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Just As I Am

Twelve Canticles : No. 7. Arise, Shine- No. 8. The Path of the Just

Gwyneth Walker: Let The Life I've Lived Speak For Me (TTBB)

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.

Gwyneth Walker: Let The Life I've Lived Speak For Me (SSAA)

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.

Gwyneth Walker: Let The Life I've Lived Speak For Me (SATB)

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.

Missa O Magne Pater

Based on the chant O Magne Pater, composed in the 12th century by Hildegard von Bingen (1098-1179). Several excerpts from the chant were used to provide thematic material for the Mass, with different chant fragments used in each of its five sections. The Mass was composed between February and October of 2014. -Frank Ferko

The Senator's Stump Speech

Many attribute this text to Noah S. ("Soggy") Sweat, a judge and member of the Mississippi legislature, circa 1952. We hope this short piece will find its way onto recitals of serious vocal music, as either an unexpected relief from the formal, or just a rollicking good encore.

I Will Arise from Three Folk Hymns

I Will Arise comprises vocal lines which may be divided among the chorus according to voice range—with melody, harmony and descant designations. It might be possible to perform this song with either just men or women’s voices, or in any combination, including adding the children. A roughhewn style of singing and playing would be appropriate. Duration: 4:30

The Senator's Stump Speech

Many attribute this text to to Noah S. ("Soggy") Sweat, a judge and member of the Mississippi legislature, circa 1952. This may or may not be true, but to whomever spoke the words used here, my sincerest compliments and thanks. I hope this short piece will find it’s way onto recitals of serious vocal music, as either an unexpected relief from the formal, or just a rollicking good encore. -Steven Mark Kohn

Fond Farewell

On the occasion of retirement and relocation to another state, A Fond Farewell was written for a couple who had been longstanding members and strong supporters of their church. The work was premiered by the Hingham Congregational Church Choir of Hingham, Massachusetts under the direction of the composer during a service of celebration in honor of the couple. Though the expressive qualities of the music remain the same, alternative but similar verses have been provided so that the particulars of the text may be more appropriate in different situations.

Were You There?

This new arrangement focuses on the inherent drama of the text. Each verse expresses a different reaction to its question about the crucifixion. The piano accompaniment, which plays a featured role in this music, varies with the mood of the lyrics—from simple chordal support at the beginning, to harsh rhythms (“nailed him to the cross”), to rapid “sunburst” patterns (“the sun refused to shine”), to sorrowful descending lines (“laid him in the tomb”). The choral expression is articulated in similar manner to the accompaniment. Duration: 4:30

An Alleluia Flourish : 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

Mrs. Noah from Hotel Eden

Mrs. Noah is about middle-aged love. It centers around the relationship between Noah and his wife, Mrs. Noah, a name she hates being called. In this light-hearted aria, she complains that, everywhere she visits, people call her Mrs. Noah. She mentions different locations that she has been in the world: France, Genoa, Samoa, along the Mississippi, Hawaii, and Shenandoah. With these places, the music changes to reflect musical styles that are native to each location. At the end of the aria, she pleads to be called by her “real name,” Rosalyn! Mrs. Noah is the aria from Act II of the Three-Act Chamber Opera, Hotel Eden.

God Who Stretched

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

Three Songs on Poems by Lorri Neilsen Glenn

Commissioned by the Canadian Art Song Project for soprano Magali Simard-Galdès, winner of the Jeunesses Musicales Maureen Forrester Tour. This song cycle is, in part, a meditation on what it means to be a mortal being who exists in time. The first and last movements each present a different take on looking back, and the cycle moves backward in time from evening to mid-day to dawn. Images from each poem are woven into the music: the first movement is full of sewing imagery, so in places the pianist imitates the ebb and flow of a sewing machine's ostinato. The playful second movement depicts icicles melting, opening with their unpredictable drips. In the third movement, cloudsbloom.

Sojourn 3

Commissioned by and dedicated to clarinetist Eugene Jones, was premiered by Mr. Jones on a concert of chamber music at East Tennessee University in Johnson City, Tennessee, on February 28, 2010. This solo is the third in a series of works by the composer titled “Sojourn” for solo instruments. The single-movement work utilizes a Silesian folk song from Schlesische Volkslieder (used in the hymn Fairest Lord Jesus) as its basis. The opening section features material in quasi-Stravinskian rhythm and meter alternating with material hinting strongly at the folk tune and its variants. Melodic material is gradually transformed to the area of D major as the fantasy-like treatment of thefolk tune begins. After a complete statement in D major, a free variation ensues, also in D major, but is interrupted just before its completion by material from the opening section. Melodic transformation back to the octatonic and hybrid pitch material follows and the piece ends with a showy ascending, then diving, flourish.

Sojourn 3 : A Clarinet Solo

The B-flat clarinet version was commissioned by and dedicated to clarinetist Eugene Jones, was premiered by Mr. Jones on a concert of chamber music at East Tennessee University in Johnson City, Tennessee, on February 28, 2010. This solo is the third in a series of works by the composer titled “Sojourn” for solo instruments. The single-movement work utilizes a Silesian folk song from Schlesische Volkslieder (used in the hymn Fairest Lord Jesus) as its basis. The opening section features material in quasi-Stravinskian rhythm and meter alternating with material hinting strongly at the folk tune and its variants. Melodic material is gradually transformed to the area of D major asthe fantasy-like treatment of the folk tune begins. After a complete statement in D major, a free variation ensues, also in D major, but is interrupted just before its completion by material from the opening section. Melodic transformation back to the octatonic and hybrid pitch material follows and the piece ends with a showy ascending, then diving, flourish.

Reverie Hommage a Francis Poulenc

Poignant, evocative, wistful, playful, charming. These are just a few of the many adjectives that recount Francis Poulenc's musical craft, and perhaps, even his own personal disposition. When the musical elite begin any discussion (or argument) regarding the art of Francis Poulenc, one quote patented by noted music critic Claude Rostand seems to always bubble towards the surface: "In Poulenc, there is something of the monk and something of the rascal." How often we see that dichotomous but unifying strand of inspiration throughout his entire oeuvre! With the contrasting and complimentary ingredients of both piety and playfulness thoughtfully put in place, it is the intent ofRêverie to conjure the heart of Poulenc's musical form. Rêverie is a work that combines harmonic inventiveness, melodic poignancy and rhythms sprinkled with mischievous pulses. While the work does pay homage to the master with reverence, it simultaneously summons a fresh, new perspective of these old, familiar forms-these "ships" of our pasts. With that said, perhaps it is best to let Stravinsky take the helm: "[But] the true work of an artist is to improve upon old ships. He can only recount in his own way what has already been told." -Luke MayernikIncludes score and Alto Saxophone part. Duration: 6:30