Taking Your Choir to an Established Music Festival
Marie Stultz, Contributing EditorMassed choir events happen all over the world. Some are very successful; some can result in a bad experience. When considering the possibility of involving your group in a mass choir experience, the following questions and issues should be carefully answered and/or researched:
1) Who is the conductor? This is critical to the success of the choir's experience at the festival. If your choir is not being musically challenged or the conductor is not exciting, the entire event could be a disaster for everyone. Do your research and determine the following:
a. Is the festival conductor qualified? Look into the person's background and experience. Ask colleagues about the conductor. Try to find people that have had previous experience with the person.
b. What kind of music does the conductor often select? If yours is a classically trained choir and the conductor selects pop hits, this will definitely not be a good experience.
c. Investigate the conductor's group dynamic and ability to conduct under the pressure of a large group. I have heard horror stories of conductors losing their temper, etc. That will certainly cloud your choir's experience.
d. Determine the age of the conductor. In general, older conductors or conductors with a lot of experience will create a better climate in which to learn.
2) Who is running the festival? This is very important in the decision-making process; a poorly run festival can put a damper on everyone's experience.
a. Make sure the festival coordinators have a good track record.
b. Check into the accommodations for the choir.
c. Determine where rehearsals will be held.
d. Make sure there are restaurants close by with varying prices.
e. Get a sense of distance from the rehearsal venue to the performance venue. Some walking is fine, but it is important that you are not spending a lot of money on transportation.
3) What is the city or country of destination? With a large festival, there will be some down time. It is important that the event be in a place that is exciting.
a. Select a destination where there is plenty to do - a city or region that is culturally interesting and diverse in nature.
b. Go to a festival where you have colleagues that might offer the choir an alternate performing venue apart from the festival.
c. When selecting a foreign country for a festival venue, make sure the touring company is reliable and has a good reputation.
d. It is also important to have someone along or engage someone that can speak the language. This component is critical to the success of an out of country experience.
e. Make sure the venue you select is one members of the choir or the choir tour fund can afford. The price for the festival must be reasonable. Festivals are run to make money but some cost more than others.
f. Be certain a choir tour coordinator is along with you to smooth the waters and make sure arrangements have been properly made.
4) Have the choirs planning to attend been screened or auditioned? This is an extremely important question. If your choir comes prepared and the other choirs come unprepared, this spells nothing but disaster.
a. Investigate the type of literature the festival directors want to hear. This will give you an idea of the quality of the festival.
b. Prepare a tape or CD of high quality so that the selection committee understands the capability of your choir.
c. Make sure there is a limit to the number of choirs included. Too many singers can really ruin an individual choir's experiences.
5) Pick a festival where your choir can perform individually, either in the main performance or organized in such a way that all the choirs have a separate venue outside the main concert site.
a. The suggested venues for outside performances will give you an idea of the festival's quality.
b. Check out the major performance space as well. Be sure it is an acoustically sound venue.
c. Investigate whether the festival provides adequate rehearsal space for the individual choirs as well.
6) Select the music your choir will perform in the festival carefully. The right choice will determine how your choir is looked upon at the festival.
a. Pick a piece or pieces that meets the festival's criteria.
b. Carefully select music that is within your choir's ability. This is particularly critical when you have limited rehearsal time.
c. Make sure it is a selection that will leave a lasting impression.
d. It is important that the choir really likes the piece or program. This will come across in their performance.The Treble Chorus of New England's Festival Experiences
I have always preferred separate tours or choir exchanges over festival experiences. The choir gets more "bang for their buck" and the experience of performing in a variety of venues and acoustics. Fortunately, the two times we have decided to participate in a festival, we had great experiences.
The Shrewsbury Festival~Shrewsbury, England in 1992
The Shrewsbury Festival was run by a touring company out of New York named Concert World. There were a number of things about this festival that were totally unique and wonderful.The festival was set in the quaint and beautiful town of Shrewsbury, which boasts a beautiful concert hall and cathedral. The concert hall provided the individual performance venue and the cathedral provided the massed choir venue. The festival had been a established for a long time and therefore has a great deal of town support. In fact, a parade by the participants was organized at the beginning of the festival to help generate large audiences and a number of social events were planned as well.
Bands and orchestras were included along with the choirs, which provided a great deal of musical variety. Music organizations from all over the world were included, giving the festival an international flair that everyone enjoyed.
I was asked to conduct the mass treble voiced choirs, which was a wonderful and unique experience. We performed the Pergolesi Stabat Mater with a local orchestra. All the choirs were beautifully prepared and performed with a great deal of artistry. The soloists were selected from the TCNE, which was terribly exciting for my students. Because I was the festival conductor, TCNE got to do its recently commissioned piece Whiskers and Rhymes by Scott Wheeler alone. The performance received a standing ovation which was very gratifying.
In addition to the festival performances, the tour company provided outside performance venues which included a performance in one of the major cathedrals in the region, a baptism service for one of England's oldest land owners who was a member of the House of Lords, and a debut concert in London at St. Martin-in-the-Fields.
The outside tours by bus were fabulous and we were provided with a tour guide on each trip that was tailored to our interests. Most of the students and conductors were in home stays, which cut down on the costs for each individual. The experience just didn't get any better and was organized for a very fair price.
The Crescent City Festival~New Orleans, LA in 2001
My staff and I picked this festival in New Orleans because of its guest conductor Bob Chilcott. This was the third Crescent City Festival organized by The New Orleans Children's Choir under their wonderful conductor Cheryl Dupont. The festival has a short, but successful history and of course is held in one of America's most historic cities. It was a good choice for us for many reasons.First and foremost, the festival conductor was Bob Chilcott, one of the founding members of the King Singers. He was also trained by Sir David Willcocks at King's College. In conversations with Sir David, I understood him to be a consummate musician, conductor, and composer. He turned out to be tremendously dynamic with a lot of charm and charisma. He had the 400 voiced mass choir eating out of his hands. In fact, Chilcott has been asked to join TCNE for our 30th anniversary with a piece written in honor of the choir's milestone.
In addition, The Mississippi Girl Choir, who we hosted at our first Boston National Choir Festival, was also going. Both choirs were looking forward to seeing old friends and meeting new ones.
A successful festival depends on good organization, and this festival committee and Dupont's staff were beautifully organized and communicated well with all of the participants. All of the rehearsals were held at the Radisson in downtown New Orleans. The large rehearsal room had decent acoustics and was large enough to be comfortable for this huge number of people. Although the Radisson had not prepared enough rooms at first, they corrected the problem quickly.
The concert was held in the beautiful St. Louis Basilica which had an incredible acoustic. (The only downside of the Basilica was the lack of a good piano.) Each of the twelve choirs were allowed to perform one 3-minute piece. Because I knew the Basilica had a fabulous reverberation and acoustic, I selected the Randall Thompson Pueri Hebraeorum a cappella for double choir as our contribution. A solo quartet was choir one with the other touring members as choir two. We performed it antiphonally and took down the house. Again, it is so critical to pick the right piece. The Thompson piece met all the festival criteria and more.
The social events were also beautifully planned and so New Orleans. The festival coordinators provided us with a list of restaurants and places to see. The festival culminated with a River Boat trip that was truly unforgettable. The only regret of the trip was that we were not able to find a second performance venue in the four day festival.
The entire event was fairly priced and quite rewarding.The Boston National Choir Festival in 2002
The second Boston National Choir Festival, sponsored by TCNE with guest conductor Sir David Willcocks, will be held on October 11-14, 2002. The festival will rehearse at the Rogers Center for the Arts at Merrimack College in North Andover, MA. The two culminating performances will be held on Sunday, October 13 at the Rogers Center at 4:00pm and the second performance will be held on Monday, October 14 at noon at the magnificent Old South Church in Copley Square, Boston, MA. Both venues have magnificent instruments. The festival is open to treble voiced children's choirs throughout the world. Choirs will be selected by audition. For more information call Lori Bennett at 978-837-5462.
New Releases ~ Sacred SATB Voices ~ Sacred
A Spiritual Reflection, arr. Moses Hogan, English text, Hal Leonard, 08703315, SATB (divisi) a cappella. With a performance time of five minutes, this challenging setting of I am a Poor Pilgrim and Sometimes I Feel Like a Motherless Child requires an accomplished choir that understands the African-American performance style. The complex rhythms and difficult intervalic partwriting are tremendously effective. Moses Hogan's spiritual arrangements are held in high esteem, but require very patient and talented singers to be performed artistically. Difficulty rating 4-5. $1.40
Beatus vir, by Carl Czerny, Latin text, Warner, LG53049, SATB a cappella. Surprising harmonies dominate this simple homophonic setting of a famous text. It is based on a hand-copied score, edited by Martin Banner, found at the Musiksammlung of the Österreichische Nationalbibliothek in Vienna. A student of Beethoven, Czerny came from a musical family. As a piano teacher, he had among his students Franz Liszt. This easy anthem will be quite satisfying for any church choir. Difficulty rating 3. $1.40
Gloria in Excelsis, by Georg Reutter (1708-1772), Latin text, Warner, LG53051, SATB & keyboard (opt. strings). Scored for two violins, cello, and bass, this fine edition by Martin Banner is a wonderful find. Based off a manuscript in the archive of the Stiftsbibliothek at Chorherrenstift Klosterneuburg in Austria, editorial notes are included in the edition as well as a translation of this great motet. Reutter studied with Caldara and worked in the Viennese court where he hired a young Joseph Haydn to sing in the cathedral choir. Written homophonicaly, the piece will be quite easy to learn. Difficulty rating 3. $1.40
I Want to be Ready, arr. Moses Hogan, English text, Hal Leonard, 08703310, SATB a cappella. Tricky rhythms dominate this homophonic setting where the choir answers the soloist. This spiritual should be great fun to sing and worth the effort to learn. Difficulty rating 4. $1.40
Let Their Celestial Concerts All Unite, by George Frideric Handel, English text, Presser, 392-03073, SATB & keyboard (opt. orchestra). The final chorus from the great oratorio Samson, the anthem is filled with challenging melismatic phrases and counterpoint. This Thorpe edition is beautifully edited, with extensive background information and performance suggestions. Difficulty rating 4-5. $1.50
The Lord Is My Shepherd, by Jonathan Willcocks, English text, Oxford, 350492-8, SATB & organ. This adaptation from a larger work entitled Great is the Glory uses texts from Psalms 22 and 23. Challenging harmonies dominate this mostly homophonic setting of the psalms. This plea for God's comfort requires an accomplished choir that can control dynamics. The tenor part requires a singer with excellent intonation and fine musicianship. Difficulty rating 4. $1.50
O Deus Amor Meus, by Carl Czerny, Latin text, Warner, LG53050, SATB a cappella. Another edition carefully researched and based on a manuscript found in Vienna by Martin Banner, this wonderful piece is filled with surprising harmonies that the choir will enjoy singing. Written homophonically, the piece should be easy to learn. Difficulty rating 3-4. $1.40
Oh Llama de Amor viva, by Gian Carlo Menotti, Italian text, Hal Leonard, 50484156, SATB (divisi), baritone solo, & piano (opt. orchestra). This 10-minute work was first performed at the Kennedy Center in Washington, D.C. on April 28, 1991. It is set to an allegorical text from Subida del monte Carmelo (The Ascent of Mt. Carmel) written by St. John of the Cross (1542-1591). Changing meters, complex intervals, and melismatic writing dominate the musical fabric. Filled with mystery, the piece requires an accomplished baritone soloist. Difficulty rating 3-4. $2.95
Pater Noster, by Imant Raminsh, Latin text, Boosey, M-051-47309-0, SSAATTBB a cappella, mezzo, and baritone solo. This piece is quite beautiful but not for the "faint of heart." Changing meters and complex intervals dominate the harmonic textures. The work requires a semi-professional or professional choir to be effective. Difficulty rating 5. $1.50
Psallite, by Michael Praetorius (1571-1621), Latin text, Shawnee, A2136, SATB a cappella. Edited by John Leavitt, this famous piece attributed to Praetorius is taken from the Musae Sioniae of 1609. This short piece celebrates the birth of Christ as the angels sing to him. The counterpoint is great fun to sing. Difficulty rating 3. $1.40
Sanctus, by Charles Gounod, English/Latin text, Lorenz, 10/2467LA, SATB, soprano or tenor soloist & organ (opt. c instrument/flute). Realized by Hal Hopson, this great Sanctus is taken from Gounod's Messe Solennelle and will be an excellent addition to the church library. This movement is ideal for building the choir's ability to sing softly. Difficulty rating 3. $1.70
Veni redemptor gentium, by Jacob Handl (1550-1591), Latin/English text, Paraclete, PPM00123, SATTB a cappella. Edited by Bret Heim, this anthem is taken from Opus Musicum I of 1586. The simple counterpoint and long phrase shapes require a choir of some accomplishment. This piece is an excellent way to introduce your choir to one of the finest sacred composers of the late Renaissance. Difficulty rating 3-4. $1.60
Were You There?, by Bob Chilcott, English text, Oxford, 343290-0, SATB a cappella. This is a fresh setting of this famous old Easter spiritual. Colorful harmonies and simple counterpoint make for a lasting artistic impression. The choir must have excellent control of the dynamics which never go beyond a short forte section. Difficulty rating 3. $1.40
Treble Voices ~ Sacred
Alma redemptoris Mater II, by Guillaume Dufay (1400-1474), Latin text, Oxford, 386281-6, SSA a cappella. Edited by Jameson Marvin, this wonderful Renaissance motet is based on a number of sources. An extensive description of his editing, to Marvin's credit, is included in the publication. Revered in the 15th century, this antiphon is written in honor of the Virgin Mary. Pieces of this type look quite simple, but are difficult to sing artistically. The long contrapuntal phrases and the harmonic gesture need to be carefully realized. Melismas sung in the appropriate style are critical to the artistic impression. Clear consonants and pure vowels will also help in preparing an elegant performance. The alto part is extremely low, requiring the possible use of counter tenors or falsettists. Difficulty rating 4. $1.75Aures ad nostras deitatis preces, by Guillaume Dufay (1400-1474), Latin text, Oxford, 386282-4, SSA a cappella. One of two settings of the Quadragesima hymn Aures ad nostras deitatis preces, this one is absolutely a winner. Again, Jameson Marvin has used reliable resources for this edition. The elegant chant at the beginning and the open harmonies which contain many octaves and fifths will simply ring on treble voices. The counterpoint is simple, but the choir must understand the style and the artistic gesture of the 15th century. Another winner from Oxford. Difficulty rating 3. $1.50
Ave Maria, by Jacob Arcadelt (1505-1567), Latin text, Shawnee, B0602, SSAA a cappella (opt. keyboard). This Ave Maria is filled with wonderful suspensions and simple counterpoint that will develop an early music style of singing in the more advanced treble choir. It is totally suitable for an accomplished children's choir to learn to sing Renaissance music. Editor John Leavitt offers some information on the composer as well as a translation. Difficulty rating 3. $1.40
Dona Nobis Pacem, by Johann Michael Haydn (1737-1806), Latin text, Hal Leonard, 08742756, SSA, piano, two flutes. What makes this edition special is the opportunity to use two amateur flutists with your choir. This hymn of peace is found in Haydn's Missa S. Leopoldi, written in 1805. The classic lines and counterpoint are a rare opportunity to expose your singers to a simple piece in a period which offers very little for treble voices. The keyboard part is a reduction of the full score for two trumpets, two violins, bass and organ. Difficulty rating 3. $1.40
Hodie Christus natus est, by Giovanni Pierluigi da Palestrina (1525-1594), Latin text, Oxford, 386283-2, SSAA a cappella. This brilliant Christmas motet, edited by James Marvin, is a must for the accomplished treble choir. Low tessitura in the alto part, changing meter signatures that suggest the typical hemiola, and some interesting counterpoint make this a wonderful piece to consider when selecting music of this period. Difficulty rating 4. $1.75
Let the Bright Seraphim, by George Frideric Handel (1685-1759), English text, Presser, 392-03074, unison & keyboard (opt. orchestra). This has been a favorite for years by members of TCNE. The brilliant melismas and extreme range when sung in a perfect unison just leaves one breathless. The piece works perfectly on unison voices with organ and trumpet accompaniment. Editor Bill Thorpe offers wonderful insights into the background and creation of the ideal Christmas work. Difficulty rating 4. $1.50
Loving Shepherd, by Bob Chilcott, English text, Oxford, 343284-6, SSS & organ. This sweet piece is one of Chilcott's best. Written for the New Orleans Children's Chorus, it uses a text by Jane E. Leeson. The beautiful melody and simple counterpoint make this a timeless creation that choirs will enjoy for years to come. The piece is appropriate for all treble choirs. Difficulty rating 3. $1.60
Noël des enfants qui n'ont plus de maisons (Christmas Carol for Homeless Children), by Claude Debussy, French/English text, Presser, 362-03415, SA & piano. This famous piece for trebles by Debussy is finally in an edition that is affordable. The last song Debussy composed after World War I, it really is not a carol but a prayer by French children asking that the Germans have no Christmas. Debussy created this two-part setting in 1916. It is tremendously powerful on accomplished children's voices. No eye is dry in the room. It is best sung in French but the Ames Allen Brooks translation works in English. Difficulty rating 4. $1.50
O Lovely Peace, by George Frideric Handel (1685-1759), English text, Presser, 392-03075, SA & keyboard (opt. orchestra). Published by Novello for years, this particular edition is valuable because of the editorial notes. Taken from Judas Maccabaeus, this 3 and 1/2 minute work builds the middle range of the child's voice. It is set to a text by Reverend Thomas Morell. Difficulty rating 3. $1.50
Men's Voices ~ Sacred
Agnus dei, by Guillaume Dufay (1400-1474), Latin text, Oxford, 386280-8, TTBB a cappella. This is a very sophisticated score for the singer. It takes an accomplished director and choir to understand the notation. It is edited by Jameson Marvin and displays enormous scholarship. He describes it as "Dufay's crowning achievement," which clearly it is. Dufay actually asked that this motet be sung at his funeral. It is one of his best moments in music. Fortunately it was set for men's voices, making it a wonderful addition to the men's choral repertory. However, it is a notation and interpretive challenge with long melismatic phrase shapes. Difficulty rating 4. $2.50
Sanctus, by Thomas Tallis (1505-1585), Latin text, Oxford, 386284-0 TTBB a cappella. Taken from the Mass for Four Voices, edited by Jameson Marvin, this edition is prepared from the Oxford University Press edition of their Tudor Church Music Series compiled in 1928. Written for four men's voices, this edition is wonderfully prepared, but offers challenges in counterpoint and phrase shape. Indeed, in this newsletter Marvin has offered us some wonderful editions that force conductors to think and study before introducing any of these fabulous editions to their choirs. Difficulty rating 4. $2.50
Sacred Collections for SATB Voices
Chantry Choirbook, Sacred Music for All Seasons, edited by Frank Stoldt (and team), German/English texts, Augsburg, 12-114, SATB a cappella and accompanied. This outstanding collection traces the German anthem tradition of the Lutheran Church. It includes such composers as Johann Walter, Hans Leo Hassler, Michael Praetorious, and Hugo Distler to name a few. This invaluable edition is a must for every church organist or choir director. Bravo to Augsburg Press for this wonderful collection. Difficulty rating 3-5. $19.95
The Southern Counties Services, Chichester~Salisbury~Winchester, by Herbert Howells, English text, Novello, 445021, SATB voices (divisi/some solos). This is one of four absolutely brilliant editions of all of Howells service music, selected and edited with an extensive preface by David Hill. It is wonderful that Novello would organize this great English composer's service music in this manner. Each Magnificat and Nunc Dimittis is put together by the various cathedrals they were written for. Hill says, "Howells has emerged as among the greatest and certainly most widely performed composers of choral liturgical works of the last hundred years." The other set now available is The Oxford and Cambridge Services for King's~Magdalen~New~St. John's, Novello 445032. This edition includes the magnificent Collegium Regale written for Sir David Willcocks and the King's College Choir. Still to come from the publisher: The London Services, St. Paul's~Westminster~Westminster in B minor; The Three Choir's Services, Gloucester~Hereford~Worcester.
New Releases ~ Secular SATB Voices ~ Secular
Sehnsucht (Longing), by Johannes Brahms, German/English text, National, NMP-317, SATB & piano. This beautiful piece is written in typical Brahmsian style. Graceful counterpoint and long phrase shapes are supported by an accompaniment written independently of the voice line. Tricky ascending and descending phrases with changing intervals add to the complexity of the piece. Edited and translated by Warner Imig, this is a wonderful piece for the accomplished choir. Difficulty rating 4. $1.45
Two Shakespeare Collections
Shakespeare Madrigals, by Gregg Smith, English text, ECS, 5453, SATB a cappella. Commissioned by Carleen Dixon for the Jubilate Ensemble of Washington, D. C. in 1987, these are fine pieces. Written in a contrapuntal madrigal style with two pieces written in two-part canzonet form, Smith recommends the work be sung by chamber choirs in madrigal style. The texts include Fie on Sinful Fantasy;, Take, O, Take Those Lips Away; Sigh No More, Ladies; If She Be Made of White and Red; and closes with When Daisies Pied. It is ideal for the advanced madrigal ensemble. Difficulty rating 3-5. $2.95Songs and Sonnets, by George Shearing, English text, Hinshaw, HMB226, SATB, piano, & double bass. These clever pieces in seven movements are a dream for the high school or college jazz or show choir. Written for SATB choir, jazz piano, and bass, it was commissioned by the Mostly Madrigal Singers, St. Charles, Illinois. The first performance was held on July 9, 1999 with guest conductor John Rutter on the podium. There is some divisi in the voice parts and all are of varying difficulty. Difficulty rating 3-5. $5.25
Treble Voices~SecularThe Gift of Song, by Betty Bertaux, English text, Boosey, M-051-47310-6, SSA, piano & three trumpets. This extensive piece set to a text by the composer, requires professional trumpeters with C trumpets. The more difficult sections of the piece are assigned to a small ensemble of more advanced ability. The anthem has numerous key and metric changes. This ode to music ends with the words "The golden Gift of Song" that ends on a c1 unison in the voice parts. An appropriate ending to the celebration of song. Difficulty rating 4-5. $3.00
Like a Rainbow, by Bob Chilcott, English text, Oxford, 343291-9, SSA & piano. Off-beat rhythms and melodic and harmonic atmospheres dominate this brilliant setting of a Guaymi Dawn Song which was adapted by Chilcott. Written for the Mississauga Children's Choir for their 20th Anniversary, it is filled with rhythmic and intervalic challenges in sharp contrast to the opening and closing sections, which use a lot of octaves and recurring melodic phrases the children will enjoy singing. The piece is appropriate for most accomplished treble ensembles. Difficulty rating 4. $1.60
Swansongs, by Bob Chilcott, English text, Oxford, 343285-4, SSAA a cappella. Changing meters, minor seconds, and stepwise melodies dominate these two short pieces written for the Louisiana ACDA 1999 Elementary All-State Chorus, where Chilcott was guest conductor. The pieces require a choir that has a good understanding of meters and also has the capability of singing tight harmonies a cappella. Difficulty rating 4. $1.60
The Tale of Le Cygne and the Cook, by Lee R. Kesselman, French/English text, Boosey, M-051-47279-6, SA, piano, violin and clarinet. This fable is set in the form of a drama. The clarinet and violin parts are supportive but are written in contrast to the voice parts. The text setting is mostly homophonic. The rhythmic gestures and intervalic relationships in the partwriting make this piece a real challenge to sing. The words are set in both French and English. The edition by Doreen Rao contains program notes and teaching suggestions. Difficulty rating 4-5. $1.50
The Web, by Betty Bertaux, English text, Boosey, M-051-47148-5, SA & piano. The antiphonal opening between the parts is wonderfully effective. Set to a text by Rebecca Bragg, the poem describes a "glimmering" spider web seen through the eyes of a child. The Lydian mode is used throughout the three couplet sections. The opening piano part describes the spider weaving its web. This fabulous piece was written for the Texas Choral Directors Association Children's Honor Chorus. Difficulty rating 3-4. $1.50
SAB Voices ~ Secular
Je le vous Dirai! (I'll Tell You What I Know!), by Pierre Certon (1510-1572), English/French text, Lorenz, 15/1615H, SAB a cappella (opt. piano). This short arrangement by Sherri Porterfield of the famous Certon chanson was obviously created to introduce young singers to this Renaissance form. The piano part Porterfield has created will assist the amateur in singing the piece with great success. Whenever possible, however, the chanson should be sung a cappella. Composed homophonically, first introduce the piece in English to the arrangers translation and add the French words after the notes are completely learned. Be sure to point out the numerous switches between F# and F naturals (the leading tone) in the melody in the key of G minor. Difficulty rating 3. $1.50
Secular Collection for Men's Voices
Three Irish Folk Songs, arr. Edgar M. Deale, English text, Hal Leonard, 08301597, TBB & piano. These simple folksong arrangements are desperately needed for this type of ensemble. Sensitively set, the edition includes Down By the Salley Gardens, The Wind Hills of Clare, and The Palatine's Daughter. The last one is the most difficult of the three. Interesting counterpoints and warm harmonies all make for a wonderful set of folksongs. Difficulty rating 3-4. $3.40