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St. Teresa's Book Mark

A Musical Trip II

Concord Piano Book, Vol. II

Preludes for Piano, Book II

Somerset Anthem Books, Volume II : Easter

Musical Mind Benders : Musical Quizzical II

Sonata for Manuals Only : Organ Sonata II

Bela Bartok Album for Piano, Vol. II

Two Keats Choruses: II. The Poetry of Earth

How Lovely Is Thy Dwelling Place

Commissioned for the 100th anniversary of Lakewood Congregational Church, Lakewood, Ohio. The text is drawn both from Psalm 84 and two additional verses written by the late poet John Stirling Walker. The anthem features interludes based on the tune AURELIA (“The Church’s One Foundation”) by Samuel Wesley. The final verse includes the congregation singing this tune as a descant accompanying the original music. Duration: 7:00 Brass Quartet parts include: B-flat Trumpets I and II, Trombones I and II

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)

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

The Senator's Stump Speech

Many attribute this text to to Noah S. ("Soggy") Sweat, a judge and member of the Mississippi legislature, circa 1952. This may or may not be true, but to whomever spoke the words used here, my sincerest compliments and thanks. I hope this short piece will find it’s way onto recitals of serious vocal music, as either an unexpected relief from the formal, or just a rollicking good encore. -Steven Mark Kohn

The War Prayer

This text has been adapted from Mark Twain's The War Prayer, which he wrote in 1904-5 to protest America’s involvement in the Spanish-American War. His family convinced him to keep if from publication, fearing it was too controversial. Published after his death, Twain makes the case that if God causes all things to happen and blesses select people, then He must also, willingly, deny others his blessing. It is the other side of prayer, the unspoken side, which Twain so brilliantly characterized in The War Prayer.

The War Prayer

This text has been adapted from Mark Twain's The War Prayer, which he wrote in 1904-5 to protest America’s involvement in the Spanish-American War. His family convinced him to keep if from publication, fearing it was too controversial. Published after his death, Twain makes the case that if God causes all things to happen and blesses select people, then He must also, willingly, deny others his blessing. It is the other side of prayer, the unspoken side, which Twain so brilliantly characterized in The War Prayer.

The War Prayer

This text has been adapted from Mark Twain's The War Prayer, which he wrote in 1904-5 to protest America’s involvement in the Spanish-American War. His family convinced him to keep if from publication, fearing it was too controversial. Published after his death, Twain makes the case that if God causes all things to happen and blesses select people, then He must also, willingly, deny others his blessing. It is the other side of prayer, the unspoken side, which Twain so brilliantly characterized in The War Prayer.

An Alleluia Flourish : Piano/Choral Score

Commissioned by Classical Movements for an incredibly large ensemble of primarily “older” singers. Along with some brass, keyboard, and timpani, this work serves as a fun, fanfare-like, flourish-filled opener for a festive program. Just as the constraints in place for the aging voice play to the strengths of this unique ensemble, so do these simpler vocal requirements make this an ideal piece for student ensembles at both middle and high school levels. -Julian Wachner Duration: 2:35 Instrumental Parts include: F Horn, Trombone (substitue for Horn), Trumpet I and II in C and B-flat, TimpaniCommissioned by Classical Movements for an incredibly large ensemble of primarily “older” singers. Along with some brass, keyboard, and timpani, this work serves as a fun, fanfare-like, flourish-filled opener for a festive program. Just as the constraints in place for the aging voice play to the strengths of this unique ensemble, so do these simpler vocal requirements make this an ideal piece for student ensembles at both middle and high school levels. -Julian Wachner Duration: 2:35 Instrumental Parts include: F Horn, Trombone (substitue for Horn), Trumpet I and II in C and B-flat, Timpani

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.

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

Mary Chesnut: A Civil War Diary

Mary Chesnut (1823 1886) was the wife of confederate Colonel James Chesnut. They owned a plantation near Camden, South Carolina, during the mid-to-late nineteenth century. They also owned many slaves, both field hands and household servants. They moved in privileged social circles, dining with politicians, judges, and ranking military leaders. Mary was a well-read, educated, and articulate southern woman. The words, emotions, and events that follow were diligently entered into her diary, creating an impressive chronicle of the times. No attempt was made to alter her views. Nor was any attempt made by the composer to make a political point or take a position on any issue.This story is Mary Chesnut’s, and it is from her singular point of view from which the drama springs. Some of her opinions and attitudes were very much of-the-day, and may offend current sensibilities. While slavery plays a critical role in the events contained herein, I have decided not to lean too heavily on it (that is another piece), focusing more on how the war impacted Mary’s personal life. A Diary from Dixie was originally published in 1905, edited by Isabella D. Martin and Myrta Lockett Avary. While there are other collections of Mary Chesnut’s writing available, this libretto was derived principally from A Diary from Dixie. -Steven Mark Kohn, 2012