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Roosters

On the surface, this 1941 poem is about roosters. More specifically, roosters in Key West, where the poet spent a decade. But the sub-texts could not be any more appropriate in terms of current events: they touch on militarism, gender roles, forgiveness, and waking up to reality. The 44 stanzas are set for two singers and piano. A sweeping and engaging work which exhibits drama, humor, and variety.

Smart Set

After Love

The opening line of Sara Teasdale’s poem, After Love, “There is no magic any more,” establishes the theme of vanishing love. Stephen Chatman’s setting of the poignant text, in the key of E flat major, emphasizes the natural rhythm of the words, mixed meters, and irregular phrase lengths. The climax of the melody embraces sustained, intense vocal lines in contrary motion supported by an undulating piano accompaniment. One of a set of six of Teasdale's love songs. Duration: 1:45

After Love

The opening line of Sara Teasdale’s poem, After Love, “There is no magic any more,” establishes the theme of vanishing love. Stephen Chatman’s setting of the poignant text, in the dark key of D flat major, emphasizes the natural rhythm of the words, mixed meters and irregular phrase lengths. The climax of the melody embraces sustained, intense vocal lines in contrary motion supported by an undulating piano accompaniment. One of a set of six of Teasdale's love songs. Duration: 1:45

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

O Little Town of Bethlehem

The text for this carol was inspired by the priest Phillips Brooks’ visit to Bethlehem in 1895. It was set to music by his organist at Trinity Church, Boston, Lewis Redner, in 1868. The arrangement uses three of the four verses. The middle second verse features a modulation to the subdominant key, and the melody moves from the top voice to an inner voice. The third and last verse features an obbligato solo melody. The arrangement was completed in 2017 for TTBB voices, with the SATB and SSAA arrangements following in 2018. Duration: 3:30The text for this carol was inspired by the priest Phillips Brooks’ visit to Bethlehem in 1895. It was set to music by his organist at Trinity Church, Boston, Lewis Redner, in 1868. The arrangement uses three of the four verses. The middle second verse features a modulation to the subdominant key, and the melody moves from the top voice to an inner voice. The third and last verse features an obbligato solo melody. The arrangement was completed in 2017 for TTBB voices, with the SATB and SSAA arrangements following in 2018. Duration: 3:30

O Little Town of Bethlehem

The text for this carol was inspired by the priest Phillips Brooks’ visit to Bethlehem in 1895. It was set to music by his organist at Trinity Church, Boston, Lewis Redner, in 1868. The arrangement uses three of the four verses. The middle second verse features a modulation to the subdominant key, and the melody moves from the top voice to an inner voice. The third and last verse features an obbligato solo melody. The arrangement was completed in 2017 for TTBB voices, with the SATB and SSAA arrangements following in 2018. Duration: 3:30The text for this carol was inspired by the priest Phillips Brooks’ visit to Bethlehem in 1895. It was set to music by his organist at Trinity Church, Boston, Lewis Redner, in 1868. The arrangement uses three of the four verses. The middle second verse features a modulation to the subdominant key, and the melody moves from the top voice to an inner voice. The third and last verse features an obbligato solo melody. The arrangement was completed in 2017 for TTBB voices, with the SATB and SSAA arrangements following in 2018. Duration: 3:30

O Little Town of Bethlehem

The text for this carol was inspired by the priest Phillips Brooks’ visit to Bethlehem in 1895. It was set to music by his organist at Trinity Church, Boston, Lewis Redner, in 1868. The arrangement uses three of the four verses. The middle second verse features a modulation to the subdominant key, and the melody moves from the top voice to an inner voice. The third and last verse features an obbligato solo melody. The arrangement was completed in 2017 for TTBB voices, with the SATB and SSAA arrangements following in 2018. Duration: 3:30The text for this carol was inspired by the priest Phillips Brooks’ visit to Bethlehem in 1895. It was set to music by his organist at Trinity Church, Boston, Lewis Redner, in 1868. The arrangement uses three of the four verses. The middle second verse features a modulation to the subdominant key, and the melody moves from the top voice to an inner voice. The third and last verse features an obbligato solo melody. The arrangement was completed in 2017 for TTBB voices, with the SATB and SSAA arrangements following in 2018. Duration: 3:30

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.