Programming a Concert of American Music
By Marie Stultz, Contributing EditorPlanning full programs of American music is extremely important to ensure that serious choral literature is composed and performed in America and the world over. It is critical to the long life of these compositions of all genres - from the concert stage, to full staged operas and fine musicals, to music that studies the roots of our oral history - that this music receive numerous performances. In the Spring 2002 and Summer 2002 issues, The Choral Room focused on the importance of the American spiritual movement. Tracing the source of this great oral tradition, the two articles dealt with the white spiritual, the black spiritual, and the shaker spiritual movement. All influenced each other as Christians shared their love and spirituality with God. These articles began to discuss the American oral tradition, hopefully helping the choral professional in studying and programming music that is more vernacular in nature and critical to the understanding of American music history.
In the Winter 2002-2003 issue, the newsletter continued this choral exploration by discussing the importance of commissioning American composers. Tips on how to commission a work from an established or local composer were shared. The commissioning and performance of a new work marks a lasting place in the history of American music and is a lasting experience for your singers.
In this newsletter, we share pointers on planning an all American concert. (In the next newsletter, sample programs will conclude this series on American music.) The suggestions below and personal experiences in planning and preparing such programs will hopefully lead our readers to arrange an American program that is successful for both audience and singer, while perpetuating the historic and contemporary literature by some of our country's most distinguished composers.
SUGGESTION ONE: Pick a theme or single event around which to develop an American music program.
For instance, the Treble Chorus of New England's first American program was part of the 200th anniversary celebration of the town of North Reading, MA. An original play was written about the history of music in North Reading and New England. The fully staged concert was performed with the North Reading Choral Society, with both choirs in period costumes. It was narrated by a local actor who took on the role of composer George Root (composer of Tramp, Tramp, Tramp the Boys Are Marching), who lived in North Reading for a number of years. The concert included highlights from Root's farm cantata The Haymakers which Root composed and premiered in North Reading as well as music by William Billings, The Hutchinson family, Stephen Foster, Cole Porter, etc. It was tremendously successful and very well received by the town.
For the Treble Chorus' tenth anniversary we prepared two Americana concerts. Americana One explored the early music composed by New England composers with roots in Boston. The first concert was held in Boston at Old North Church and featured music from the 16th and 17th century. All the pieces were major pieces or forms that linked our musical heritage to Boston and New England. This program included such local composers as William Billings, Jeremiah Ingalls, and Lowell Mason.
Americana Two continued our exploration of American music from the 18th to the 20th century. This performance was held in Boston at First and Second Church. We were joined by radio announcer Dave McNeill who read American poetry of the two centuries between the various pieces. This program included music by Stephen Foster, Charles Ives, and Randall Thompson.
As a part of our 25th anniversary in 2000, we presented another American program that included many of our commissions throughout our history and other major commissions by other children's choirs throughout the United States. Whiskers and Rhymes by Scott Wheeler, Singing Questions by Alice Parker, and What Is Pink? by Ned Rorem were included on this very successful program.
In the spring of 2002, we presented A Romp through American Music. That program included music of Ned Rorem and Daniel Pinkham, with the entire Frostiana of Randall Thompson and my Song of Jubilation. We began with our European musical roots by singing music of G.F. Handel and J.S. Bach, so popular during the Revolutionary War. William Billings' Modern Music was also included on this diverse program of American music. This was a tremendously successful concert that also included Leonard Bernstein's Sanctus from his Mass and the folksong settings of Aaron Copland.
SUGGESTION TWO: Plan a musical collaboration with another arts organization that allows you to perform a varied program of American music.
On May 2, 2004 the Treble Chorus will join the Merrimack Valley Philharmonic in a concert entitled Music From the Common Man. This concert includes music and ties to the Merrimack Valley with highlights from Leonard Bernstein's West Side Story and Randall Thompson's Frostiana set to texts by Robert Frost and sung with full orchestra. Both Bernstein and Frost were born in the Merrimack Valley, in Lawrence, MA. Included on that program will beThompson's Pueri Hebraeorum performed by the choir, Copland's Appalachian Spring, and Bernstein's Overture to Candide performed by the orchestra.
SUGGESTION THREE: Create a program of music from our great oral tradition.
This affords you the opportunity to include the three spiritual traditions as well as folksongs from our rich heritage from Appalachia to Maine. In Appalachian Spring, Copland gained huge benefits from his research into American music by using the great melody Simple Gifts, written by Elder Joseph Brackett, Jr. for the Shakers to dance to during their worship service. His use of this famous melody has become legendary in the annals of merging serious music with our oral history. His Old American Songs Sets I and II have dominated the solo repertory and concert stage for many years.
When designing a concert from our oral history, you can include such collectors and arrangers as John Jacob Niles, John Works, Robert Cormier, etc. Research the region where the program is to be presented for some local color to include in the concert. Collections of Psalmody would also offer some rich resources. Music of "Singing Billie" or Lowell Mason to name two will add interest to the concert.
SUGGESTION FOUR: Research and program music from the American stage, past and present.
This type of programming allows your choir to explore early minstrelsy, vaudeville, etc. and such great composers as Irving Berlin and George Gershwin. Some of the major Broadway composers such as Lerner and Lowe or Rodgers and Hammerstein could be included in such a program. Many American musicals deal with the history and mores that helped shaped our social conscience
SUGGESTION FIVE: Develop a program of music from the American opera tradition.
Planning a program of opera choruses, duets, and arias by American composers would be quite enlightening and entertaining. A program like this could contain opera highlights from composers such as George Gershwin with Porgy and Bess to The Medium of Samuel Barber. John Harbison has written some exemplary operas in recent years including Nixon. George Root and Menotti cannot be ignored along the way. By choosing this type of American programming, you make a unique contribution to the future of dramatic music in America.
We have a tremendously rich heritage and need to expose this heritage to both performers and audiences. When making this historic exploration, use the resources of your public libraries and historic societies. Research your own community's musical history as well. For instance, George Root and Scott Wheeler lived in my town of North Reading. In the town of Andover, MA, Henry Carey wrote the great patriotic hymn America while attending Phillips Academy. Jeremiah Ingalls lived and wrote in Andover the great hymn Innocent Sounds along with many other songs, which inspired my own journey and subsequent book. One never knows what will happen when you begin a research journey into our rich American music history.
Some resources (by no means a comprehensive list) that can help in planning an American concert are the following:
A Survey of Twentieth Century Protestant Church Music in America, Tlmage W. Dean, Broadman Press, 8054-6813-7.
The Ballad of America~The History of the United States in Song and Story, by John Anthony Scott, Southern Illinois University Press, 0809310619.
The Ballad Book of John Jacob Niles, by John Jacob Niles, Dover Books, 486-22716-2.
Charles Ives and the American Mind, by Rosalie Sandra Perry, Kent State University Press, 87338-152-1.
The Church Music of William Billings, by J. Murray Barbour, Da Capo Press, 306-70434-X.
Early American Music~ Music in America from 1620-1920, by Harold Gleason and Warren Becker, Frangipani Press, Library of Congress, 80-53731.
The Early American Songbook, by Lee Vinson, Prentice-Hall, 13-222778-9.
Folk and Traditional Music of the Western Continents, by Bruno Nettl, Prentice Hall, 13-322933-5
Music and Musicians in Early America, by Irving Lowens, Norton, 0393097439.
Music in a New Found Land~Themes and Developments in the History of American Music, by Wilfrid Mellers, Oxford, 19-520526-X.
Music in the United States: A Historical Introduction, by H. Wiley Hitchcock, Prentice Hall, 0139076433.
The Shaker Spiritual, by Daniel W. Patterson, Dover Books, 486-41375-6.
Songs America Voted By, by Irwin Silber, Stackpole Books, 8117-2275-9
Songs of '76~A Folksinger's History of the Revolution, by Oscar Brand, M. Evans & Company, New York, 0871311704.
New Releases ~ Sacred SATB Voices~ Sacred
Adoramus Te, Ludovico da Viadana (1560-1627), Latin text, Shawnee, A2193, SATB a cappella. This stark, yet reverent setting of this famous Latin text of adulation to Christ is ideal for the small or inexperienced choir. The elegant phrase shapes and poignant harmonies offer some beautiful counterpoint. Edited by John Leavitt, the piece is ideal for building a choir's ability to sing long phrases. Ludovico da Viadana was a composer and friar who wrote both sacred and secular music. Difficulty rating 3. $1.50
Adoramus te Christe, Clemens non Papa (1510-1556), Latin/English text, GIA, G-5127, SATB a cappella. This stately motet is based on an antiphon from the Good Friday liturgy. Edited by William P. Rowan, this setting by this great Renaissance composer who worked in the beginning of the sixteenth century in the Netherlands, is filled with elegant minor harmonies on long and elegant phrase shapes. This is the perfect piece to introduce the choir to this long neglected composer. Difficulty rating 3. $1.10
Arise, Shine, for Your Light Has Come, K. Lee Scott, English text, MorningStar, MSM-50-0035, SATB, children's choir, & organ. This powerful setting of a text adapted by the composer is a fabulous festival anthem. Filled with accessible harmonies in the key of E-flat major and fanfare-like phrase shapes, the piece has a wonderful dramatic quality. The children's part is simple and is used quite effectively throughout the piece. The closing "alleluia" is filled with bright harmonies. The piece is not too difficult, making it useful for most church choirs. Difficulty rating 3-4. $1.90
Gloria from Messe-Credo, K. 257, Wolfgang Amadeus Mozart, Latin/English text, Carl Fisher, CM8780, SATB & piano (originally for orchestra). This Gloria taken from the Credo Mass, K.257 is edited by Patrick Liebergen. It was written in Salzburg in November of 1776 for use in the main service of the Catholic Church. Scored for small orchestra, this cheerful work will be popular with everyone. A pronunciation guide and editorial notes are included in the publication. Difficulty rating 3. $1.50
Hark! How All the Welkin Rings, Sir David Willcocks, English text, Oxford, 343258-7, SATB & organ or piano (opt. brass, handbells, & percussion). Set to a text by Charles Wesley, this unusual carol setting was first performed by the Cathedral Society on December 15, 2001 at the Washington National Cathedral. Willcocks constructs this unusual carol on bell ringing motives in both the accompaniment and in the voice parts. The divisi in the voice parts makes it necessary to have a good sized choir to achieve the greatest artistic effect. The descending phrase shapes in three and four parts which represent the bells add to the wonder of the choral sections marked piano. This is one of the more unusual, yet effective carols Willcocks has ever written. The piece requires an accomplished choir and would be most effective when performed in a cathedral setting. It is impossible to imagine the piece without the handbells that gently ring in the distance after the powerful triple forte "Glory to the King of Kings. Glory." Difficulty rating 4-5. $1.60
Hide Not Thou Thy Face From Us, O Lord, Richard Farrant, English text, Pavane (Hal Leonard), 08301679, SATB a cappella (opt. organ). This beautiful motet is one of five liturgical anthems by this fine Renaissance composer to have survived. Edited by Peter Aston, this fine edition has been carefully transcribed with extensive editorial comments and background on the various anthem sources. Difficulty rating 3. $1.60
I Am All-Fair, Andrew Carter, English text, Oxford, 350507-X, SATB & organ. This is another spectacular piece from Andrew Carter. The text painting is staggeringly beautiful and the key changes are tremendously effective. Written homophonically with gorgeous intervals that make the text jump off the page, this is in sharp contrast to the lyrical unison melodies laced through the piece. Written in York in 2001, this piece should enter the permanent repertoire of the 21st century. Difficulty rating 4. $1.60
I'll Make the Difference, Moses Hogan, English text, Hal Leonard, 08743633, SATB & piano. This is a painful piece to review because of the circumstances of Hogan's death from brain cancer. The piece was commissioned by the American Cancer Society Relay for Life, and premiered at "Celebration on the Hill" in Washington DC, 2002, just a few months before his tragic death. The text was written by the composer. Filled with off-beat rhythms, the melodic unison phrases are in sharp contrast to the homophonic SATB sections. The contrapuntal ending in the key of D flat major is quite powerful.The piece closes with the words, "We will make the difference! 'Cross the land. Take my hand!" It also available for SAB voices. Difficulty rating 4. $1.60
Let All Mortal Flesh Keep Silent, Nikolai Rimsky-Korsakov, English text, Musica Russica, OMP-Ri010E, SATB a cappella. This haunting setting in typical Rimsky-Korsakov style is based on a traditional Orthodox chant melody which was taken from square note chant books of the Russian Orthodox Church. This beautiful anthem set at adagio alternates between solos and SATB sections that are composed both homophonically and contrapuntally. The piece concludes with a quiet "Alleluia." Difficulty rating 3. $2.00Lumen de Lumine, Gerald Near, Latin text, MorningStar, AE124, SATB & organ. Translucent harmonies dominate this setting of a text by Susan Palo Cherwin. Both composer and poet were commissioned by the Downtown Minneapolis Churches for their Choral Festival held on February 9, 2003. The unison middle section is framed by elegant counterpoint in the voice parts with rising phrase shapes. The control of the dynamics on the long phrases will make this anthem sound luminous. Pure, centered vowels are critical to achieving the proper artistic impression. Difficulty rating 4. $2.25
O bone Jesu, Marc' Antonio Ingegneri (1547-1592), Latin text, GIA, G-5431, SATB a cappella. Composed in a minor, this haunting motet was first attributed to Palestrina. Edited by Richard Proulx, this quiet, ethereal setting of this famous text is filled with beautiful suspensions. A simple piece, the motet will develop the choir's ability to sing the long, elegant phrase shapes. Difficulty rating 3. $1.10
Oh, How Joyfully, Andrew Carter, English text, Oxford, 343259-5, SATB & orchestra (opt. piano reduction). Written for the Saint Olaf College choir and orchestra, this elaborate piece premiered in the college's 90th Christmas Festival in 2001. Filled with challenging harmonies and rhythms, many of the phrase shapes are dominated by florid, melismatic vocal lines. The "alleluias" are brilliantly executed on ascending passages in eight-part choral lines that when sustained make for some brilliant harmonies and suspensions. This large anthem is set to a text by Brian Wren and is not for the faint of heart. Spectacular in its gesture, the piece requires an accomplished choir. Score and parts are available from the publisher on hire. Difficulty rating 5. $2.50
Ad majorem Dei Gloriam, William Mathias, Latin text, Oxford, 350511-8, SATB (divisi) & organ. This Latin text setting, which means "for the greater glory of God" is quite the challenge. The anthem begins with open, almost stark harmonies. Filled with complex harmonies and intervalic relationships, this piece requires an accomplished choir and organist. A fanfare for chorus and organ, the piece begins in C Major and concludes with riveting harmonies in the voice parts that must be sustained for 2-1/2 measures at triple forte. The anthem was commissioned by Stonyhurst College for its 400th anniversary. Difficulty rating 5. $1.60
Song of Peace (V'chit' tu), arr. Alice Parker, Hebrew text, Augsburg, 0-8006-7568-1, SATB (divisi) a cappella. This fine arrangement by Parker opens with the voice parts singing the peace melody composed by Ezra Gabay to a text adapted from Isaiah. In the second section the arrangement quickly moves into two-part counterpoint between the men's and women's voices. The third section is mostly for SAB voices with some challenging counterpoint and syncopated rhythms. The piece concludes with complex harmonies with three-part divisi in the men's and women's parts. The edition by Anton Armstrong and John Ferguson includes a translation and pronunciation guide. It was written for the 100th anniversary of St. Olaf College. Difficulty rating 4. $1.60
Virgin Mother of God, Rejoice, Sergei Rachmaninoff, English text, Musica Russica, OMP-Ra028E, SATB a cappella. This simple service music taken from the All-Night Vigil, op. 37 has been translated into English by Vladimir Morosan. It is the sixth movement and affords us a rare glimpse into the choral music of Rachmaninoff. It begins simply, but becomes much more florid with elegant counterpoint with some divisi in the voice parts. It concludes homophonically on quiet chords in F Major. Difficulty rating 3-4. $1.50
SATB CHRISTMAS SERVICE
Festival of Lessons and Carols, Jonathan Willcocks, English text, Lorenz, 65/1957R, SATB, congregation, & organ. This 50 minute service is based on the traditional service sung every Christmas Eve at King's College in Cambridge, England. The composer knows these services intimately for he was a chorister during the time his father was organist/choirmaster at King's. In this service, Willcocks combines music from some of England's best known composers, often arranging two carols together. The spoken lessons are tastefully selected, making for an excellent opportunity for choir and congregation to sing together. Beautifully written, these 17 carols and eight lessons with prayer and blessing make for a timeless presentation for Christmas Eve or Carol Evensong. Difficulty level 3. $7.95
Treble Voices ~ Sacred
Benigne fac Domine, Johann Adolf Hasse (1699-1783), Latin text, Lorenz, 15/1820R, SSAA & keyboard (opt. strings). This is the sixth and last movement of Hasse's Miserere in C Minor. Edited by Martin Banner, this edition is based on a handwritten score stored in the Staatsbibliothek zu Berlin. Originally scored for treble voices and strings, the realization of the string parts works quite effectively. Elegant counterpoint over long phrase shapes dominates the composition. Composed in c minor, the piece is hauntingly beautiful in its musical gesture. The piece would be appropriate for women's chorus or the advanced treble ensemble. Difficulty rating 4. $1.95
Ecce Enim in Iniquitatibus, Johann Adolf Hasse (1699-1783), Latin text, Alliance Publications, AP-1413, SSAA & keyboard (opt. strings). This is the third movement of Hasse's Miserere in C Minor, written in the key of E Flat major. Crossing voice parts and suspensions dominate the harmonic structure. This movement is beautifully edited by Patricia C. Conners. A translation, editorial notes, performance suggestions, and background on the composer are included in the edition. This particular movement with melismatic phrases of some difficulty displays Hasse's background as an operatic tenor. Difficulty rating 4. $2.00
Ev'ry Time I Feel the Spirit, arr. Robert Townsend, English text, Hal Leonard, 08743834, SSA & piano. This straightforward arrangement of this popular spiritual is excellent for developing partsinging in the younger choir. The simple partwriting and unison passages, allow the young singer to grasp the piece very quickly. Edited by Henry Leck, there is some crossing of the voice parts. Difficulty rating 3-4. $1.50
Miserere Mei, Johann Adolf Hasse (1699-1783), Latin text, Alliance Publications, AP-1616, SSAA & keyboard (opt. strings). The first movement of Hasse's Miserere in C Minor, this piece begins homophonically. Filled with long contrapuntal phrase shapes, music of the text is set syllabically. This edition is based on a manuscript at the British Museum. Editorial suggestions, performance suggestions and translation are part of this fine edition by Patricia C. Conners. Difficulty rating 4. $1.50
Rorando Coeli, Jan Campanus Vodnansky (1572-1622), Latin text, Alliance Publications, AP-1515, SSAA & solo quartet a cappella. This is a fabulous piece for double forces. Because of the simple rhythms and straightforward but rich harmonies, the piece could be performed antiphonally. The opening translation of the text begins "May the heavens rain down dew, the clouds rain down the just; earth's work is open, budding the flower of salvation." Truly a beautiful image set on a mostly descending phrase in the soprano line. Edited and arranged by Joel Blahnik, this is a wonderful composition by this Czech composer. Difficulty rating 3. $1.30
Salve Regina, Giovanni Pierluigi da Palestrina, (1524-1594), Latin text, Lorenz, 15/1853R, SSAA a cappella. This staggeringly beautiful antiphon is a must for the accomplished treble choir. It first was published in a collection of motets entitled Motectorum liber secundus published in 1584 in Venice. Edited by Ray Sprague, historic information and translation are part of this fabulous a cappella motet. Difficulty rating 3-4. $1.75
Vere Languores Nostros (Truly He Bore Our Sorrows), Antonio Lotti (1667-1740), Hal Leonard, 08596744, SSA a cappella. Another beautiful edition of a fine Baroque motet edited by Thomas Juneau. The mournful open harmonies and long phrase shapes make for an elegant work. The piece will simply ring on treble voices. Program notes and information about the composer are included in the edition. The translation is beautifully written by the editor. The homophonic middle section is framed both in the opening and closing with beautiful counterpoint. Difficulty rating 3-4. $1.50
SAB VOICES~SACRED
Four Settings of Mi Chamocha, Bonia Shur, Hebrew texts, Transcontinental (Hal Leonard), 00191445, SAB & keyboard. These four settings of the prayer used in every Jewish evening and morning service were composed over many years. The forces vary from unison choir and congregation a cappella to SAB voices and cantor with accompaniment. This is a very useful collection of original Hebrew service music. Notes about each of the settings by the composer are included in the edition. Difficulty rating 3 & 4. $2.50
Now Thank We All Our God, Johann Sebastian Bach, English text, Concordia, 98-3719, SAB & keyboard. Based on the great hymn tune by Johann Crüger Nun Danket Alle Gott, this arrangement by Christopher Johns is based on the setting by Johann Sebastian Bach. Two verses are included in this edition by Martin Rinckart (1586-1649) as translated by Catherine Winkworth (1829-1878). It is ideal for the small choir. Difficulty rating 2. $1.50
O Food of Exiles, Heinrich Isaac (1450-1517), setting by Leonhard Lechner (1553-1609), SAB a cappella. This setting of the great melody by Heinrich Isaac was composed by Leonhard Lechner, an Austrian composer. Set to the words "O Esca Viatorum" from the Mainz Gesangbuch of 1661, thispiece was translated by M. Owen Lee. This edition by Richard Proulx is a wonderful way to introduce your singers to this great Renaissance composer. Difficulty rating 3-4. $1.10
New Releases ~ Secular SATB Voices ~ Secular
Danny Boy (Londonderry Air), arr. Peter Knight & Philip Lawson, English text, Hal Leonard, 08741129, SATB (divisi) a cappella. Warm harmonies dominate this elegant arrangement from the King's Singers series. The contrapuntal writing weaves through this popular folk tune. The piece does require an accomplished choir. Difficulty rating 4-5. $1.40
I Do Like to Be Beside the Seaside, John A. Glover-Kind, arr. Andrew Carter, English text, Oxford, 343262-5, SATB a cappella. This amusing arrangement by Andrew Carter will be great fun to sing. Accompanied by nonsense syllables of "pom or p" sung by the basses on an ostinato that will be familiar to everyone, the soprano, alto, and tenors sing some wonderful homophonic sections at breakneck speed over this amusing ground. It is the perfect encore piece and will definitely amuse the audience. Much of the soprano and alto parts are written in thirds. A strong tenor section is required to make the piece a great success. Difficulty rating 4. $1.30
Song of the Earth Spirit, David L. Brunner, English text, Boosey, M-051-47439-4, SATB (divisi) & piano. This splendid setting of a text by Stephen C. Jett is sumptuously composed. Filled with beautiful harmonies and surprising intervalic relationships, this is a fabulous piece. Supported by a flowing accompaniment, the elegant phrases paint the text brilliantly, concluding with wonderful tone clusters, ending on a simple, pure F Major chord. Brunner is quickly becoming one of this country's leading choral composers. Difficulty rating 4. $2.25
The White Rabbit's Evidence, Robert Baksa, English text, Theodore Presser, 392-01143, SATB & piano. This amusing, clever setting of this famous Lewis Carroll text is quite charming. The piece is composed mostly in unison at the opening, alternating between the various voice parts over an intricate accompaniment that requires an accomplished pianist. The contrapuntal sections are like questions and answers between the voices. It is one movement of a set of pieces entitled Through the Looking Glass. Difficulty rating 3. $1.75
Treble Voices ~ Secular
Opening Chorus from The Bartered Bride, Bedrich Smetana, Czech/English text, Boosey M-051-47458-5, SSAA & piano (opt. orchestra). Doing opera with accomplished youthful singers is extremely important. This arrangement by Emily Ellsworth is a bit of a stretch, but valuable as you expose the accomplished choir to opera and to this great Czech composer. This opening chorus has been adapted from SATB voices to SSAA voices. The piano part has been simplified. Program notes, pronunciation guide, and translation are included in this edition by Doreen Rao. Difficulty rating 4. $2.25
Five Hebrew Love Songs, Eric Whitacre, Hebrew text, Walton (Hal Leonard), 08501490, SA, piano, & violin. These love songs are so present. Composed to poems by future wife Hila Plitmann, these troubadour songs are charming, tender, speaking to a personal love and private experience between the future spouses. The setting has a wonderful sincerity about it. This particular version for treble voices, violin, and piano is one of five versions of these wonderful songs. (Other versions include SATB with various instrumental accompaniments.) Most of the movements are written in 6/8 giving them a wonderful, dance-like quality. Encompassing numerous commissions from Israel to Miami, this set of five love songs is ideal for college or accomplished high school chorus. This treble version is absolutely charming. A description of the piece's creation and the various versions are included in the edition. Difficulty rating 4. $2.95
Kikkehihi (from Musica Boscareccia), Johann Herman Schein (1586-1630), German/English text, Hal Leonard, 08596743, SSA a cappella. Typical of the late Renaissance and Early Baroque, nonsense syllables open the charming madrigal from Musica Boscareccia. Answering to the rooster's call, the world wakes up in this short contrapuntal piece about the joys of song. So little of Schein's secular music is available to us, therefore this edition by Thomas Juneau is a wonderful contribution to the treble repertoire. The madrigal will charm both singers and audience alike. Difficulty rating 3-4. $1.50
The Lake Isle of Innisfree, Eleanor Daley, English text, Oxford, 342652-8, SSA & piano. Daley has emerged as a great composer of melody. She understands the drama of the text and sets the selected text brilliantly. Her setting of The Birds, though different in character, rivals Benjamin Britten's setting of the same text. This setting of poem by W. B. Yeats just sings off the page. Written in the key of D-Flat major with changing meters, the simple gesture of the melody on brilliant unisons and SSA voices is an absolute winner. She simply captures the heart of the text by creating a special musical moment that seems to hover through time. Difficulty rating 3. $1.60
Much Too Soon in the Season, Peter Tchaikovsky (1840-1893), Russian text, Musica Russica, Ps010, SSAA a cappella. This is an absolutely dramatic and amazing setting by this great Russian composer. Set to a poem by N. Tsyganov, the edition includes a phonetic pronunciation guide above the Russian and a translation of this powerful poem about growing old. Composed homphonically, the surprising harmonies and powerful dynamics make for skin crawling text painting. A must for the accomplished treble choir. Difficulty rating 4. $2.00
Songs for Three Voices, Bedrich Smetana (1824-1884), Czech text, Alliance Publications, AP-1266. These three gems by one of Czechoslovakia' leading composers are ideal for the smaller choir. Included in the edition is extensive background on the composer, program notes, translation of three beautiful poems by Peska and Sladek. An extensive pronunciation guide is provided by editor Anita Smisek. Difficulty level 4-5. $1.50