attributed to Christ) from the Gospel according to Thomas: Let him seek and cease not ’til he finds and when he finds he will be troubled and when he has been troubled he shall marvel: and he will reign over the All. The solo violinist is cast as the seeker. The opening cadenza has a searching quality which is developed in a dialogue between the soloist and the orchestra. The ending moves towards the idea of the title: that there is an opening into dazzling brilliance and understanding of the All.

Songs in Celebration of Singing-Nine separate songs which can be performed individually yet are ordered for a cohesive flow. The texts span many centuries (1598-1919) and all celebrate music specifically the joys of singing. Performance options include flute and string quartet or flute and string orchestra or piano only perhaps adding flute where written. Duration: 30:00 Contents: 1. Merlin's Song (SATB) 2. In Praise of Music and Poetry (a reconciliation)(Soprano and Baritone soloists) 3. The Lost Chord (SATB) 4. Refuge (SATB) 5. The Caged Bird Sings (SATB) 6. The Gift to Sing (SSA) 7. I Hear America Singing (TTBB) 8. Sky-Born Music (SATB) 9. Everyone Sang (SATB)

This text is part of a longer work by Mohja Kahf titled My People Are Rising: An unfinished poem begun in Spring 2011 for an unfinished Revolution begun in March 2011. It speaks so viscerally of the tragic events in Syria that it was impossible to imagine setting it with Western harmonies. And so the composer began an exploration of Arabic music with its quarter-tone scales its lack of vertical chordal structure its abundantly ornamented heterophony. Since quarter-tones are not a part of our Western choral training the scales are tempered a bit (resulting in a fair number of augmented seconds) and a violin is added to the melodic mix for pitch support. The voices and violinare accompanied by a doumbek player who is highly encouraged to improvise: the written notation is only there as a guide. This piece is dark dramatic and powerful yet not without triumph. Duration: 8:30

Songs in Celebration of Singing

Love Me

Stephen Chatman’s setting of Sara Teasdale’s whimsical poem pertaining to a brown-thrush April love and kisses emulates the meaning strict rhythm rhyme and strophic structure of the text. The soft rolled chords of the harp-like piano accompaniment highlight the lilting 6/8-meter folk-like melody and consistent homophonic choral texture. The repetitive lines “Love me love me love me!” and “kiss me kiss me kiss me!” inspire the musical refrains. One of a set of six of Teasdale's love songs. Duration: 1:45