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New York Études

Emily! : from New England Musical Settings of the Poems of Emily Dickinson

The poetry of Emily Dickinson (1830-1886) is especially appealing due to the wide range of topics, diversity of mood and peculiar imagination of the poet. The writings are reflective, passionate, witty, sensuous, observant, and ridiculously humorous. Her heart soars. Her mind pokes fun! Emily was truly a New Englander. Her poems are understated and compact. Her love of Nature focuses on small things- birds, bees, meadows and a pond.In creating the musical settings, the composer (herself a New Englander) endeavored to capture the spirit of the poetry, and of the poet, with songs diverse in style, and concise in form. Everything from romance to frogs is explored,briefly.Great delight is taken in creating musical translations of the colorful imagery: the letters floating off on the breeze ("My Letter to the World"): the shimmering moonlight ("The Moon and the Sea"): a frog croaking in a bog ("The Frog in the Bog"): hopeful birds hopping about ("Hope" with Feathers"): the boat of passion riding the waves and then settling into its mooring ("Passion"): the ship's cannon firing in celebration ("Joy"): and the tiniest, lightest gifts of Nature ("All I Have to Bring"). These are the poet's Letters to the World. She lived as a recluse, yet her words took flight-traveling the universe as messengers of the soul. Duration: 14:00

Carol for New Year's Day

Introit for the New Day

Recessional to a New Life

For Behold, I Create New Heavens

The Seven Joys of Christmas - No. 5 : The Joy of the New Year - New Year Song

New Millennium Suite: No. 1 Sinner Man

A New Work is Come on Hand

Sing to the Lord a New Song

O Sing Unto the Lord a New Song

New Millennium Suite: No. 3. Down by the Riverside

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

Jerusalem Triptych, A: 1. And I Saw a New Heaven

Aria and Chorale

Written as one continuous movement, the music begins with a haunting "Aria." A chromatic musical language creates a mysterious mood. The pianist and violinist trade musical motives back and forth as equal but differing partners. A brief interlude segues into the "Chorale" section, which is as soaring and reassuring as the beginning was uneasy. The two ideas create a fulfilling balance and the work ends peacefully.

New Millennium Suite : No. 2 Peace I Ask of Thee, O River

The New Colossus : Setting for Baritone and Piano of the Poem by Emma Lazarus

Black Pierrot

Commissioned by conductor Paul Crabb for the University of Missouri University Singers and the Mizzou New Music Ensemble (Stefan Freund, director) with funding from the Sinquefield Charitable Foundation through the Mizzou New Music Initiative. Based on seven poems by Langston Hughes, it is scored for SATB Chorus (divisi) and Chamber Ensemble (Flute, Clarinet, Violin, Violoncello, Percussion, and Piano). Duration: 32:30 Contents: 1. A Black Pierrot 2. Breath of a Rose 3. Jazzonia 4. Justice 5. Song for a Dark Girl 6. Silhouette 7. To a Dead Friend

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.)

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.

The Heavens Delight

The composer has created a new musical setting based on Josiah G. Holland's well known text "There's a Song in the Air." The opening introduction depicts the twinkling stars and beautifully captures the spirit of the text. Useful for churches or for concert use.

The Lord's Prayer

This simple but tender setting of The Lord’s Prayer features a cantor who intones the text on a single note, and a chorus that echoes the text with rich chords. Composed in 2010 for Stephen Kennedy and the Christ Church Schola Cantorum of Rochester, New York, for their weekly compline service. Duration: 3:15 This simple but tender setting of The Lord’s Prayer features a cantor who intones the text on a single note, and a chorus that echoes the text with rich chords. Composed in 2010 for Stephen Kennedy and the Christ Church Schola Cantorum of Rochester, New York, for their weekly compline service. Duration: 3:15

Standin' in the Need of Prayer from 3 Folk Hymns

Standin’ in the Need of Prayer is a lively tune in swing rhythm. New words are added within the lighthearted approach. It becomes evident during the singing that the choir feels that they are in the greatest need of prayer! Children’s voices are definitely envisioned as part of this rendition. Duration: 3:15

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.

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