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American Folk Set

Comprised of fifteen songs, each are mini-dramas. Something is happening in each one of them. Someone is travelling, working, or suffering. Their messages are universal to the human experience. They still resonate. Kohn did extensive editing of the available texts to keep the storytelling succinct. "I arranged these songs, but I did not write them. Our ancestors, storytellers with great musical talent, did that many years ago." -Steven Mark Kohn, 2000

American Folk Set

Comprised of fifteen songs, each are mini-dramas. Something is happening in each one of them. Someone is travelling, working, or suffering. Their messages are universal to the human experience. They still resonate. Kohn did extensive editing of the available texts to keep the storytelling succinct. "I arranged these songs, but I did not write them. Our ancestors, storytellers with great musical talent, did that many years ago." -Steven Mark Kohn, 2000

American Folk Set

Comprised of fifteen songs, each are mini-dramas. Something is happening in each one of them. Someone is travelling, working, or suffering. Their messages are universal to the human experience. They still resonate. Kohn did extensive editing of the available texts to keep the storytelling succinct. "I arranged these songs, but I did not write them. Our ancestors, storytellers with great musical talent, did that many years ago." -Steven Mark Kohn, 2000

All Flesh Is Grass 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 second of the set. The text, from Isaiah 40, is set to a courtly gavotte in a minor modality. 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 second of the set. The text, from Isaiah 40, is set to a courtly gavotte in a minor modality. Duration: 1:30

If I Can Stop One Heart : 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

Aegupton : Set of 2 Scores

Set Me as a Seal

Set me as a seal

As you set out for Ithaka

Sinfonietta for Eleven Instruments : Full Performance Set

The Morning Train: 4. Worrisome Blues

This fourth and closing song of the set "The Morning Train" is perhaps the best known and most rousing of the set. The original title is "Worried Man Blues." But in this new arrangement, the women join in with the theme and sentiment. So, the title has been changed to "Worrisome Blues." Duration: 5:15.

Love Shall Live Forever

The texts for this set of three songs are mostly from the 19th century, but the sentiments are ageless. The special imagery in each of the poems finds its way into the musical setting. Evening Song features moonlight sparkling on glimmering waves. The Cloths of Heaven has the lover yearning to give his beloved beautiful gifts. She Walks in Beauty provides a strong close to the set, with a quote from the Song of Solomon (Set Me As A Seal) as a coda. Duration: 9:00 Contents: 1. Evening Song 2. The Cloths of Heaven 3. She Walks in Beauty

Celtic Blessing : From Songs for the Journey

This final movement of the collection Songs for the Journey is set to the traditional blessing, "May the road rise up to meet you." Duration: 4:00

Joy

This piece is a fast, joyous outburst. The initial lines, “I am wild, I will sing to the trees” set the jubilant tone. The perpetual motion of the syllabic step-wise vocal lines is punctuated by staccato chords and, eventually, high arpeggio figures in the accompaniment. The song reaches a rousing climax on the optimistic line, “Now at last I can live!” One of a set of six of Teasdale's love songs. Duration: 1:30

Short Pieces for Flute and Piano: Book 3

A great choice for concerts and recitals. This delightful set of intermediate pieces for flute and piano features the following movement titles: 1. A Folk Tune, 2. A Waltz, 3. A Tango

Mourning into Dancing 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 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

Joy

This piece is a fast, joyous outburst. The initial lines, “I am wild, I will sing to the trees” set the jubilant tone. The perpetual motion of the syllabic step-wise vocal lines is punctuated by staccato chords and, eventually, high arpeggio figures in the accompaniment. The song reaches a rousing climax on the optimistic line, “Now at last I can live!” Sopranos divide, occasionally into three. One of a set of six of Teasdale's love songs. Duration: 1:30

The Beautiful Land of Nod

The iconic poem by Ella Wheeler Wilcox is set here in a lilting and gentle composition that may be done by an ensemble or by a full choir. Peaceful, serene, and comforting. Commissioned by The Crossing and Donald Nally.

Three Pieces for Chanukah: No. 2 Maoz tzur

Published in 2003, Three Pieces for Chanukah is not so much a set of arrangements of familiar words and tunes than it is a set of original compositions based on them. The first two settings feature jazz-influenced, classical harmonic and melodictreatment of the tunes. The mood of the first setting is upbeat and the mood of the second one is more subdued. The mood of the third setting is extremely upbeat; it is composed in a straight funk style, albeit contrapuntal. The front matter to eachedition features program notes, a pronunciation guide for the Hebrew words and the Hebrew and English texts.

Three Impudent Arias

The texts for these songs are adapted from Ambrose Bierce (1842-1914), one of America’s most fearless and biting satirists. It is safe to say that these songs are probably not for every performer. They require a good dose of theatrical dash and a bit of raw nerve, not exactly your formal recital staples. While they do have a suggestively masculine tone, a female singer with the right irreverence and attitude could certainly bring them off. (The composer suggests that these three songs be performed as a set as opposed to individually. They were constructed to achieve a certain balance as a set.)

3 Pieces for Chanukah : No. 1 Oh, Chanukah/Y'mei hachanukah

Published in 2003, Three Pieces for Chanukah is not so much a set of arrangements of familiar words and tunes than it is a set of original compositions based on them. The first two settings feature jazz-influenced, classical harmonic and melodictreatment of the tunes. The mood of the first setting is upbeat and the mood of the second one is more subdued. The mood of the third setting is extremely upbeat; it is composed in a straight funk style, albeit contrapuntal. The front matter to eachedition features program notes, a pronunciation guide for the Hebrew words and the Hebrew and English texts.

Everyone Sang : Vocal Music of David Conte

This two-disc set includes recordings of David Conte’s most recent vocal composition offerings from collections “American Death Ballads,” “Three Poems of Christina Rossetti,” “Love Songs,” “Everyone Sang,” “Lincoln,” “Sexton Songs,” and “Requiem Songs.” The album includes program notes by the composer.

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 (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.