Below is a list of compositions by Frank Ferko arranged
by performance medium/genre. All
published works are indicated by [ * ], and these are published by E.
C. Schirmer Music Company,
Fenton, Missouri, unless otherwise specified. Dates following the titles of the
works indicate publication dates; those following unpublished works indicate
date of composition.
For purchase information about titles published by E. C. Schirmer (ECS), click on the title. Titles of larger works are available from the Rental Department of ECS. For information about rental scores, please contact the ECS Rental Department.
* The Hill, (2010) a symbolist opera in one act, for four
principal singers, chorus and chamber orchestra; libretto by Sally M. Gall. (NB: This work is a complete revision of an earlier opera from 1996-99 with the same title.)
The 10-Minute Operas are miniature dramatic works requiring one or two singers and a small instrumental ensemble, often no more than two players. These works may be performed in a variety of ways: as concert works (without staging), semi-staged, or with full staging. They may also be performed alone or in combination with other similar works.
* Farewells from Paradise, (2001) a miniature opera in 15 minutes, for two
principal singers (soprano and baritone), violoncello and piano; text by Elizabeth Barrett Browning; commissioned by Sandra von
Valtier and first performed in a private concert on July 7, 2001 by Patrice
Michaels (soprano), Peter van de Graaff (bass-baritone), John Marc Rozendaal
(violoncello) and Ken Smith (piano).
* Ulysses and the Siren, (2002) a miniature opera in 17 minutes, for two
principal singers (mezzo-soprano and tenor), harp and piano; text by Samuel Daniel; commissioned by Sandra von Valtier and
first presented in a private performance on July 6, 2002 by Teresa Brancaccio (mezzo-soprano),
Kurt R. Hansen (tenor), Tija Danilovics (harp) and Ken Smith (piano).
* Cyclamen, (2007) a miniature monodrama in 10 minutes, for baritone, violin and piano; text by David Brendan Hopes; commissioned by Sandra Von Valtier and first presented in a private performance on June 24, 2007 by Jeffrey Ray (baritone), Yuan-Qing Yu (violin), and Ken Smith (piano).
WORKS FOR ORCHESTRA /
ORCHESTRA WITH CHORUS OR VOCAL SOLOISTS
* The Seasons (2013), for mixed chorus and string orchestra (another version of this work exists for chorus and string quartet), based on poetry by William Cullen Bryant, Robert Frost, and William Shakespeare. Duration: 17' 10
* Mysterium: Vision of the Cosmos (2003), for symphony orchestra,
based on a vision of Hildegard von Bingen and commissioned by the Valparaiso
University Department of Music; first performance April 29, 2003 by the
Valparaiso University Orchestra, conducted by Dennis Friesen-Carper.
Continuum: Time Contemplates Her Own Eternity (2000), for large orchestra, soprano solo, and children's chorus; commissioned by the Elmhurst Symphony Orchestra, Stephen Alltop, conductor, and performed on May 12 and 13, 2001. [NB: This work has been withdrawn. It is listed here for documentation and reference purposes only.]
* Angels, (1999) for chamber orchestra (orchestra version by
the composer completed in 1999; originally for organ)
* Veillées, (1991) for baritone, string orchestra and
harp (there is also a version for baritone, string quartet and harp).
O Saisons, ô châteaux! (1979) for mezzo-soprano
(or unison chorus) and chamber orchestra, on a poem by Arthur Rimbaud.
* Aegupton (2003), a dance piece for baritone/countertenor and
violoncello, based on a poem by Ezra Pound; commissioned by the Christopher
Caines Dance Company (New York) for performances in June 2004.
Red Death, (1991) improvised incidental music for piano, violin
and percussion for the theatre production of the same title at the Bailiwick
Theatre, Chicago, produced in March and April, 1991.
Words and Music (1987), two songs and incidental music, scored
for voice and four instruments, for the Samuel Beckett play in a student performance
at Northwestern University's Struble Theatre in Spring 1987.
Te lucis ante terminum: Introduction and Variations on a Medieval Chant(2009), for flute and organ, commissioned by flutist Teresa Bowers and first performed by Teresa Bowers with organist Felix Hell, at Gettysburg College, on September 30, 2011 .
* Lespace de Lumière(2007), for organ duet (4 hands, 4 feet) in five movements, commissioned by Timothy and Nancy LeRoi Nickel for performances in their August concert tour in the Burgundy region of France, 2007.
* Livre d'Orgue(2005), five miniature organ solo pieces, commissioned by the American Guild of Organists for the National Convention of the AGO; first performed by Janette Fishell at Holy Name Cathedral, Chicago, on July 4, 2006 for the National Convention of the AGO.
* Variations on Veni Creator Spiritus (2004), for organ solo, commissioned
by St. Chrysostom's Church, Chicago, for the dedication of the Fisk organ, Opus 123;
first performed on May 15, 2005 by Richard Barrick Hoskins, Music
Director and Organist at St. Chrysostom's Church.
* Toccata on Psalm 96, (2003) for organ solo, based on themes from the choral work Psalm 96; commissioned in celebration of 25 years of music ministry of Thomas and Nancy Lancaster at The House of Hope Presbyterian Church, St. Paul, MN; first performed on February 15, 2004. (See also Psalm 96 listed below)
Variations on a Theme of Tchaikovsky (2003), for piano solo, commissioned
by Sandra Von Valtier; first performed by Ken Smith at a private concert on January 1, 2004.
* Mass for Dedication(2001), for organ solo, commissioned
by Christ Church, Winnetka (IL) for the dedication of the redesigned and expanded
organ; first performed by Dana Robinson on September 14, 2003.
* Music for Elizabeth Chapel(2001), for
organ solo (three movements, each based on a different hymn tune), commissioned
by the House of Hope Presbyterian Church for the dedication of the Jaeckel organ
in the church's Elizabeth Chapel; first performed by Nancy Lancaster on April
* Triptych for Harpsichord(2000), Three movements
(Toccata, Theme and Variations, Fugue) composed for Tatiana Zenaishvili and
first performed by her at Rachmaninov Hall, Moscow, on January 25, 2001.
* Visions of Eternity, (1999) for organ solo; commissioned
by Marcia Van Oyen for the dedication of the John-Paul Buzard organ, opus 21,
at Glenview Community Church, Glenview, IL; first performed by Marcia Van Oyen
on Jan. 21, 2000.
* Constellations, (1999) a work in five movements
for flute/alto flute and guitar; commissioned by the ensemble Duologue through
the American Composers Forum; first performed by Duologue on Oct. 21, 1999 in
* Nebulae, (1997-98) for alto saxophone and organ; commissioned
by saxophonist Gail Levinsky and first performed by Ms. Levinsky and organist
Leanne Fazio at the March 1998 conference of the North American Saxophone Alliance
at Northwestern University.
* Missa O Ecclesia: Communion, (1995) for organ; single movement
from an incomplete organ mass based on the chant melody "O Ecclesia" by Hildegard
* Chant des Étoiles, (1984; rev. 1987) for organ duet
(4 hands and 4 feet); commissioned by Timothy and Nancy Nickel, duet organists;
first performed by the Nickels at St. Alphonsus Church, Seattle, 1987.
Portrait: John Eros Spends the Summer in Evanston, (1996) for
trumpet solo; first performed at a private concert on July 12, 2003.
* The Hildegard Organ Cycle, (1990-91) a set of ten symphonic
meditations on the visions from De operatione Dei of Hildegard von Bingen;
first performed by the composer, at St. Alphonsus (Roman Catholic) Church, Chicago,
on February 10, 1991.
The North Side of Heaven (Near the Rotunda), (1995) for horn,
clarinet and piano; commissioned by Kevin Zamborsky, hornist.
* Angels, (1994) for organ; commissioned by James Russell Brown.
Two Portraits, (1991) for violin and piano. First performed at a concert of the Chicago Composers Consortium in 1991 by Michael McLean (violin) and the composer (piano).This work is available directly from the composer.
Trio Pieces, (1992) for violin, violoncello and piano. First performed in a concert of the Chicago Composers Consortium in February 1992, by Michael McLean (violin), Laura Blanchet (violoncello) and the composer (piano). This work is available directly from the composer.
* Symphonie brève, (1987) for organ; first performed
in a recital by the composer at the Church of St. Paul and the Redeemer, Chicago,
on October 4, 1987.
Hymn Preludes, for organ (1986) [out of print]
Eleven Hymn Preludes, for organ (1989) [out of print]
Färbung, (1980) for piano 4-hands; commissioned by pianists Timothy and Nancy
Six Chorale Preludes, for organ (in graphic notation)
exquisitely crafted music reminds us there is plenty of good recent American
choral music that is worthwhile to sing and accessible to audiences." --Chicago
* If Ye Love Me (2016), for SATB chorus with divisi, unaccompanied; commissioned by the ORA Singers, Suzi Digby, conductor, and first performed at the Cutty Sark Theatre, London (UK), on February 1, 2017.
* For the Lamb Will Be Their Shepherd (2014), for SATB chorus, unaccompanied; commissioned by Nancy LeRoi Nickel for the Bach Cantata Vespers of St. James Lutheran Church, Portland, OR; first performance on May 4, 2014.
* Song of the Sky Loom (2013), for unaccompanied SATB chorus and SATB soloists, based on a Tewa poem; commissioned by Sally Roberts in celebration of the 75th birthday of Don Roberts. First performances: July 19, 24, 29, and Aug. 4, 2016 by the Santa Fe Desert Chorale, conducted by Joshua Habermann.
* How Long We Wait (2013), for large SATB chorus and solo oboe; commissioned by Schola Cantorum (Mountain View, CA), Gregory Wait, artistic director; first performed by Schola Cantorum with oboist Peter Lemberg, conducted by Gregory Wait, on March 15, 2014.
* Trois Chansons de Guerre (2012), for SATB chorus, unaccompanied, on three French texts by Guillaume Apollinaire; commissioned by Sospiri, co-directed by John Duggan and Christopher Watson; first performance by Sospiri, conducted by Christopher Watson, at the Church of St. John the Evanglist, Oxford (UK), November 9, 2014.
* The Seasons (2012), for SATB chorus and string quartet; commissioned by the South Bend Chamber Singers, Nancy Menk, conductor; first performed by the South Bend Chamber Singers and the Euclid Quartet, conducted by Nancy Menk, on March 3, 2013. Duration: 17' 10
* O nobilissima viriditas (2012), for unaccompanied SSAA chorus, based on text by Hildegard von Bingen; first performed by The Esoterics, Eric Banks, conductor, in a series of three concerts in the Seattle area, titled Sybilla, December 7, 8, and 9, 2012.
* Alma Submerged (2012), for SSAA chorus with light percussion, based on a painting of the same title by Ryan Reynolds (on exhibit at the Triton Museum, Santa Clara); commissioned by the Peninsula Women's Chorus, Martin Benvenuto, conductor; first performed at the Annual Floral Festival in Santa Clara, California on October 20, 2012.
* Spring of Life (2010), a three-part work for unaccompanied SATB chorus, on texts by Kenneth Rexroth; commissioned by the Bay Choral Guild; first performed by the Bay Choral Guild, conducted by Sanford Dole, in a set of three concerts March 18, 19, and 20, 2011 in the San Francisco Bay Area.
* Jubilate Deo (2011), for SATB chorus and percussion; commissioned by the Valparaiso University Department of Music, and first performed by the Vslpsrsido University Chorale, conducted by Christopher Cock, in the Chorale's 2011 Spring Tour.
* Spiritus Sanctus vivificans vita (2010), for unaccompanied SATB chorus, on a text by Hildegard von Bingen; commissioned by Meistersingers, Brian Dehn, conductor; first performed in a set of two concerts on June 19-20, 2010 in Orange County, California.
* What's This? (2009), for SSAA chorus and piano, on three texts by Gertrude Stein; commissioned by Peninsula Women's Chorus, Martin Benvenuto, conductor; first performed under the title "Three Buttons" in a series of three concerts on May 9, 16 and 18, 2010 in San Francisco and Santa Clara, California.
* The Snow Lay on the Ground (2008), for unaccompanied SATB chorus; commissioned by Choral Arts Ensemble, Rochester, Minnesota, Michael Culloton, conductor; first performed on December 12,13 and 14, 2008.
* Omnipotens Deus dies (2007), for SATB chorus, three trumpets, two trombones and timpani, on an English text from the 10th century Benedictional of Archbishop Robert; commissioned by St. Francis Episcopal Church, San Francisco, Robert J. Kerman, Director of Music; first performed on June 10, 2007.
* Into Your Hands I Commend My Spirit(2006), for unaccompanied mixed choir, on verses from Psalm 31; commissioned by St. James Lutheran Church, Portland, Oregon, Nancy Nickel, Director of Music; first performed on March 12, 2006.
* Laudate Dominum(2005), for unaccompanied AATBB choir, based on the first five verses of Psalm 148; commissioned by Peter Hallock for the Compline Choir of the Cathedral of St. Mark, Seattle; first performed on May 13, 2007.
* Psalm 96, (2003) for mixed chorus, children's chorus, and organ; commissioned in celebration of 25 years of music ministry of Thomas and Nancy Lancaster at The House of Hope Presbyterian Church, St. Paul, MN; first performed on February 15, 2004. (See also Toccata on Psalm 96 listed above)
* La remontée des cendres (2004), for mixed
chorus, countertenor and soprano soloists and instrumental ensemble, on texts
by Tahar Ben Jelloun,
commissioned by the VU-Kamerkoor, Amsterdam, Boudewijn Jansen, conductor; first
performed on May 14, 2005 at Geertekerk, Utrecht,
and May 20, 2005 at Waalse Kerk, Amsterdam (The Netherlands).
* A Festival of Carols (2002), for mixed chorus and harp, based
on five American Christmas texts from the 18th and 19th centuries, commissioned
by the Dale Warland Singers; world premiere on December 7, 2002.
* O Salutaris Hostia (2001), for women's voices, unaccompanied;
composed for Aurelio Porfiri, Rome, Italy.
* Magnificat (2001), for mixed chorus and organ; commissioned
by the South Bend Chamber Singers, Nancy Menk, conductor, and first performed by them at Our Lady of
Loretto Chapel on the campus of the College of Saint Mary, South Bend, on December
* Nos Galan (2001), for mixed chorus, children's chorus, piano
and percussion; commissioned by the Dale Warland Singers, and first performed
by the Dale Warland Singers, Dale Warland conductor, on December 7 and 9 in
* O coruscans lux stellarum (2002), for unaccompanied men's chorus,
on a text by Hildegard von Bingen; commissioned for the 150th anniversary celebration
of the Harvard Glee Club; first performed during the 2005 Spring Tour of the Glee Club (March
27-April 2), conducted by Kevin Leong.
* Psalm-Cantata, (1999) for mixed chorus, children's chorus,
soprano solo and two organs; commissioned for the 150th anniversary celebration
of The House of Hope Presbyterian Church, St. Paul, MN; first performed on May
* Stabat Mater (1997-98) for unaccompanied mixed
chorus and soprano solo, with additional interpolated texts; commissioned by
His Majestie's Clerkes, and first performed by them, with soprano Rauquaia Hale
Wallace, under the direction of Anne Heider, on February 20, 27 and 28, 1999;
European premiere performances by the VU-kamerkoor (Vrije Universiteit, Amsterdam),
conducted by Boudewijn Jansen, on March 14, 2003 at St. Janskerk, Utrecht and
on March 15, 2003 at Dominicuskerk, Amsterdam.
* Hildegard Triptych (1997-98) for unaccompanied double choir: (1) O vis aeternitatis; (2) Caritas abundat; (3) O virtus Sapientiae;
commissioned by the Dale Warland Singers and first performed by them at the
Cathedral Classics concerts, March 20-21, 1999 in Minneapolis and St. Paul,
MN; first European performances by the Holst Singers, conducted by Stephen Layton
at St. Luke's Church, London on November 8, 2003, and by the Nederlands Kamerkoor,
conducted by Stephen Layton, in Leeuwarden, Utrecht, Beek-Ubbergen, Groningen,
Alkmaar, and Amsterdam, January 15-22, 2004.
* I Will Remember, (1998) for SAB chorus and organ: Anthem for the Day of St. Martin Luther King, Jr., published in Volume VII of the Somerset Anthem Books. Also available separately.
* O vos omnes, (1998) for SAB chorus and organ in Volume VI
of the Somerset Anthem Books. Also available separately.
* Nunc dimittis, (1996) for unaccompanied SATB choir (composed
for the 150th anniversary of The Cathedral of St. Philip, Atlanta).
* O Gracious Light (Phos hilaron)(1986), for mixed chorus and
organ. Composed for the dedication of the Hellmuth Wolff organ at Christ Church, Oyster Bay, NY and winner of the first prize in the 1986 choral anthem competition sponsored
by Christ Church, Oyster Bay.
* I Will Give Thanks (1989), for mixed chorus and organ (commissioned
by the Episcopal Diocese of Chicago in celebration of the 90th anniversary of
the United Thank Offering).
* Three By Parker, (1995) for men's chorus and piano, 4-hands,
on texts by Dorothy Parker; commissioned by the North Coast Men's Chorus, Timothy
Robson, conductor, Cleveland, Ohio, and first performed by them on April 16,
1996. (1) Indian Summer;(2) Bohemia; (3) Resume.
* Motet for Passion Sunday (1993), for unaccompanied mixed chorus;
commissioned by the Schola Cantorum of St. Peter's Church in the Loop, Chicago.
Lord of All Hopefulness (1993), a chorale concertato for mixed
choir, congregation (or unison choir), oboe and organ; commissioned by the
Church of St. Paul and the Redeemer, Chicago, published by Augsburg Fortress,
Minneapolis [out of print]
Lord, Thou Hast Been Our Dwelling Place (1993), for mixed
chorus and organ; commissioned by Grace Lutheran Church, Springfield, Illinois
in celebration of the parish's 150th anniversary, published by Augsburg
Fortress, Minneapolis [out of print]
Humoresques, (1987) for men's chorus, 2 pianos and 4 harps. Based on two poems by Thomas Merton: Les cinq vierges and Chee$e. Winner of the 1987 New Works Competition of the New York City Gay Men's Chorus; first performed by the NYCGMC, conducted by Gary Miller, at three concerts in Alice Tully Hall on June 23, 25 and 27, 1987. This work is available directly from the composer.
O God of Light (1986), a chorale concertato for mixed chorus,
congregation (or unison choir), 3 trumpets and organ [out of print]
* * *
O salutaris Hostia, by Frank Ferko...
this brilliant anthem is set mostly homophonically with spectacular harmonies
on beautiful phrase shapes.
Treble voices will just simply ring on harmonies in both upper and lower tessituras.
Ferko understands treble voices and therefore writes extremely well for this
type of artistic force. A scholar of Hildegard von Bingen, Ferko uses chantlike
phrase shapes and harmonies much like what you would find in the 12th century
composer's music. --Spectrum Music Newsletter
Reminiscences (2016), four songs on poems of Charlotte Mew for bass baritone and piano. This set is divided into two parts: Part 1 contains two songs that can be sung by either baritone or bass baritone, and Part 2 contains two songs for bass baritone only.
Whitman Songs (2013), five songs on poems of Walt Whitman for tenor and piano.
* Merton Songs: Five Songs on Poems of Thomas Merton (2004), for baritone and piano. Individual titles: Silence--Wisdom--The Evening of the Visitation--Reduced to This--Song for Nobody. Composed for Nathan Gunn (baritone) and Julie Gunn (piano), and first performed by the Gunns in Zankel Hall at Carnegie Hall on April 15, 2008.
* David and Bathsheba
(2004), for baritone, harp and piano, based on a poem by George Peele (1558-1597);
commissioned by Sandra Von Valtier and first performed in a private concert
on July 17, 2004 by Jeffrey Ray (baritone), Tija Danilovics (harp) and Ken
* Dozing on the Lawn(2003) for baritone voice, violin, piano
and optional trumpet (composed to be performed in conjunction with Portrait:
John Eros Spends the Summer in Evanston -- see above); commissioned
by Sandra Von Valtier and first performed in a private concert on July 12, 2003
by Robert Orth (baritone), Carmen Llop (violin), Ken Smith (piano) and Ross
* Four-Hand Piano, (1995) for soprano and piano 4-hands, on a
text by Eric Muller; commissioned by pianists Timothy and Nancy LeRoi Nickel.
* Veillées, (1991) for baritone, string quartet and harp;
also there is a version for baritone, string orchestra and harp, on poems by
* Sainte, (1991) for baritone, string quartet and harp, on
a poem by Stephane Mallarmé.