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Nocturne from Shylock

Gabriel Fauré (1845 1924) composed his beautiful, brooding “Nocturne” from Shylock in 1889. Originally scored for string orchestra, it is deftly arranged for organ by the great Daniel Pinkham.

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.

Into Your Hands : From Songs for the Journey

This movement from Songs for the Journey is based on Psalm 31:5 and an excerpt from Confessions by St. Augustine. Duration: 3:00

The Falling Star: from Evening Stars

The first of three pieces based on Sara Teasdale poems from the larger work, Evening Stars.

Stars over Snow: from Evening Stars

The third of three pieces based on Sara Teasdale poems from the larger work, Evening Stars.

From Starry Skies Descending

This Italian Christmas carol dates from 1732 and the lilting melody by Alfonso Liguori is associated with the zampogna, a large-format Italian bagpipe. The text is œFrom Starry Skies Descending, as it is translated from the Italian title œTu scendi dalle stelle, and the composer's setting uses both Italian and English texts. A tender pastorale with a delicate piano accompaniment, this music manages to be both unusual and yet, somehow familiar. Duration: 3:45

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

On a Winter Night: from Evening Stars

The second of three pieces based on Sara Teasdale poems from the larger work, Evening Stars.

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

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.

Todtentantz 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 first. The text is by Nathaniel Schlott (1701), and it's paired with music in the form and feel of a rather jaunty Saltarello, despite the grim title! 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 first. The text is by Nathaniel Schlott (1701), and it's paired with music in the form and feel of a rather jaunty Saltarello, despite the grim title! Duration: 1:30

When All That's Left of Me Is Love : From Songs for the Journey

This movement from Songs for the Journey has a text adapted from the poem "Epitaph" by Merrit Malloy, "When all that's left of me is love, give me away." Duration: 3:00

Jazzonia : From Black Pierrot

From the large work Black Pierrot, Jazzonia (1923) describes the scene in a Harlem café of the 1920s in which “six long-headed jazzers play,” and beautiful girls dance. After a short introductory section, the music moves into a lively ragtime—complete with drum set—that forms the background for the remainder of the piece. Altogether, it is something of a poetic and musical glance at the era of the Harlem Renaissance in which so much African-American music, art, and poetry emerged as vital forces in the arts. Duration: 4:30

Mrs. Noah from Hotel Eden

Mrs. Noah is about middle-aged love. It centers around the relationship between Noah and his wife, Mrs. Noah, a name she hates being called. In this light-hearted aria, she complains that, everywhere she visits, people call her Mrs. Noah. She mentions different locations that she has been in the world: France, Genoa, Samoa, along the Mississippi, Hawaii, and Shenandoah. With these places, the music changes to reflect musical styles that are native to each location. At the end of the aria, she pleads to be called by her “real name,” Rosalyn! Mrs. Noah is the aria from Act II of the Three-Act Chamber Opera, Hotel Eden.

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.

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.

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."

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.

Cartes postales de la guerre : Postcards from the War

Commissioned for the 2018 National Convention of the American Guild of Organists in Kansas City, Missouri. The texts which provide the basis for the work were all written by the French poet, Guillaume Apollinaire, in 1915 and published between 1916 and 1918. Since Apollinaire served in the French military and fought on the front lines during the war, his poetry comments on various aspects of life in time of war from his own first-hand experience. Apollinaire's use of imagery in these poems presents his observations of change, transformation, and disillusionment.

She Walks in Beauty : From Love Shall Live Forever

Part of the collection Love Shall Live Forever. "She Walks in Beauty" begins with a piano introduction allowing time to enter the poetic world of Lord Byron. A simple melody is accompanied by steady, walking rhythms. Although the original poem speaks only of the woman (beloved)- reverently, objectively- this new interpretation inserts a verse to include the man (lover), thus creating a love song for a couple. He walks in courage...they walk in beauty, O love! The piece concludes with a quote from the Song of Solomon (Set Me As A Seal). Duration: 3:00

From Heaven High : Four Carols from the British Isles

Letters from Edna

Postcards from Frank

From the Abyss