Mi y'maleil : Who can recount

How Can I Keep from Singing?

I Can No Other Answer Make

Three Carols: 3. What Sweeter Music Can We Bring?

What Tongue Can Tell Thy Greatness, Lord : BWV Anh.162

An American Triptych : 2. How Can I Keep from Singing?

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

Catch That Catch Can (for 3 voices) : 100 English Rounds & Catches

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: I. Todtentanz (Saltarello), II. All Flesh is Grass (Gavotte), III. If I can Stop One Heart from Breaking (Sarabande), and IV. Mourning into Dancing (Gigue)- the fourth movement is for double chorus. Duration: 8:30 Contents: I. Todtentanz (Saltarello) II. All Flesh Is Grass (Gavotte) III. If I Can Stop One Heart from Breaking (Sarabande) IV. Mourning into Dancing (Gigue)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: I. Todtentanz (Saltarello), II. All Flesh is Grass (Gavotte), III. If I can Stop One Heart from Breaking (Sarabande), and IV. Mourning into Dancing (Gigue)- the fourth movement is for double chorus. Duration: 8:30 Contents: I. Todtentanz (Saltarello) II. All Flesh Is Grass (Gavotte) III. If I Can Stop One Heart from Breaking (Sarabande) IV. Mourning into Dancing (Gigue)

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.

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.

Back and Forth on the Ferry

The text by Edna St. Vincent Millay, speaks of a youthful all-night adventure riding the ferry back and forth with no destination in mind. There is much back-and-forth in the musical setting, to a swaying 6/8 meter. Can be sung as part of a larger collection: Passion and Remembrance. Duration: 4:00

Back and Forth on the Ferry

The text by Edna St. Vincent Millay, speaks of a youthful all-night adventure riding the ferry back and forth with no destination in mind. There is much back-and-forth in the musical setting, to a swaying 6/8 meter. Can be sung as part of a larger collection: Passion and Remembrance. Duration: 4:00

Refuge : from Sing Evermore!

An assuring text from master poet Sara Teasdale, its central theme is that one can take refuge in singing. Ever sensitive to the text, Walker crafts word painting throughout with shimmering accompaniment figures, textural changes, and fanfare-like passages in the voices on the word "free". Excerpted from the larger work Sing Evermore! and available in both SATB and TTBB voicings.

O How Glorious Is the Kingdom

Intoned by a chord cluster on bells (only four bells are required) or keyboard, a soloist or several voices chant the first phrase (the piece can be sing in either English or Latin). The intensity grows each time the text reappears. The 4-part sections convey a sense of earthly longing for a time when true unity will be realized. The anthem concludes with a quiet statement of the opening text.

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

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 Mystery

Sara Teasdale’s poem, The Mystery, depicts deep lasting love - “Your eyes drink of me” and “We have long been lovers”. It also raises a question - “Can I ever know you / Or you know me?” Stephen Chatman’s expressive setting begins with a unison melody, supported by modulating harmonies in the piano accompaniment, and evolves toward four-part voices. The middle section, featuring rising vocal lines in imitative counterpoint, precedes a return to the initial melody. One of a set of six of Teasdale's love songs. Duration: 2:30

The Mystery

Sara Teasdale’s poem, The Mystery, depicts deep lasting love - “Your eyes drink of me” and “We have long been lovers”. It also raises a question - “Can I ever know you / Or you know me?” Stephen Chatman’s expressive setting begins with a unison melody, supported by modulating harmonies in the piano accompaniment, and evolves toward four-part voices. The middle section, featuring rising vocal lines in imitative counterpoint, precedes a return to the initial melody. One of a set of six of Teasdale's love songs. Duration: 2:30

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

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)

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