Do You Love for Beauty? : Liebst du um Schönheit

Do You Love for Beauty? (Liebst du um Schönheit) is the second of Mahler's Rückert songs arranged by Stanley M. Hoffman for mixed chorus, the first one being Into This World I Came As a Lost One (Ich bin der Welt abhanden gekommen), 5755. This latest arrangement features a new English singing translation by the arranger, and sumptuous Romantic harmonies inspired by the piano accompaniment provided by the composer. Duration: 2:50

All People that on Earth do Dwell

Ye Children Who Do Serve the Lord

Who Do You Say That I Am?

Do not stand at my grave and weep

Do Not Stand at My Grave and Weep

Jesu, We Do Worship You : Christe, adoramus te

This five part C major motet has a Latin text from the Antiphon from the Good Friday Liturgy. Notated on five staves, the soprano 1 and 2 parts have their own staves. An optional continuo part for organ is provided. Note values of the original editions have been halved for easier reading. Durations at cadences are clearly edited for precise cut-offs. The English version by Jean Lund has been updated, removing archaic words such as "thee" and "thy." Duration: 2:45

Do not stand at my grave and weep

Do not stand at my grave and weep

How Do I Love Thee : 5 Songs For Soprano and Piano

How Do I Keep on Feelin' in This Mean, Mean World?

Hark, I Hear the Harps Eternal

While having a folk-like feel that suits this familiar text, the musical material is entirely original. This setting features a more pastoral, contemplative tone than more lively settings with which you might be familiar. SATB a cappella in seven parts (the altos do not divide).

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

Listen, I love you

The opening lines, “Listen, I love you. Do not turn your face / Nor touch me.”, reflect the somber feelings encompassing Sara Teasdale’s poem. Paired voices initially express contrapuntal melodic lines enhanced by underlying harmony and slow syncopation in the piano accompaniment. The middle and final sections, imbued with sad words such as “let me ease my heart,” “with broken wing” and “Forget that I am speaking,” evolve beautifully within contrasting tonal regions, supported by undulating keyboard arpeggios. One of a set of six of Teasdale's love songs. Duration: 2:00

Listen, I love you

The opening lines, “Listen, I love you. Do not turn your face / Nor touch me.”, reflect the somber feelings encompassing Sara Teasdale’s poem. Paired voices initially express contrapuntal melodic lines enhanced by underlying harmony and slow syncopation in the piano accompaniment. The middle and final sections, imbued with sad words such as “let me ease my heart,” “with broken wing” and “Forget that I am speaking,” evolve beautifully within contrasting tonal regions, supported by undulating keyboard arpeggios. One of a set of six of Teasdale's love songs. Duration: 2:00

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.)