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

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