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After Love

After Love

The opening line of Sara Teasdale’s poem, After Love, “There is no magic any more,” establishes the theme of vanishing love. Stephen Chatman’s setting of the poignant text, in the key of E flat major, emphasizes the natural rhythm of the words, mixed meters, and irregular phrase lengths. The climax of the melody embraces sustained, intense vocal lines in contrary motion supported by an undulating piano accompaniment. One of a set of six of Teasdale's love songs. Duration: 1:45

DKK 56.00
1

After Love

After Love

The opening line of Sara Teasdale’s poem, After Love, “There is no magic any more,” establishes the theme of vanishing love. Stephen Chatman’s setting of the poignant text, in the dark key of D flat major, emphasizes the natural rhythm of the words, mixed meters and irregular phrase lengths. The climax of the melody embraces sustained, intense vocal lines in contrary motion supported by an undulating piano accompaniment. One of a set of six of Teasdale's love songs. Duration: 1:45

DKK 56.00
1

How Lovely Is Thy Dwelling Place

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

DKK 58.00
1

An Alleluia Flourish : Piano/Choral Score

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

DKK 62.00
1

We Wait for Thy Loving-Kindness, O God

We Wait for Thy Loving-Kindness, O God

This setting of the 8th and 9th verses of Psalm 48 uses the Myles Coverdale translation of the Bible (1535), and adds Alleluias, which occur three times and serve as a sort of refrain. The addition of these Alleluias provides opportunity for usage throughout the Church Year, including during Eastertide. Another unifying idea is the suggestion of a chaconne—a harmonic/melodic idea that is first presented in the opening measures. The arrival of a “triumphant” C Major in the final section is the high point of the piece, but hints of C Minor linger, along with a bit of modal ambiguity due to the presence of the D-flat in the final measures. Duration: 2:30

DKK 52.00
1

Sojourn 3 : A Clarinet Solo

Sojourn 3 : A Clarinet Solo

The B-flat clarinet version was commissioned by and dedicated to clarinetist Eugene Jones, was premiered by Mr. Jones on a concert of chamber music at East Tennessee University in Johnson City, Tennessee, on February 28, 2010. This solo is the third in a series of works by the composer titled “Sojourn” for solo instruments. The single-movement work utilizes a Silesian folk song from Schlesische Volkslieder (used in the hymn Fairest Lord Jesus) as its basis. The opening section features material in quasi-Stravinskian rhythm and meter alternating with material hinting strongly at the folk tune and its variants. Melodic material is gradually transformed to the area of D major asthe fantasy-like treatment of the folk tune begins. After a complete statement in D major, a free variation ensues, also in D major, but is interrupted just before its completion by material from the opening section. Melodic transformation back to the octatonic and hybrid pitch material follows and the piece ends with a showy ascending, then diving, flourish.

DKK 126.00
1