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The King Shall Come When Morning Dawns

The King Shall Come When Morning Dawns

Commissioned to honor Ken and Diane Ketel for their many years of music ministry at First United Methodist Church in Rapid City, South Dakota. Scored for mixed choir and organ, this Advent anthem sets a Greek hymn text translated in 1907 by John Brownlie. The overall musical form is ABABA (and a short coda), with the "A" section essentially being a newly-composed Common Meter (86.86) hymn tune. Gentle multi-meter is applied throughout and serves to underscore the natural scansion of the text. This anthem was the 2018 winner of the Sewanee Church Music Conference Choral Composition Prize. Duration 3:20

SEK 65.00
1

Love Me

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

SEK 70.00
1

Love Me

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

SEK 70.00
1

Sing Evermore! : Songs in Celebration of Singing

Sing Evermore! : 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)

SEK 167.00
1

Three Songs on Poems by Lorri Neilsen Glenn

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.

SEK 286.00
1

Sojourn 3

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.

SEK 157.00
1

Sojourn 3 : A Clarinet Solo

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.

SEK 157.00
1