Choral Newsletter ~ Fall 2002
Selecting Scores - The Study of New Music and New Editions

Selecting Scores - The Study of New Music and New Editions
Marie Stultz, Contributing Editor

One of the most daunting tasks facing the choral professional is the selection of music. Choosing the right piece to fit your choir's needs from the reams of choral music being published is an overwhelming task. This is particularly true today when publishing houses print a staggering amount of music in each cycle. The market is "bursting" with good and bad editions of music of varying style and quality. The music store, once an oasis for the conductor looking for the "right" piece, has became a perplexing place for the choral professional who faces the daunting task of wading through hundreds of publications to find one good piece of music.
This is precisely why the owners of Spectrum Music and I decided eleven years ago to create a new release newsletter, offering what we hoped would be comprehensive articles on choral music and reviews of the better editions, arrangements, and new music in each publishing cycle. The choral room at the store is loaded with pieces that have been identified as music of high quality. The process of going through the hundreds of pieces of music on a regular basis and identifying the most worthy anthems and editions has been a challenge but satisfying achievement. Our goal in this process is to simplify the conductor's task of selecting music for each season. It gives us a sense of real pride when we can put a new young conductor or seasoned professional onto a fine piece of music.
Many publishers are printing music of varying quality with the intent of keeping this music in print for only five to six years. They often make decisions on publishing for monetary reasons, not necessarily on the basis of quality. Gone are the days when the Benjamin Brittens of the world would pass from us knowing that his or her music would remain in print 100 years from now or be available indefinitely. The quantity and quality of music varies from publisher to publisher; therefore, it is important to select music from a group of established and reliable houses that specialize and pride themselves in quality editions by the world's better composers, arrangers, and editors. Some of the more reliable publishing houses are:

QUESTIONS YOU SHOULD ASK YOURSELF WHEN SELECTING AN EDITION

1. What did the editor do? This is the most critical question you need to ask about any edition of an established work. There is a large difference between pieces that are edited and pieces that are arranged.

2. Is the piece arranged or edited? Editing usually implies the examination of the original MS or collected editions of a composer's work, preparing a publication that displays scholarship and research. These editions usually contain the following pieces of information: source of the edition; performance and teaching suggestions; background on the composer; historical data; and finally, obvious scholarship in determining editorial suggestions. When the pieces are labeled as arranged, it is extremely important that you determine the original source and what the arranger did in preparing this publication. Some critical factors to consider in selecting an arrangement of an established work: Research the original voicing and determine whether the harmonies and musical gesture adhere closely to the original. Consider whether the composer have a history of arranging his/her own works.

3. Does the edition follow established performance practices? It can't be emphasized enough that arrangements of established works must reflect a working knowledge and understanding of contemporary performance practices. This holds true for pieces in the Baroque period as well as for an arrangement of a Broadway show tune or a piece of jazz. There is nothing worse than teaching a piece of music that is poorly edited or arranged.

4. Is the manuscript developed from a reliable MS? This is an extremely important question to ask when selecting an edition. An editor should base the edition on the original source or on a reliable secondary source when at all possible. We are lucky in the Boston area to have numerous music research libraries in fine music schools and conservatories, historic library collections, and the Boston Public Library with an extensive collection of rare books and scores of all historic periods.

CRITERIA FOR SELECTING NEW PUBLICATIONS

1. The edition must be clear and easy to read. Most music published today is computer generated; therefore, it must be checked for note alignment and properly placed articulation marks. The note and text size should be consistent and legible. Accuracy in these areas often underscores a better edition.

2. The publication should be reliable, demonstrating knowledge of choral singing and part-writing procedures. Editions of established music are better than arrangements.

3. When selecting an arrangement, check for logical voice leading. Parallel fifths or octaves should be avoided. If the edition is an arrangement of a pre-existing work, check the piece against the original. Watch for trite key changes or monotonous part-writing. The better arrangements should have some independent piano writing, with effective harmonies or interesting counterpoint.

4. New music must be carefully scrutinized. Apply the same criteria to new original works as you would to arrangements or pre-existing editions.

5. The poetry or song text must be worthy, displaying a high degree of merit and poetic value. I have seen many tasteless text settings over the years. I often wonder if the publishers read the poetry and title for artistic quality before publication.

6. Compile a list of arrangers and editors that you can trust. Avoid the pitfall of selecting a piece because you think your singers will love it. From Broadway show tunes to Bach, select music in an edition that has high artistic merit, one that is well-written. The careful, thoughtful selection of music will guarantee successful, gratifying rehearsals as well as artistic performances. Pick only music you can truly believe in, music you will enjoy teaching.

Just remember, if the piece isn't something you love, teaching can become a chore rather than a joy. Carefully selecting editions and being tasteful in your judgment will hopefully encourage publishing houses to be more considerate of what they are printing. The choral room and the Choral Room Newsletter have been developed for you. The Spectrum Music staff is always eager to help you make a proper selection of music for your choir. Visit the Spectrum web site often and review old newsletters for more suggestions.

These observations on selecting music are adapted from Chapter 13 and 14 of the editors book: Innocent Sounds ~ Building Choral Tone and Artistry in Your Children's Choir ~ A Personal Journey, published by MorningStar Music Publishers.. I hope this article and the book will help you in the difficult and daunting task of selecting fine music for your choir.

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New Releases ~ Sacred

SATB Voices ~ Sacred

Agnus dei, by Hans Leo Hassler (1564-1612), Latin text, Hal Leonard, 08596736, SATB a cappella. Edited by John Leavitt, this Agnus Dei, which is approximately three minutes in length, is taken from Missa Secunda. Elegant phrase shapes and effective counterpoint dominate the musical fabric. Composed in the key of A major, the opening descending contrapuntal phrases add to the power of the setting. Difficulty rating 3-4. $1.50

Allons, Gay Bérgeres (Come, Ye Joyful Shepherds), by Guillaume Costeley (ca. 1531-1606), French/English text, Hal Leonard, 08596734, SATB a cappella. Set in the key of e minor, this is a dark setting of a joyful text, which only adds to the power of the overall musical impression. A charming carol of the late renaissance, this edition by Emily Crocker should only be sung in French, although the English translation by Crocker can act as a guide to help in the interpretation of the text. One of over 100 French chansons written by Costeley, this fine setting adds to the mystery of Christ's birth. It ends in E major and contains a number of surprising homophonic chords. Difficulty rating 3-4. $1.50

Distant Land, A Prayer for Freedom, by John Rutter, English text, Hinshaw, HMC1908, SATB (div.), keyboard or orchestra. Written in 1990 after the fall of the Berlin wall and Nelson Mandela's release from prison, this piece is so appropriate to program after September 11th. It begins simply to a text written by the composer. Rutter moves through three key changes as the text and harmonies build to a powerful conclusion. Written for large orchestra and chorus (parts available on rental), the 25-measure orchestral prelude is not included in the choral publication. Difficulty rating 3-4. $1.60

Hymns Stateside, arr. Hancock, Webster, & Davison, English text, Oxford, 395073-1, SATB, congregation, & organ. All three of the hymns presented in this publication were featured or commissioned for the June 2000 Annual Conference of the Association of Anglican Musicians. Come, Thou Holy Spirit, Come by Gerre Hancock is written in a straightforward, simple style and set to the tune Palm Beach. Abide with Me is set to a new tune by Richard Webster. It is a much more elaborate composition. The final hymn, Sing Praise to God, My Soul's Delight, is set to the tune Haney. This majestic setting was written for the installation of the 1998 Casavant Organ in Trinity Cathedral, Columbia, South Carolina. Difficulty rating 1-2. $3.95

Lift Every Voice for Freedom, arr. Moses Hogan, English text, Hal Leonard, 08711353, SATB (divisi) a cappella. Dedicated to the victims of September 11, this piece was commissioned by the Spokane Public Schools Festival of the Arts High School Honor Choir and had its premiere at the Spokane Opera House on November 20, 2001. This arrangement uses a narration by Walter Bonam, and is an accessible arrangement which includes America and Lift Ev'ry Voice and Sing. The two pieces are woven into the fabric of the original music by Hogan. A powerful setting, it is certain to move everyone who hears or sings it. Difficulty rating 3. $1.50

Motet: Psalm 42 (Sicut Cervus/Sitivit anima mea), by G.P. da Palestrina, Latin text, Lorenz, 15/1639R, SATB a cappella. There are many editions of this popular work, but most of the editions only include the prima par (first part) of the motet. Edited by Chester L. Alwes, this beautiful and carefully thought out publication also includes the secunda pars (second part) Sitivit anima mea. Editorial notes, an English translation, and MS source are included in the edition. Difficulty rating 4. $1.95

Pavanne, op. 50, by Gabriel Fauré, French text, National Music, NMP-309, SATB & piano. Originally composed in 1887 for chorus and orchestra, this piece was arranged by Faure for chorus and piano in 1891. Probably one of Faure's best known compositions, the Pavane was composed to a text by his benefactress, Countess Greffulhe's cousin Robert de Montesquion. The English translation in this Robert Carl edition is by Jean Bailey. Program notes and background are included in the publication. Difficulty rating 4. $1.55

Prologue in Heaven, by Arrigo Boito, Italian/English text, Hal Leonard, 50484711, SATB & piano. The finale to Boito's opera Mefistofele, the piece is written with chromatic phrase shapes and powerful harmonies. It begins quietly as the "ave" plea is made to heaven. The English translation by Henry G. Chapman is extremely effective. As the movement builds to an exciting conclusion, the contemporary harmonies on straightforward rhythms will be challenging but tremendously rewarding. Difficulty rating 4. $1.60

Sanctus, by Antonio Salieri (1750-1825), Latin/English text, Hal Leonard, 08596732, SATB & keyboard or orchestra. A contemporary of Mozart, Salieri composed his Mass in D as the first of his four orchestral masses written in the late eighteenth century. It had its premiere in 1808. His sacred works were written for purely liturgical purposes and this Sanctus is no exception. Difficulty rating 3. $1.50

The Heavenly Aeroplane, by John Rutter, English text, Oxford, 343255-2, SATB & piano (opt. bass & drum). Originally written for treble voices, this arrangement for mixed voices was prepared and recorded by the Cambridge Singers and included on their album Feel the Spirit. Set in a sophisticated rock and roll style, the piece is perfect for school or church. It is ideal for the celebration of Pentecost. The off-beat rhythms set to an anonymous American text are great fun to sing. Difficulty rating 3-4. $1.95

This Little Light of Mine, arr. Moses Hogan, English text, Hal Leonard, 08743115, SATB (divisi) a cappella. Written for the St. Olaf Choir, Dr. Anton Armstrong, conductor, the off-beat rhythms on "Oo" are a challenge but fun to sing. The soprano solo is not difficult. In preparing the piece, style considerations and careful interpretation of the dynamics and articulation marks are critical to the overall impression. Written contrapuntally, the dramatic homophonic ending on large tone clusters makes for a dramatic conclusion. Difficulty rating 4. $1.50

To Every Thing There Is a Season, by John Rutter, English text, Hinshaw, HMC 1910, SATB & piano with opt. orchestra. This is a poignant setting of this popular text from Ecclesiastes. The 23-measure introduction can be eliminated when orchestra is not available. The piece is relatively straightforward with simple rhythms and harmonies. Rutter has had the tragic loss of his son in the past year and this piece seems to express the desire to accept what comes. The heart-wrenching harmonies on the word "time," followed by tranquil chords on the word "peace," bring the anthem to a powerful conclusion. Difficulty rating 3. $1.60

Treble Voices ~ Sacred

Alleluia, by Henry Purcell, Latin text, Hal Leonard, 08596733, SSA & piano or orchestra. Part of a new choral series by Henry Leck, this Alleluia from Harmonia Sacra is excellent for developing accurate melismatic singing. Written in mostly step wise progressions, it is perfect for teaching music reading on solfege syllables. Although written in minor, Purcell concludes the piece with joyful spirit. Difficulty rating 4. $1.50

Carol of the Shepherds, by Derek Holman, English/Latin text, Hinshaw, HMC1902, 3-part treble & piano or organ. Filled with off-beat rhythms that young choirs will have fun singing, this piece is excellent for teaching simple two-part singing. Composed in the key of F major, the leaps in the melody will work on a young choir's intonation. Difficulty rating 3-4. $1.40

Hush You Bye, arr. Michael Mendoza, English text, Lorenz, 15/1670R, two-part & keyboard or harp. This is a simple but lovely setting of this famous Southern melody first collected by Aaron Copland. Originally composed for two soloists, this arrangement will be tremendously successful on young treble voices. The more rhythmic middle section will be a challenge in terms of music reading and building the choir's part singing skills. Difficulty rating 2. $1.50

Laudate Pueri Dominum, by Johann Michael Haydn (1737-1806), Latin/English text, SSA & piano or organ. Written by Franz Joseph Haydn's brother, this piece is taken from The Graduale in festo SS. It was written for the feast of the Holy Innocents' Day which occurs on December 28th. Filled with lovely phrase shapes and sustained upper notes supported by flowing counterpoint, this piece is a wonderful addition to the treble repertoire. Editor Henry Leck recommends singing the piece in Latin. The English text is a singing translation rather than a literal translation. Background and performance information are included in this extended piece for treble voices. Difficulty rating 4. $1.95

Mass for Three Voices, by Francesco Durante (1684-1755), Latin text, National Music, NMP-312, SSA or TBB a cappella. This beautiful mass for three voices is another wonderful addition to the extended works library for treble voices. The mass does not have a Credo, but has a magnificent Kyrie eleison and Gloria that are quite substantial. The Sanctus and Agnus Dei are only a page long but are filled with ringing counterpoint. Cello continuo and harpsichord would be appropriate accompaniment or the piece can be sung a cappella. Edited by Robert L. Harris, the piece by this famous Neapolitan contains exciting counterpoint on elegant phrase shapes. Difficulty rating 3-4. $2.25

Two Sacred Songs, by Samuel Wesley (1766-1837), English text, Oxford, 395065-0, unison & organ. These two hymns, Gentle Jesus and Might I in Thy Sight Appear, were written about the same time in1872. First made available by Wesley's patron, the publisher and composer Vincent Novello (1780-1860), these simple hymns are based off the only MS in existence which is housed at the British Library. Complete editorial notes and background on the edition are provided by editor Robin Langley. Difficulty rating 1. $2.50

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New Releases ~ Secular

SATB Voices ~ Secular

Loch Lomond, arr. David Overton, English text, Hal Leonard, 08743238, SATB (divisi) and SATB solo a cappella. The tune Loch Lomond is merged with some sentences from the Pledge of Allegiance and original text by the arranger. This piece was obviously motivated by September 11th. It is challenging, with a lot of division in the parts and many solo passages. As part of the King's Singers Choral Series, it will be quite effective on mixed voices. Difficulty rating 4. $1.60

One Nation, Reflections on The Pledge of Allegiance, by Ellen Taafe Zwilich, English text, Presser, 342-40191, SATB & piano or organ. Zwilich is a Boston composer who has gained a good deal of recognition over the past 20 years. Taken from a larger work entitled Immigrant Voices, the extended work was commissioned by the New York International Festival of the Arts. It can be performed in three versions; chorus & piano or organ; chorus with organ and brass quartet; or chorus with brass, percussion, and strings. Lasting over five minutes, it is a substantial patriotic statement for the more serious choir or in circumstances where large forces are available. Difficulty rating 4. $1.60

Words of the Sun, by Zhou Long, English text, Oxford, 386489-4, SATB & tenor solo a cappella. This piece has a long history. It is set to a poem from a small collection published in 1945 by Chinese poet Ai Qing (1910-1996) and written shortly after he joined the communist party. Qing fell victim to the Anti-Rightist Campaign of 1957 and was silenced for 20 years. The composer met Qing in 1979. The composer first composed the piece for tenor and piano in Chinese. Later, the Central Broadcasting Corporation of China commissioned this choral version that was then put into English by the choral ensemble Chanticleer. This piece is not for the faint of heart, filled with tricky rhythms and challenging harmonies. This morning love song is filled with brilliant musical images. Difficulty rating 5. $2.50

Xaun, by Chen Yi, Chinese text, Presser, 312-41808, SATB a cappella. Commissioned by the Ithaca College School of Music, this challenging piece is dedicated to Professor Karel Husa on the occasion of his 80th birthday. Premiered in 2001, this piece in Chinese is particularly difficult. A pronunciation guide and translation are provided. The counterpoint, rhythms, glissandos, and carefully scored articulation marks add to the challenge. An exciting piece, the text from the 6th century B.C. is about men and women's relationship with the heavens. Difficulty rating 5. $1.50

Treble Voices~Secular

Barcarole, by Jacques Offenbach, French text, Boosey, M-051-47303-8, SA, three-part chamber ensemble & piano. Arranged by Francisco J. Nunez, this publication is part of a new series from Boosey & Hawkes under editor Doreen Rao entitled Opera Workshop. This piece from the Tales of Hoffman will work nicely on young voices. Performance notes, translation, and pronunciation guide accompany this Act IV love song. Difficulty rating 4. $1.50

Graih ma Chree, arr. Michael Neaum, English/Manx text, Presser, 392-01092, SSAA & solo a cappella. Collected from the Isle of Manx or Mann, this folksong has some real challenges. The Manx dialect, which is more like a mixture of Scottish and Irish rather than Welsh, is written out phonetically under the English translation by John Neaum. Beautifully set, as are most of Neaum's folksong arrangements, the choir will have to work to master the dialect. Composed for Cantemus, there are many meter changes and extremes of range which this choir handles so easily. Difficulty rating 4. $2.75

Hore (Heartache), by Antonin Dvorak, National Music Publishers, NMP-328, SA & piano. This is one of 18 Moravian duets (Op. 20, 32,38) that Dvorak composed early in his career; in fact, it is his first published music. Written homophonically, the piece is filled with intervalic challenge. Edited by Robert L. Harris, a translation and Czech pronunciation guide are included in the publication. The piece and the other two Dvorak pieces reviewed below are a wonderful addition to the treble repertoire. Difficulty rating 4. $1.30

Let Wildness Sing, by Imant Raminsh, English text, Boosey, M-051-47410-3, unison (opt. descant) & piano. Written for the Fourth International Children's Conference on the Environment, the text by Becky Strube is filled with beautiful images of an environment the children plea will be respected. Ideal for Earth Day, it is appropriate for school or community chorus. It is extremely accessible for the amateur choir and is strophic in form. Difficulty rating 3-4. $1.50

Scene from die Zauberflöte (Scene from The Magic Flute), by Wolfgang Amadeus Mozart, German/English text, Boosey, M-051-46957-4, SSAA (soli) & piano. This adaptation for trebles from the second act finale seems to work quite effectively. A synopsis, translation of the German text and performance suggestions are included in the edition. Schools with a good music program will find this ideal as they learn about Mozart and this great music from the composer's last opera. Difficulty rating 4. $3.50

Salut au Chevalier Printemps (Greeting to Princely Springtime), by Camille Saint-Säens, French text, Lorenz, 15/1649R, SSA & piano. This beautiful edition by Janet Galván is one of two pieces from op. 151 written in 1951 by Debussy. Chanson des Aiguilles was earlier published by Roger Dean, catalogue number 15/1473R. The third piece in this opus, Le sourire is not yet available. A beautiful translation by Paul Fournier and translation and pronunciation guide are included in the edition. Filled with mystic harmonies, this piece is a wonderful introduction to this great French composer. The piece is more appropriate with the advanced treble ensemble. Difficulty rating 4. $2.50

Two Nightsongs, by Imant Raminsh, English text, Boosey, M-051-46943-7, SSAA & piano with opt. flute. The musical gesture of this piece is brilliantly created to image the text. The minimalist phrase shapes between the florid voice parts add to the mystical quality of the opening poem Nighthawk. The second part, Stars Do Tell, speaks of the lonely travel and has a slow, pulsating accompaniment. Another winner from this fine Canadian composer. Difficulty rating 4-5. $1.50
Venecek (The Crown), by Antonin Dvorak, Czech/English text, National Music, NMP-339, SA & piano. Another duet in Moravian folk style, the "crown" refers to the garland of rosemary worn by young peasant girls that are unmarried. Composed in A-B-A form, the first and last sections are composed homophonically with the rhythmic gestures offering some real challenges. The B section marked andante is contrapuntal using short imitative phrase shapes between the two parts. Difficulty rating 3-4. $1.35

Zajatá (The Captive), by Antonin Dvorak, Czech/English text, National Music, NMP-340, SA & piano. This third duet according to the editor Robert L. Harris is difficult to translate. It is a story of a young bride who must marry her noble master. The editor notes that, "It should retain some of the gentle sweetness of the musical setting rather than the idea of being forced into an unpleasant marriage." Set in the key of D major, this duet is much more contrapuntal in nature than the other two Dvorak pieces reviewed above. Difficulty rating 3-4. $1.3

SAB Voices ~ Secular

La Manana en Segovia (Morning in Segovia), by Amy F. Bernon, Spanish/English text, Lorenz, 15/1698H, SAB & piano. This is light hearted piece about the town of Segovia, a Spanish town north of Madrid. Set to a joyful text about this charming town by the composer, the text was translated into Spanish by Alex Zequeira. The piece is not terribly difficult and excellent for introducing a young SAB chorus to Spanish as they learn to sing secure parts. Difficulty rating 3. $1.60

Men's Voices ~ Secular

Burma Shave Songs, by Roger C. Vogel, English text, National Music, TTBB, alto saxophone & piano. These pieces are not for everyone but are certainly a lot of fun particularly when you want to introduce humor into your program. They are nostalgic as well, in that after World War II Americans would find these sign boards with humorous verses along the side of the highways across the country. Difficulty rating 4. $4.00 each

Grandpa's Beard (NMP-331)
No Lady Likes to Dance (NMP-332)
The Bearded Devil (NMP-333)
The Wolf and Riding Hood (NMP-334)
The Midnight Ride (NMP-335)
Within This Vale (NMP-336)
Bargain Hunter's Gather 'Round (NMP-337)

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