New Releases - Sacred
SATB
Treble
Men
SAB
New Releases - Secular
SATB
Treble
THE INFLUENCE OF BRITISH FOLKSONGS
ON THE CHORAL MUSIC OF RALPH VAUGHAN WILLIAMS
HONORING THE FIFTIETH ANNIVERSARY OF HIS DEATH
By Marie Stultz, Contributing Editor
Ralph Vaughan Williams (1872-1958) contributed great choral music of all genres in the early-to-mid twentieth century. He composed sacred and secular choral music with varying instrumental and orchestral forces, as well as a cappella settings. A few major works that immediately come to mind:
Hodie
Fantasia on Christmas Carols
Five Mystical Songs
Magnificat
Festival te Deum
Serenade to Music
In Windsor Forest
Folksongs of the Four Seasons
Six Choral Songs in Time of War
This is just a smattering of some of his great choral masterpieces. A complete list of his compositions in all categories can be found in The New Grove Dictionary of Music and Musicians. As we reflect on his rich musical legacy, one element prevails in many of his compositions: the use of folk melodies. As we recognize the anniversary of his death, we need to ask ourselves, "What was the greatest legacy he left us beyond his brilliant catalogue of compositions for all musical forces?" The answer: the study and collecting of folksongs heard and notated throughout the British Isles and particularly the counties of England. As a result of his research, study and lectures on the folk songs of the British Isles, he encouraged legitimate composers worldwide to use folk songs in their serious compositions.
Before we can better understand the use of folk materials in serious music, we need to understand the characteristics of a true folk song. The famous ethnomusicologist, Dr. Bruno Nettl, identifies one primary characteristic of genuine folk music; the words and melody must come to us through legitimate oral traditions.
WHAT CHARACTERIZES A FOLK SONG FROM LEGITIMATE ORAL TRADITIONS?
Oral tradition is every song, rhyme story, or riddle ever told to us. It is all folklore shared by word of mouth. This includes family stories and memories never notated but simply told with great imagination. Bruno Nettl describes oral tradition in the following way; "Songs are learned by hearing; instrument making and playing are learned by watching. In a literate musical culture, music is usually written down, and a piece conceived by a composer need never be performed at all during his (her) lifetime; it can be discovered centuries later by a scholar and resurrected. But in a folk or a non-literate culture, or even in a sophisticated culture without musical notation, a song must be sung, remembered, and taught by one generation to the next. If this does not happen, it dies and is lost forever. Surely, then, a piece of folk music must in some way be representative of the musical taste and the aesthetic judgment of all those who know it and use it, rather than simply the product of an individual, perhaps isolated, creator."Nettl has just described the process by which Vaughan Williams collected a great legacy of British folk music. As a sophisticated composer and hardworking researcher, he brought the oral tradition of the British Isles to full fruition through formal notation of what he heard in the countryside. Other famous composers such as Benjamin Britten and Aaron Copland followed suit, using folk songs in their serious compositions, further contributing to this great compositional legacy.
Since Nettl's book Folk and Traditional Music of the Western Continents was first published in 1973, the collecting and notation of music first heard through oral tradition is much better understood. Nettl fostered a greater knowledge and encouraged a passion and love of legitimate folk music as used by such great composer/collectors as Johannes Brahms, and Bela Bartók, in addition to Vaughan Williams. All of these composers were greatly influenced by authentic folk melodies and words they heard in their travels, using them as legitimate springboards for serious music of all genres. Folk music has stimulated a rich catalogue of music by composers of all countries, all periods and in many musical styles.
THE COLLECTING OF FOLK MATERIALS BY RALPH VAUGHAN WILLIAMS
Vaughan Williams began to seriously collect folk music on December 4, 1903, with the discovery of the famous and beautiful folksong "Bushes and Briars." The composer had gone to a tea party where a lot of older people were in attendance. After tea, Vaughan Williams retells the story nine years later. "We asked if any of them knew the old songs, where upon an old man, a shepherd, began to sing a song which set all my doubts about folk song at rest." Mr. Charles Pottipher sang this great tune, leaving a lasting impression on Vaughan Williams. Just as a point of interest, this experience happened two years after he composed the solo song "Linden Lea." That melody sounds very much like a folk melody that might have been heard in the oral tradition; but in truth, it is an original melody with folk song characteristics. By 1913, Vaughan Williams had collected over 800 songs and their variations. These melodies fall into three major categories: religious folk hymns, secular tunes, and Christmas carols.Below is a short list of some of the major tunes Vaughan Williams collected and arranged. Most of them are my personal favorites:
RELIGIOUS FOLK HYMNS
For Love Me God
Dives and Lazarus
The Lord at First
The Saviour's LoveSECULAR TUNES
Bushes and Briars
The Cuckoo
The Dark-eyed Sailor
Down in Yon Forest
Greensleeves
Lovely Joan
May-Day Carol
The Morning Dew
Proud Nancy
She's Like the Swallow
Summer is a-coming in
The Turtle Dove
Just as the Tide Was FlowingCHRISTMAS CAROLS
The Angel Gabriel
Cherry Tree Carol (As Joseph was a-walking)
Coventry Carol
The First Nowell
God Bless the Master of This House
God Rest You Merry Gentlemen
New Year's Carol
On Christmas Night
A Virgin Most Pure
Wassail Song (Gloucestershire)
Wassail Song (Yorkshire, "We've been a-while a-wandering)Vaughan Williams collected tunes throughout his adult life. By the age of 30, he was dedicated to this fascinating field. Although he collected melodies from all the British Isles, his passion was for English tunes, particularly those from the region around Cornwall. He defined the folk song in 1912 as 'a series of individual variations on a common theme.' His greatest worry concerned the manipulation of the melody by collectors in the field. He felt that the music in a country's great oral tradition should be notated accurately, the way it was originally sung by the singer.
VAUGHAN WILLIAMS AND HIS FOLK SONG LECTURES
Vaughan Williams made many lectures on the importance of folk music over the years. In his 1912 lecture, he made the following observations about the purity of the tune: "A folk song is like a tree, whose stem dates back from immemorial times, but continually puts out new shoots…There is evidence of the extraordinary accuracy of tradition… on the other hand many folk songs which are collected show evidence of the personal characteristics of their singer." In a later section of his lecture, he made an even clearer explanation as to the importance of integrity in the collection process. "We must take the folk songs we have recovered as they now are; we must not venture to alter or 'improve' them; as we find them we must keep them. We may have found them at the highest point of their development, or they may have passed their climax and have begun the downward path when they were recovered. That we can never tell. It is on their face value that we must judge them."Vaughan Williams had high standards when it came to authentically recording these melodies, a standard that must be admired. Some of his lectures over the years explored the following topics:
(1) The characteristics of National Song-On the Continent
(2) The characteristics of National Songs in the British Isles
(3) Religious folk songs
(4) The Importance of folk songThe songs were often used in the lectures and demonstrated by qualified singers from the oral tradition -- or by Vaughan Williams himself, who often included instrumentalists knowledgeable of the form and musical gesture.
MODALITY, THE FOLKSONG AND VAUGHAN WILLIAM'S ORIGINAL MUSIC
Vaughan William's original music was filled with modality. He also used folk songs in his original music on a regular basis. English folk songs often used the Dorian, Mixolydian, and Aeolian modes. Only one English song has been notated in the Lydian mode. It was discovered by Cecil Sharp, a colleague and an early collector who influenced Vaughan William's active participation in the movement. Only six English folk songs have been found in the Phrygian mode.Some of Vaughan Williams' choral catalogue using folk materials are the following:
1908
15 FOLK SONGS FROM THE EASTERN COUNTIES, piano accompaniment1912
15 FOLK SONGS OF ENGLAND, piano accompaniment1913
FIVE ENGLISH FOLK SONGS, SATB voices a cappella1919
EIGHT TRADITIONAL ENGLISH CAROLS, for voice and piano or for mixed chorus a cappella1920
TWELVE TRADITIONAL CAROLS FROM HEREFORDSHIRE, for voice and piano or mixed chorus a cappella1922
CA' THE YOWES, (Burns) Scottish folk-song for tenor solo and mixed chorus1949
FOLK SONGS OF THE FOUR SEASONS, treble voices and orchestra or piano1958
THE FIRST NOWELL, Nativity play for mixed voices, soloists and orchestra based on traditional tunesThe orchestral and chamber music based on folk materials are too numerous to mention. Short arrangements for treble voices are also quite prominent in his catalogue. The only counterpart in the 20th century, using and collectiong folksongs, who can rival Vaughan Williams in this country is John Jacob Niles. See the Spring 2005 newsletter, "The Music of John Jacob Niles" for further folk music observations.
Vaughan Williams lived an enchanted musical life spirited in part by his love of great folk songs shared by singers throughout the British Isles. He left us not only a rich legacy of great music of all genres -- but also his great love and appreciation of the British folk song. His greatest musical contribution lies in his merging of original modern music with British oral traditions.
BIBLIOGRAPHY
The Works of Ralph Vaughan Williams, Second Edition, by Michael Kennedy, Oxford University Press, 0193154536.Folk and Traditional Music of the Western Continents, Second Edition, by Bruno Nettl, Prentice Hall, 013322933-S.
The New Grove Dictionary of Music and Musicians, Edited by Stanley Sadie, Volume 19, Grove, Macmillan Publishers Limited, 1-56159-174-2.
New Releases ~ Sacred Al HaNisim, arr. Elliot Levine, Hebrew text, Transcontinental (Hal Leonard), 00191579, SATB, a cappella. This hypnotic setting of a famous Chanukah folk song was arranged for the Western Wind vocal ensemble. The arrangement uses imitation between the vocal parts, building to a mesmerizing impression. An accessible piece with many thirds in the harmonies, this arrangement will be great fun to sing. Included in the edition is a translation and pronunciation guide. The Western Wind series by Elliot Levine is dedicated to publishing the finest works from the Jewish heritage. This arrangement is ideal for school or a choral society. Difficulty rating 3. $2.25
Ave Verum Corpus, by Francis Jackson, Latin text, Paraclete Press, PPM00848, SATB a cappella. Composed in a minor, this setting of a popular Latin text is filled with appropriate mystery. The use of repeated thirds in contrast to minor seconds add an element of surprise to the harmonic fabric. The contemporary choral gesture of this setting is an exceptional realization of a text we often take for granted. It is composed in sharp contrast to settings of the same text from other periods of music. The elegant counterpoint between the voice parts flirts with unisons and octaves. Ending in A Major, this well-crafted work should enter the major repertory and be sung on a regular basis. Difficulty rating 3-4. $1.60
Christus factus est, by Johann Michael Haydn (1737-1806), Latin text, Santa Barbara, SBMP 793, SATB & piano. This is a powerful setting of a great Lenten text on the crucifixion of Christ. Surprising harmonies and dark chords dominate the compositional fabric. Completed in Salzburg on March 7, 1796, this motet is set homophonically and is a great introduction to the music of the other Haydn. Another fine edition by Martin Banner, it is a good example of the many 17th and 18th century contemporary editions that includes both a cappella music and music for chorus and orchestra. Historic information is included in the publication. Difficulty rating 3. $1.60
Dixit Dominus Petro, by Francisco Guerrero (1527-1599), Latin text, Paraclete Press, PPM 00834. SSATB a cappella. A thoughtful setting based on John, Chapter 21: 19-22, this fine motet is cleverly devised. The two soprano parts are set in canon at the unison while the three lower parts support the canonic melody through elegant counterpoint. This anthem was first published in a collection entitled Sacrae Cantiones in 1555 when this composer from Seville was only 28 years old. Guerrero is one of the trio of great Iberian composers that includes Morales and Victoria. This motet contains the best of what was composed in Spain in the 16th century. The anthem will work well with large forces or solo quintet. Edited by Donald James, complete biographical information and performance notes are included in the edition. Difficulty rating 4. $2.80
Hashkiveinu, by J. David Moore, Hebrew text, Transcontinental (Hal Leonard), 00191582, SATB & keyboard. An extremely effective setting of a familiar Jewish liturgical text, the piece is filled with changing meters that heighten the chant-like quality of the entire work. Filled with glorious harmonies and haunting melodies, the piece would be appropriate as service music or in a concert venue. The ornate cantor part is quite breathtaking as it weaves through the choral parts composed in counterpoint with some homophonic passages. The striking harmonies and the partwriting offers some intervalic challenges. This anthem is truly worth the necessary learning curve. A translation and pronunciation guide is included in the edition. Difficulty rating 4. $2.75
Morning Glory, Starlit Sky, by Craig Phillips, English text, Paraclete Press. PPM00835, SATB a cappella. From a harmonic point of view, this piece makes some astonishing turns. The fine text painting in appropriate tessituras helps the voices ring off the page. Composed for the 2006 Association Musicians Conference and the Anglican Musicians Foundation, the anthem is set to a text by W. H. Vanstore (b. 1923). Filled with changing meters on harmonies with effective suspensions, this moving anthem is a must for the accomplished choir. It is a love declamation on the glories of the extended arms of God and his power to love the world he sustains. Difficulty rating 3-4. $1.60
Musica, Dei donum optimi (Music, gift of the most gracious God), by Orlandus Lassus (1532-1594), Oxford, 386816-8, AATBarBarB a cappella. This dark but elegant motet was written in the final days of the composer's life. It is the last entry in a final volume entitled Cantiones sacrae sex vocum of 1594. One of many volumes Lassus published in this lifetime, this motet is a testament to an old man's profound understanding of the power of music. Filled with elegant counterpoint, the anthem uses a repeated florid motive in the various voice parts on the word music. The text probably refers to Orpheus and his lute, though no direct reference is ever made. This edition by Francis Steele has been transposed down a whole step more appropriate to the tuning of that period. The edition shows a great deal of scholarship with historic program notes, musical background and a fine translation. Difficulty rating 4. $3.00
Pastores Loquebantur (In Nativitate Domini, 1585) (The Shepherds Said to One Another), by Tomas Luis de Victoria (1548-1611), Latin text, Paraclete Press. PPM00826, SSATBB a cappella.This brilliant motet, celebrating the birth of Christ, is a stellar offering with bold musical gestures. Filled with radiant counterpoint and elegant harmonies, the music describes the shepherd's rush to Bethlehem to see the Christ Child. Edited for the Harvard-Radcliffe Collegium Musicum by Jameson Marvin, the Latin is based on a text from Luke 2:5, 15-16. This fine edition was based on an MS found in a Roman publication of 1585, In Nativitte Domini. Complete performance notes and suggestions are included in the edition. Filled with moments of great beauty, this motet is perfect for the concert hall or a Christmas Eve service. Difficulty rating 3-4. $2.80
Preghiera (Prayer, from Moses in Egypt), by Gioacchino Antonio Rossini (1792-1868), Latin/French/English text, Thorpe Music (Theodore Presser), 392-03084, SATB, opt. SATB soloists, & piano. This lilting prayer, taken from the oratorio Moses in Egypt, is a valuable addition to the sacred repertory. The melody became so popular in Europe that it was actually performed by different groups including massed bands in Paris in the nineteenth century. The melodic material is continually repeated, constructed on an unforgettable ascending scale with unusual intervalic changes. The harmonies in the chorus parts are typical of Rossini's operatic style, always effective while still filled with surprise. The bass soloist who represents Moses opens this fine work. The tenor represents Aaron, the alto Zilla, and the soprano is Anais: all famous Biblical characters of the Old Testament. Difficulty rating 3-4. $1.90
Psalm 24, by Lili Boulanger (1893-1918), English text, Santa Barbara, SBMP 789, SATB & piano duet. What a wonderful addition to the sacred choral repertory. We so seldom see editions of this great 20th century French composer's music. The anthem opens with an expansive part composed with great eloquence for both tenors and basses. The entire first half of the anthem uses unisons with simple partwriting. When the SATB chorus enters, it is done on a grand scale, with melodies and harmonies that must be sung with great expression. The homophonic parts are trumpet-like in style. The anthem requires two accomplished pianists who can play the accessible parts musically. This setting of Psalm 24 was originally composed with French text in 1916, just two years before Boulanger's death. Ill most of her short life, her catalogue still contains a significant amount of music for one so young. Originally composed for solo tenor, choir, organ and orchestra, this edition with an opening for unison men's voices paraphrases the original musical gesture. Difficulty rating 3-4. $2.35
Rejoice, the Lord is King, by Stephen R. Fraser, English text, ECS, 6992, SATB & organ. This anthem requires an accomplished organist. Winner of the 2006-2008 AGO/ECS PUBLISHING Award in Choral Composition, the anthem is spectacularly written with a great deal of parallel motion in the voice parts. Filled with changing meters and flashy harmonies, the imitation and canonic passages are cleverly conceived. Perfect for festival or with an accomplished choir of large forces, it is a powerful statement set to a text from The Sacred Harp, Carmathen 473, by Charles Wesley (1741). Difficulty rating 4. $3.90
Tota Pulchra es Maria (Totally beautiful are you Mary), by Grzegorz G. Gorczycki (1647-1734) Latin text, Mark Foster (Music Sales), MFA0046, SATB a cappella.This wonderful anthem from one of Poland's leading composers is a great addition to your library. An unusual alternative to some other famous settings of this popular Latin text, the anthem is filled with elegant counterpoint and classic melodic lines. Gorczycki uses a lot of imitation between the voice parts, a technique that contributes to the ease in the choir's learning curve. A joyous piece, the counterpoint is often grouped between two changing voice parts. Set in e minor, the anthem is wonderful to program any time in the church year, but would be especially appropriate early in the Lenten season. Difficulty rating 3. $1.90
Versicles Responses and Lord's Prayer, by June Nixon, English text, Paraclete Press. PPM00830, SATB a cappella. Nixon has created some fine and useful service music. The opening Versicle opens with an a cappella choral fanfare that is quite brilliant in tone. She has superimposed chants by the priest between the various responses, all written in the key of G Major. Some of the versicles are more difficult than others. Of course, the music minister can choose which of the responses to use. The "Lord's Prayer" setting is stunning, with alternating counterpoint and homophonic passages of great beauty. In a liturgical environment, this is an ideal contemporary alternative to the standard liturgical music found in standard hymnals. Difficulty rating 3-4. $2.80
Y'did Nefesh, by Robert Applebaum, Hebrew text, Transcontinental (Hal Leonard), 00191593, SATB & keyboard. Set to a standard liturgical text, this anthem is filled with elegant charm. Alternating between 6/8 and 4/4, the anthem opens in unison with all four parts singing. The compositional gesture often groups two vocal parts, which alternate. This makes the learning curve accessible. The counterpoint sections offer more challenge and are chant-like in musical expression. The closing lento is quite beautiful as the choir pleads for favor "as in days of old." Notes and pronunciation guide are included in this edition. Difficulty rating 3-4. $2.25
TREBLE VOICES~SACRED
Alleluia (from Cantata 142), by J.S. Bach (1685-1750), German text, Hal Leonard, 08748855, SSA & keyboard. Originally composed for SATB voices, this arrangement by Jeff Kriske allows the treble voiced choir to sing a simple German chorale in three parts. This piece makes a terrific choice when you want to work on a choir's unison sound and vocal acoustics in parts. Set homophonically, the choir will learn this simple chorale setting with ease. Difficulty rating 2-3. $1.70Melissa's Bouquet, arr. Thomas Bold, attributed to Michael Praetorius (1609), ECS, 6768, SSA, tenor or baritone solo, a cappella. This simple piece is constructed homophonically with numerous suspensions adding to the harmonic interest. Filled with descending scales at both the half and whole interval, the choir will find some tuning challenges. Set to a text from Speier Gebetbuch (1599), the solo part can be handled by a good amateur singer. Difficulty rating 3. $1.85
Missa Brevis, by Adolphus Hailstork, Latin text, Theodore Presser, 312-41835, SSAA a cappella. Imitation between the parts and the use of surprising unisons are hallmarks of this four movement, ten minute small mass. Counterpoint is used against some ringing homophonic passages that are easily executed. Overall it is a very joyful work. The Kyrie is marked Lento but has a spunky tune that is sung in imitation. The Gloria, set in 3/4 will need constant diction drill as the choir learns to sing the words in a quick, vigorous tempo. The Sanctus and Benedictus is the most solemn movement, set in 4/4 with sharp contrasts in terms of rhythmic gesture. The Agnus Dei is quite elegant with long sustained notes in the first alto part, while the other parts sing with florid activity. It is the shortest of the four movements. The altos are required to sing a low F; therefore some men may need to be put on the part to add to the elegance of the line. Difficulty rating 3-4. $1.75
Sleep, My Child, by James Granville Eakin III, English text, ECS, 6825, SSAA a cappella. Surprising harmonies dominate this carol set in A Major. Composed with a relentlessly low alto part, accomplished altos will be required. Some tenors or upper baritones may need to be assigned to the part to better assure a powerful delivery. The altos act as ground or drone under a lyrical melody that is composed in counterpoint. The carol is set to a famous translated Welsh text (Sleep My Child and Peace Attend Thee). An effective carol, the piece was commissioned by the Turtle Creek Chorale in 2005. This unusual carol is available in both SATB (6705) and in the original for TTBB (6706) voices. Difficulty rating 3-4. $1.85
Super flumina Babylonis (By the waters of Babylon), by David N. Childs, Latin text, Santa Barbara, SBMP 797, SSAA a cappella. Filled with challenging harmonies and intervalic relationships that must be carefully tuned, this work was composed for the Pretoria High School Girl's Senior Chorus in Pretoria, South Africa. The piece requires an accomplished choir with a good understanding of rhythmic pulse. It begins homophonically, with pure g minor chords that quickly move to harmonies that are more difficult to execute. At measure 27 we are introduced to an octave and rhythmic motive, which dominates the remainder of the piece. This musical germ is effectively used between the various voice parts and is quoted right to the end of the composition. A challenge, but well worth the effort. Difficulty rating 4. $1.65
What Sweeter Music, by Daniel Pinkham, English text, ECS, 6417, SSA a cappella. Composed in 2004, this brief carol set to a Christmas text by Robert Herrick (1591-1674) is a real gem. It was written two years before the composer's death and dedicated to Amy Liberman. Filled with surprising harmonies including shifting major and minor seconds, the piece rings off the page. The altos underpin the soprano part that melodically often functions as a descant. This glorious music is just too brief. The carol is poignant both in text and harmonic gesture. It could be programmed as an effective introit for Christmas Eve or a short anthem in the service. Difficulty rating 3. $1.50
Sleep, My Child, by James Granville Eakin III, English text, ECS, 6706, TTBB a cappella. The original version of this setting of a famous Welsh text is the most effective of all the editions. Like the altos in the SSAA version, the basses act as the drone to the florid tenor melody that at times sounds as a descant. The piece will ring on men's voices. See the review of the same piece in Sacred Treble Voices. Difficulty rating 3-4. $1.85
The Manger, arr. Thomas Bold, English text, ECS, 6769, SAB, alto solo, a cappella. Set to a famous hymn tune attributed to Michael Praetorius in 1609, this unique setting of the melody is composed for SAB voices. The carol uses a text by Janet Lewis, who has adapted it from a poem by Charles Coffink, written in 1736. In 1837, John Chandler translated the poem into English. The Lewis version, based on the Chandler translation, is the text used in this arrangement. What is unique about this setting? It is the use of a pure canon between the sopranos and basses, while the alto part sings a line that supplements and adds to the harmonic complexity. The alto solo is written as a descant, paraphrasing the text of the choral lines. This arrangement offers a unique opportunity for singing an original contemporary carol with small forces. Difficulty rating 3. $1.85
New Releases ~ Secular Carol of the Field Mice, by Brian Holmes, English text, Thorpe Music (Theodore Presser), 392-03087, SATB a cappella. This simple original melody is filled with charm. It was originally composed and published for treble voices. Set to a secular Christmas text by Kenneth Grahame, the carol is ideal for high school chorus when a holiday song is needed with no religious references. Set in 6/8 meter, the dance-like quality of the music will build a light, tapped tone quality. The harmonies and rhythms are straightforward, making this piece excellent for building a choir's music reading skills. Difficulty rating 2-3. $1.75
Chanukah in Santa Monica, arr. Joshua Jacobson, English/Hebrew text, Transcontinental (Hal Leonard), 00191580, SATB, clarinet & keyboard. This famous song composed by Tom Lehrer for solo voice was first heard on A Prairie Home Companion on National Public Radio in 1990. It was meant to be a tongue-in-cheek Chanukah response to the ever-popular White Christmas. Although about Chanukah, the piece is secular in nature, and this arrangement by Joshua Jacobson is both clever and tremendously humorous. Filled with wonderful text painting and descriptive music that attempt to call up the various cities visited by this Chanukah traveler, the rhythms and harmonies are quite accessible. However, for an effective performance, everyone must understand and be able to deliver the style and musical gesture associated with each city. This piece is perfect for the concert stage where high school choirs or community choral organizations can sing "tongue in cheek." The optional instrumental interlude requires an accomplished clarinet player. Program notes and performance suggestions are included in the edition. In Jacobson's words, "Have fun!" Difficulty rating 3-4. $2.95
Turn! Turn! Turn! (To Everything There Is a Season), by Pete Seeger, arr. Robert DeCormier, English text, Hal Leonard, 08747486, SATB (divisi) and piano or guitar. A reissue from 1962, this famous arrangement of Pete Seeger's song is now available for a new generation of choirs. DeCormier has worked tirelessly to get his great arrangements back in print, and Hal Leonard is to be commended for supporting his endeavors. Set to a text from Ecclesiastes, this wonderful song is more secular in melodic and poetic gesture. Popular in the sixties and seventies, DeCormier's arrangement allows all the choral parts the opportunity to sing snippets of the melody. Set to changing meters, this fine conductor/arranger does not get in the way of the melodic gesture, which is folk-like in style and substance. A must for the accomplished high school or college choir, this great arrangement should re-enter the standard repertory. Difficulty rating 3-4. $1.95
TWA Tanbou, by Sydney Guillaume, Creole text, Walton (Hal Leonard), HL08501683, SATB a cappella. This interesting composition based on a Creole text is actually a choral argument between three drums. The straightforward rhythms are lively with many sixteenth notes. The articulation marks are quite detailed and add to the artistic challenge of this piece. The harmonies are not difficult and much of the singing is in unison. The use of words in contrast to nonsense syllables adds to the power of the overall artistic impression. This is an unusual work accomplished choirs will enjoy learning and performing. Difficulty rating 4. $2.45
Two Meditations on Poems of George Herbert, by William Bolcom, English text, Hal Leonard, 08747440, SATB (divisi) & organ. The first meditation, "Vertue," opens with the singing of parallel fifths between the sopranos and altos that magnifies the text. The basses and tenors enter next, singing mostly in thirds. The piece has many accidentals that add to the harmonic interest. With the entrance of all four parts, the harmonies become terse and filled with challenging harmonies. The closing section contains difficult counterpoint on changing meters. The second meditation is set to a text made famous by Ralph Vaughan Williams in his "Five Mystical Songs." "Love Bade Me Welcome" in this setting is dark, yet tender. Filled with complex, homophonically-set harmonies, the voice parts will struggle with accidentals that are musically challenging. Interpretation becomes an important concept to grasp as the choir creates an artistic performance of the work. The dynamics should be carefully followed. The elongated chords at the piece's conclusion will be a challenge to tune. The divisi in the voice parts require balance. Both movements require an accomplished organist. Difficulty rating 5. $2.50
The Wind that Shakes the Barley, arr. Laurie A. Betts, English text, Walton (Hal Leonard), 08501663, SATB, soprano & tenor solo, with piano or harp. This ballad about the Irish rebellion has a long history. Laurie Betts writes, "The inspiration to write this arrangement was triggered by a performance by folk singer Ethan Daniel Davison, who allegedly stood on a table in an IRA bar and sang the melody unaccompanied after which he was hired to regularly perform at the establishment." This arrangement opens with the women singing the first verse with harmonies that are composed homophonically. The men sing the second verse with the women singing ornamental "Ah's." The text painting in the third section, sung by all four parts, is quite beautiful and descriptive of the text. This is a great arrangement of a rarely performed folksong. Difficulty rating 3-4. $1.90
TREBLE VOICES ~ SECULARA Hope Carol, by David Conte, English text, ECS, 6605, SSAA & piano. Conte has always had a very distinct voice, but he has truly moved into a new, more mature style. The piece, set to a text by Rossetti (1830-1894), is filled with glistening harmonies over a lyrical melody that is often sung by the altos. The harmonic shifts leave you with a jaw dropped as the music expands in beauty. The dynamics are very clear and must be carefully observed if the choir is to leave the proper artistic impression. In listening to this wonderful setting of this great poem, you feel you have met with the angels. This piece is a must for the accomplished treble ensemble. It was commissioned by the San Francisco Girls' Chorus, Susan McMane, conductor. It would be the perfect choice for an honors choir or treble voice festival of accomplished singers. Difficulty rating 4. $2.15
A Midsummer Night's Dream (Song with Chorus), by Felix Mendelssohn (1809-1847), English text, Hal Leonard, 08748802, SSA & piano. Taken from the larger theatrical work of the same name composed in 1842, this piece was originally written for SSAA chorus, soloist and orchestra. The entire work, listed in Groves as incidental music, was premiered in Potsdam on October 14, 1843. This arrangement by Emily and Dean Crocker has been modified for chorus and piano from the original. The opening and middle solo that is both spoken and sung by Titania, can be performed by a small group of singers who can produce a beautiful blend.The SATB choral parts have been effectively adapted for three-part treble voices. Composed homophonically with some occasional periods of counterpoint, this is a wonderful introduction to the secular choral music of Mendelssohn. The piano accompaniment has been modified to support the voice parts. Difficulty rating 3-4. $1.95
Home, by David L. Brunner, English text, Boosey (Hal Leonard), 48019756, SA & piano. Set to a fine poem by Kenzie Duffy, this lyrical piece is quite accessible. Much of it is in unison with simple harmonies between the two parts. The text painting is effective and beautiful with a lyrical melody sung in both voice parts. This piece has a sentimental charm about it as the choir sings of the beauty of open fields and pastures of wheat. The choir is on a singing journey towards home. Difficulty rating 3. $1.80
Iraqi Peace Song, arr. Lori Tennenhouse, Arabic/English text, Santa Barbara, SBMP 794, SSA, piano, and cello. This chant-like folk song has a narrow vocal range that includes both chest and mid-range notes. Repetition is the hallmark of this melody. The simple vocal parts are great for building a choir's reading and part singing skills. The arrangement is sensitive to the times and allows the young choir to participate in current world events through music. The edition contains extensive program notes, translation of the text, and pronunciation suggestions. The text is written out phonetically under the choral score, which makes it quite approachable. Difficulty rating 2-3. $1.85
Live the Drum, by Juliet Hess, English text, Boosey (Hal Leonard), 48019778, SSA (descant), percussion & piano. Ideal for the middle school chorus, the alto line can be sung with ease by boys' changed voices. The use of repeating motivic material and unison writing make this an accessible anthem. The harmonies are mostly in thirds with the music structure composed strophically in an A-B format. Set to a text that is a celebration of African life, with "Alleluia's" between the verses, the piece truly belongs in the secular category. Perfect for a school environment, teachers will enjoy preparing this African celebration with their students. Difficulty rating 3. $1.80
Difficulty Ratings Guide: All selections reviewed in The Choral Room are given a difficulty rating to help you select the music most appropriate for your singers. 1 - easy; 2 - accessible; 3 - medium difficulty;4 - advanced difficulty; 5 - extreme difficulty