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A Stable-lamp Is Lighted

A Stable-lamp Is Lighted

Puer natus est nobis

This setting of the traditional Latin text for Christmas features lush, divisi harmonies and a unique melodic voice.

I Saw Three Ships

This traditional English carol is arranged in an energetic and buoyant fashion with a sprightly piano accompaniment. Fun to sing!

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

Magnificat

This Magnificat was commissioned by Choir & Organ Magazine and St. Thomas Fifth Avenue, NYC, for the debut of their newly constructed Miller-Scott organ. The work sets the traditional Magnificat text with long, flowing lines, sensuous modulations, and rich, jazzy sonorities. Duration: 4:00 This Magnificat was commissioned by Choir & Organ Magazine and St. Thomas Fifth Avenue, NYC, for the debut of their newly constructed Miller-Scott organ. The work sets the traditional Magnificat text with long, flowing lines, sensuous modulations, and rich, jazzy sonorities. Duration: 4:00

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.

Let Us Break Bread Together

This work is dedicated to Heather Heyer of Charlottesville, Virginia, who gave her life for our mission of tolerance. Using the traditional African American tune LET US BREAK BREAD, this arrangement is scored for SATB chorus (divisi) and piano.  A new verse is added: Let us rise up together all as one, as a call for strength through unity. Duration: 3:00

Stille Nacht! Heilige Nacht!

This simple concert arrangement employs Franz Gruber’s original melody as sung in Northern Europe, and three of Joseph Mohr’s original German stanzas. Composed in a charming “Austrian style,” this arrangement evokes the sound of a traditional band of folk singers, as one might hear in a Christkindlmarkt in Germany or Austria. It is especially useful when programming a Christmas in Germany-themed (or Christmas in Austria-themed) concert, and works perfectly as a hushed, elegant encore. Duration 4:30This simple concert arrangement employs Franz Gruber’s original melody as sung in Northern Europe, and three of Joseph Mohr’s original German stanzas. Composed in a charming “Austrian style,” this arrangement evokes the sound of a traditional band of folk singers, as one might hear in a Christkindlmarkt in Germany or Austria. It is especially useful when programming a Christmas in Germany-themed (or Christmas in Austria-themed) concert, and works perfectly as a hushed, elegant encore. Duration 4:30

Vum Vive Vum from Angel of Light

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.

Be Thou My Vision: Homage to an Ancient Hymn

The beloved hymn Be Thou My Vision has long been part of our rich musical heritage of hymnody. The text is by St. Dallan Forgaill (6th Century Irish), and the tune is Slane (Traditional Irish) which was added somewhat later to the text. Each verse is set differently, giving variety and expressiveness to the text, which sometimes departs from the original. The composer's intent was an expansive paraphrase of the tune and text, and the result is one of the most rewarding settings of this hymn that you will encounter. Duration: 6:00

O Oriens 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 first movement, O Oriens, based on the Advent text, "enlighten those who dwell in darkness." Mostly unaccompanied, divisi, the organintermittently playd a melody as if from afar or quietly supporting the lowest pitches. 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 first movement, O Oriens, based on the Advent text, "enlighten those who dwell in darkness." Mostly unaccompanied, divisi, the organintermittently playd a melody as if from afar or quietly supporting the lowest pitches.

Night Prayer

The text of Night Prayer was written by the Rev. John Williamson in 1987 for inclusion in A New Zealand Prayer Book. The tone of the prayer is both traditional and contemporary. Its natural and intended use is as Part of the Compline service, the final service of the day in the Christian tradition of canonical hours. This setting is in a reverent, chorale style, rising to a climax with the words, 'Let us look to a new day, to new joys, and to new possibilities.' Night Prayer was commissioned by Good Company, a chamber choir based in Cleveland, Ohio, and was premiered on May 15, 2016. Duration: 4:30

If Ye Love Me

If Ye Love Me was composed as a reflective commentary on the well-known motet by Thomas Tallis (1505 1585). Homophony predominates in the first section but with clusters rather than the traditional harmonies used by Tallis. Later, the texture reduces to a very simple four-voice contrapuntal texture as a brief reference to Tallis’ style. The chorus then divides into two groups with one group continuing the counterpoint which is now expanded into a more active and complex style. The second group of voices returns to the homophonic style, but now in widely expanded harmonies. Thus, the motet concludes with homophony and counterpoint sounding simultaneously. Duration: 2:00

Vidimus stellam : We Have Seen His Star

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. The brass quintet writing is richly varied and creatively interwoven through the score, at times powerful and majestic,playful and jubilant, atmospheric and coloristic. Brass Quintet Instrumentation: Trumpets I and II, Horn in F, Trombone, Bass Trombone

Rorate caeli 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.

Songs for the Journey

Commissioned in 2010 to be performed alongside Gabriel Faure's Requiem, and utilizes the same combination of instruments. The texts for Songs for the Journey have a particularly personal nature. The first text chosen was "More Love," a song already written a couple years earlier when the composer and his wife were expecting their first child. The remaining four texts have equally personal associations. Songs for the Journey outlines and explores similar themes as the traditional Latin Requiem - love, faith, mortality, surrender to an eternal will, etc. - but in a less ecclesiastical framework, with poems and texts drawn from a variety of sources. Duration: 16:15 Contents: 1.Into Your Hands 2. When All That's Left of Me Is Love 3. More Love 4. Do Not Stand at My Grave and Weep (Soprano Solo) 5. Celtic Blessing

Hodie Christus natus est from Vidimus stellam : Organ/Choral Score

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 third movement, Hodie Christus natus, based on the familiar Christmas text, "Today Christ is born, today the Savior has appeared." Themovement begins majestically, with the singers declaiming the text against a descending pedal motif. At measure 11 the tempo jumps to "Vivo" and the descending motif dances through the vocal lines. Light, joyful, the organ supports and punctuates, and finally gets the descending melody all to itself as the choir sings "Gloria in excelsis Deo." 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 third movement, Hodie Christus natus, based on the familiar Christmas text, "Today Christ is born, today the Savior has appeared." Themovement begins majestically, with the singers declaiming the text against a descending pedal motif. At measure 11 the tempo jumps to "Vivo" and the descending motif dances through the vocal lines. Light, joyful, the organ supports and punctuates, and finally gets the descending melody all to itself as the choir sings "Gloria in excelsis Deo."

Vidimus stellam 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 fifth and final movement, Vidimus stellam, based on the Epiphany text, "We have seen his star in the East." The organ begins quietly asif in awe, with the same material the choir will sing as "Vidimus stellam." The mood remains quiet and adoring until it is interrupted by a majestic restatement of the opening material. A gentler section follows "Venit lumen tuum (Your light is come)." And again bursting out, the same text is repeated in a grand conclusion to this movement and the entire work. 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 fifth and final movement, Vidimus stellam, based on the Epiphany text, "We have seen his star in the East." The organ begins quietly asif in awe, with the same material the choir will sing as "Vidimus stellam." The mood remains quiet and adoring until it is interrupted by a majestic restatement of the opening material. A gentler section follows "Venit lumen tuum (Your light is come)." And again bursting out, the same text is repeated in a grand conclusion to this movement and the entire work.

Surge, illuminare 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 fourth movement, Surge, illuminare, based on the Epiphany text, "Rise, shine...for the glory of the Lord is risen upon you." Like thethird movement, this begins dramatically with the men first, then the women, proclaiming the opening text. At measure 11, the tempo launches into Vivo, with a 3+3+2 feeling and mixed meters. Rhythmic, dance-like, and fun. The organ accompaniment sometimes doubles, sometimes punctuates. The movement ends much as it began, in the dramatic slow statement of "Surge, illuminare." 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 fourth movement, Surge, illuminare, based on the Epiphany text, "Rise, shine...for the glory of the Lord is risen upon you." Like thethird movement, this begins dramatically with the men first, then the women, proclaiming the opening text. At measure 11, the tempo launches into Vivo, with a 3+3+2 feeling and mixed meters. Rhythmic, dance-like, and fun. The organ accompaniment sometimes doubles, sometimes punctuates. The movement ends much as it began, in the dramatic slow statement of "Surge, illuminare."

All Await

All Await was commissioned by Trinity Presbyterian Church, Berwyn, Pennsylvania, in celebration of the church’s 150th anniversary. It received its premiere performance at Trinity Church in December, 2012 by the Chancel Choir and Director Paul Vanderslice. Nancy Gifford was asked to compose a celebratory piece for this occasion based on an Advent theme. The text was inspired by a fourth-century hymn of St. Ambrose of Milan, Veni, Redemptor gentium. In this context, All Await echoes elements of traditional western sacred music while using today’s language. The piece begins plaintively in the E natural minor mode and suddenly breaks into joyful polyphony. In the second section (theGloria Patri adapted into English), we move into E Major and the music becomes more rhythmic and robust. The climax of the piece describes the angel Gabriel’s message to Mary, when “the Word of God descends.” Dramatically descending melodic lines appear, sung in turn by each voice part and then played by the organ. Repetition and reinvention of these musical ideas follow, with marked contrasts in texture, dynamics, articulation, and expression. Short organ interludes occur throughout the piece, introducing new sections of choral music. This work ends with a short coda, closing with the words “All await,” sung by the chorus three times and answered by the organ.