At the Water’s Edge
Siegfried Publishing #018, SATB chorus, harp

…At the Water’s Edge, a setting by Kevin Siegfried of four poems by Sarah Orne Jewett. Commissioned in 2005 by the Community Chorus of South Berwick, Maine, where Jewett lived, these are gentle, largely consonant, nature settings, though the third, in five parts, ventures some discreet dissonance.

They are a solid, mainstream, contribution to the modern American choral repertoire.

— Alan Swanson, Fanfare Magazine, 2008

Cradle Song
Siegfried Publishing #020, solo guitar

“Cradle Song” by Kevin Siegfried is a true lullaby. A pleasing melody creates a lulling, restful effect, and surprise modulations evoke emotional memories of distant worlds.

— Sherry Kloss, The Triangle from Mu Phi Epsilon, 2010

Media vita
E. C. Schirmer #5942, SSATB chorus a cappella

Out of simple, Pärt-like musical material Kevin Siegfried builds an antiphon of austere beauty. Media Vita takes its text from the Latin proper for the last weeks of Lent, words that seriously disturb the comfortable distance we put between ourselves and our own mortality. The music has something of the timeless impersonality of Byzantine chant but also the pressure and presence of personal conviction. High A's and B's for sopranos evince a strain which, here, is not mannered, still less ill-judged, but contributes expressively to that pressure.

— Peter Dale, Choir & Organ, July/August 2003

Three Horizons
Siegfried Publishing #034, SATB chorus, piano

“Musical Collaboration Creates a Heaven of Song” – View PDF

— Exeter Bulletin, Winter 2011

There is no rose
E. C. Schirmer #6075, SATB chorus a cappella

This anonymous 15th-century text is variously set with the Latin response reiterated after each of the five verses–the last with a descant. There is some divisi. It would be ravishing with a good choir.

— The American Organist, October 2004

Tracing a Wheel on Water
Siegfried Publishing #014, solo guitar

Kevin Siegfried’s “Tracing a Wheel on Water” was commissioned by Larget-Caplan in 2003 and has had spectacular and deserved success since then. It has been performed in over 50 concerts and is the title of one of Larget-Caplan’s CDs. It’s a hypnotic work, what the composer says “is a meditation on my experiences of the water’s surface… a manner in which flowing circles on the water’s surface envelop one another in a rhythm that is always new, yet never changing.” This hypnotic and beautifully written work was, for me, the highlight of a really interesting concert.

— Susan Miron, The Boston Musical Intelligencer, January, 2011

… grafts the rigor of classical music to the warmth of pastoral folk music.

— Scott McLennan, Worcester Telegram, May, 2006