New Releases - Sacred
SATB
Treble
SAB
New Releases - Secular
SATB
TrebleBenjamin Britten and Friday Afternoons
By Marie Stultz, Contributing EditorA SPECIAL TEACHING OPPORTUNITY
When people hear the name Benjamin Britten, they usually think of serious and demanding music that is beyond the reach of amateur musicians and certainly out of reach of the everyday school child. After reading the entertaining texts of these thirteen movements you will quickly change your mind. One of the most humorous is quoted below.There was a man of Newington, and he was wondrous wise, He jump'd into a quickset hedge, And scratch'd out both his eyes. But when he saw his eyes were out, With all his might and main He jump'd into another hedge, and scratch'd them in again.
Upon study of these great pieces, you will find that this choral cycle offers the classroom teacher or choral conductor a treasure trove of teaching opportunities with the young amateur singer. The full cycle is available for $8.50 (48011758) and several of the pieces are published separately.A BRIEF HISTORY
FRIDAY AFTERNOONS was composed when Britten was 21. He was already considered an established British composer reaching international recognition. Written between 1933 and 1935 at the request of his brother Robert, headmaster of the boys' school Clive House, Prestatyn, they were titled for the day Britten taught the boys music, Friday afternoons. Set to a variety of texts from the KINGS TREASURIES and Walter de la Mare's TOM TIDDLER'S GROUND, as well as anonymous texts, they are filled with charm and humor. The collection was first published in 1936, as a set of 12 pieces, by Ralph Hawkes - the company which would later become the great English publishing house Boosey & Hawkes. The 13th piece, Lone Dog, would finally be published posthumously in the early 1980's and is now included in the collection.All thirteen movements (including "Lone Dog") introduce young singers to ten pedagogical topics outlined in Choral Excellence for Treble Voices, written by the editor. Britten was a genius at text versification and these pieces reflect that genius. No matter if they are 50 seconds or 4 minutes in length, each piece has a musical gesture that is both vocally and musically developing for singers of all ages. The diction and vowel requirements alone make these pieces pure gold, but the phrase gesture and demands of interpretation make them a powerful teaching tool. Britten conceived music that requires advanced piano skills with the vocal declamation reflecting an advanced musician who knew his craft.
1: BEGONE DULL CARE!
"Begone Dull Care!" is a musically packed but simple two-page tone and diction builder. It is particularly useful for teaching young singers to refine the singing of soft versus hard consonants. The piece is fun to sing, as everyone learns to combine head tone sounds with exact diction habits. The piano part is independent of the voice line, inspiring the singers to develop confident singing skills. The score is rich with articulation marks that all must learn to understand and interpret. Use this piece to establish a vocabulary of musical terms that can be referred to on a continual basis. While working tone and diction, take the opportunity to explain various elements of the score, teaching the singers to artistically follow the composer's musical instructions. Composed on July 30th of 1935 to an anonymous 17th century text, this movement was a hasty substitute for "Lone Dog" which Britten could not get the poetic rights to use. Composed in unison in the key of C Major, it is an excellent vehicle to teach music reading and advanced score study. The range of the piece is f1 to f2, a simple one octave.2: A TRAGIC STORY
"A Tragic Story" is an amusing account of an ancient sage with a pigtail that gives him a great deal of trouble. Composed to a poem by William Makepeace Thackeray, the piece is filled with ascending and descending scales that must be carefully studied and drilled for interval accuracy. Beginning in the accessible tempo of Andante ben moderato, the tempo begins to accelerate to poco a poco accelerando and then to the break-neck speed of sempre piu presto. On the third stave of page 4, Britten indicates Presto or 'sing as fast as possible.' Learning to enunciate the words of this great story as clearly and cleanly as possible at such tempos is obviously half the fun. As such, it is an excellent tool for building articulated, accurate diction in the young singer. Set in the key of d minor on ascending and descending phrase shapes, often with stepwise motion, this is another piece in the collection to teach music reading. It requires exact diction skills if the story is to be understood. The range of this movement is from d1 to e2 and artistically challenges the singer to carefully interpret the score. It is published separately (48009021, $3.50).3: CUCKOO!
"The Cuckoo" works the OO vowel in two-part singing. It can become your best friend as you train young singers in refined partsinging on a pure tone. The altos sing a repetitive ostinato on the word "Cuckoo" at an interval of a third. Meanwhile the sopranos develop a spinning tone quality on a melody that develops fine headtone singing that should ring into the room. Set to a poem by Jane Taylor, the piece works on the choir's "C" and "K" sounds. Composed in the key of A Flat Major, the piece ranges from f1 to f2, another piece using that octave. The movement is filled with articulation marks that will continue to build an expanding musical vocabulary. The ostinato can be sung by a small group of singers who have excellent rhythmic skills. The pulse must never quicken or slow down, but be sung with resolution.4: EE-OH!
"Ee-oh!" is all about storytelling. It is ideal for building the choir's advanced diction skill. Set to an anonymous text collected by Walter de la Mare, the movement deals with the humorous and outrageous behavior between a fox and his wife. Singers love this funny text. Composed on alternating meters of 2/2 and 3/2 in the key of D Major, the range of this piece develops a choir's mid-to-upper range. The melody is composed with a melodic range of c1 to f2 with an alternate a2. This movement develops a choir's artistic skills and ability to make their voices sound like the words, set strophically over 7 verses.5: A NEW YEAR CAROL
Set to an anonymous poem, "A New Year Carol" is perfect for building elegant, rounded vowels in the mid-and-upper range of the voice on long phrase shapes. It builds easy legato singing through the choice of key signature and Britten's way with the prose setting. Composers determine text settings by considering the stress, pitch, and length of the words, -- and considering how these elements can affect the words' meaning and interpretation. Britten was a genius at selecting the right key signature and developing melodies that consider all elements of word versification (prose setting). Many of his pieces for children were written in the key of E Flat Major -- the ideal key for trebles to sing -- creating a ringing, pure tone quality. Strophic in form, the carol's words "dew," "wine," and "wires" are sung with ease on pitches in the upper tessitura. Long legato phrases must be established from the very beginning of the instruction process, with the refrain sung with a warm, intimate sound.
The perfect choice for tone building in singers of all ages, the piece sounds particularly dear on the young choir's voices when they are well trained. The dynamic marks and score suggestions must be carefully followed, if a refined artistic impression is to be developed. Breathing exercises and emphasis on the long phrase are extremely important in this simple strophic piece. Because the carol can be conducted with great sensitivity, training young children to follow the conducting gesture carefully is crucial. This is particularly true in the final refrain, where the dynamics get softer and softer and the tempo change of rallentando molto will require every eye to be on the conductor. It is published separately (Unison, 48008951; SSA, 48003743; $1.80 each)6: I MUN BE MARRIED ON SUNDAY
"I Mun Be Married on Sunday" is filled with great humor as it works on "S" alliterations. Set to a poem by Nicholas Udall, this lively setting will have everyone laughing, including the singers. Composed in F Major in 6/8 meter, the piece is filled with descending scales that must be carefully tuned. The melodic range is from d1 to f2 -- good for working the mid-to-head range of the voice. This melody is excellent for building the choir's music reading skills. Expressive dynamics and fine diction are critical if the performance is to be an effective and artistic one.7: THERE WAS A MAN OF NEWINGTON
"There was a Man of Newington" is another humorous movement built on an E Major descending and ascending scale with some intervalic challenges. It is ideal for building a choir's reading skills. Filled with score articulation marks that will develop the singer's artistry, it is set to an anonymous text found in "The Way of Poetry" by John Drinkwater. Young children love singing this very short, yet charming movement.8: LONE DOG
"Lone Dog" was originally written to be the first in a set of twelve songs for children. Britten was unable to obtain the rights to the text; thus at the time of publication he composed a new first movement, "Begone, dull care." Written at the tempo of Allegro con fuoco, this wonderful piece, published eighteen years after the composer's death, is challenging rhythmically. The vocal tessitura and prosody encourage artistic growth. Subtle articulation marks, on a text that must be enunciated clearly at a break-neck speed, offer much for the young singer to execute. As the children learn to sing the piece accurately, they develop a tremendous ability to sing this challenging melody written independently of the piano part.
Although "Lone Dog" has become number thirteen in this song cycle, after a great deal of study, I recommend it be performed after "Man of Newington, making it number eight when singing the full cycle. The tempo, key relationships, and musical nuance best fit the score in this position. I have had children in the audience vote if "Begone Dull Care" or "Lone Dog" should be first in the cycle. The voting has always been mixed. From a musical point of view, this piece seems to fit best in the middle of the cycle. The descriptive piano accompaniment and melodic writing help the singers artistically interpret this score with ease. It is published separately (48004492, $1.80).9: FISHING SONG
"Fishing Song" is a charming, lazy movement that must be sung with easy warmth. Set in 5/8 meter where the students must understand 2+3 in a two beat conducting pattern, this movement combines rhythmic challenge with score articulation marks that require artistry in their interpretation. Set to a poem by Isaak Walton, this movement is filled with charm and grace. Set in the key of C major, the three verses are set strophically, with some divergence in the slower, lazy section in verse three. Again, the text versification is brilliant and must be sung with a tremendous concern for the descriptive possibilities of tone and diction. Although not indicated, there is a possibility for a solo at the opening of verse 3, with the entire choir entering at the accelerando on page 25. The concept of the long phrase and gentle swinging are both critical components in interpreting this movement properly.10: THE USEFUL PLOUGH
"The Useful Plough" matches the elegance of "The New Year Carol." The length of the legato must be established early in the teaching process. The long lines will develop well-formed vowels of unbelievable beauty. Set to an anonymous poem, from a publication entitled "Lighter Verse" from the KING TREASURIES, the text reflects on the joys of the farming life. The outdoors is beautifully described both in verse and music in this elegant, strophic, two-verse setting. The changing meters in the key of D Major just glow with beautiful colors and descriptions of the simple life. Britten captures the plow pulled by a donkey and the horse making furrows in the land in his panoramic description of country life. This is the most elegant of all the movements and requires advanced breath control, as the choir sings brilliant mid-to-head tone that develops a warm and rich tone quality.11: JAZZ-MAN
"Jazz-man" is a clever piece that is great fun to sing. Filled with humorous images of a "Jazz-man" playing all of his instruments and making an enormous "clatter," this spirited movement is a great crowd pleaser. Set to a text by Eleanor Farjeon, Britten marks the tempo as "Quick, with fire," which means this piece is wonderful for working the choir's diction. Filled with articulation marks, this movement will advance the choir's artistry and capability to sing subtle and not-so-subtle score indications. The piece ranges from d1 to f2, and is therefore excellent for working the choir's mid-to-head range, with the diction helping to focus the sound. "Jazz-Man" is a real charmer and is great choice to conclude a few selections from the entire collection. It is published separately (48003983, $1.80).12: THERE WAS A MONKEY
"There Was a Monkey" is set to an anonymous text taken from Walter de la Mare's TOM TIDDLER'S GROUND. This movement is filled with descending scales and leaps that often use the fourth and fifth of the G Major scale. Composed strophically for the voices, the piano part is quite challenging and paints the meaning of the various humorous verses: from the monkey to the crow, the wife, horse, butcher, etc., Britten has a great imagination in realizing the accompaniment. Filled with score articulation marks and contrasts in dynamics, this movement builds a choir's artistic interpretation. The color of the voices singing about the various characters must match the accompaniment's antics. Because the piano part is written independently of the voice parts, the piece builds the choir's ability to sing independently. The diction requirements of this piece are enormous. As in "The Tragic Story," the choir must tell this silly story. Outlining the ninth, the range of this piece is d1 to e2.13: OLD ABRAM BROWN
"Old Abram Brown" is one of the greatest canons written in the twentieth century. The use of augmentation and diminution between the parts is genius itself. The work also builds the singer's ability to tune a descending minor scale. Like all canons, the piece requires crisp diction and a careful adherence to the dynamics. The majority of the piece is sung piano; therefore, the choir needs to develop vocal control that quietly projects. Because the rhythms are generally composed in eighth notes, it is extremely important that the children learn to bring out the more important words. The last movement of this cycle, it is composed to a text by Walter de la Mare. It is published separately (48003198, $1.80)
New Releases ~ Sacred A Cradle Hymn, by Daniel Pinkham (1923-2006), English text, ECS, 6754, SATB & piano (or string quartet). This carol was commissioned and composed for the 97th annual Christmas Carol Services held at Memorial Church, Harvard. It received its premiere on December 17 and 19 in 2006, just a few days before Pinkham's death. Filled with major and minor seconds on changing meter signatures of 12/8, 9/8, and 6/8, the piece is set to a text by Isaac Watts (1674-1748). It is filled with shimmering harmonies that lull the Christ Child to sleep. Difficulty rating 4. $1.85
Adonai Mah Adam, by Simon Sargon, Hebrew text, Transcontinental (Hal Leonard), 00191612, SATB & keyboard. Set to two psalm texts, 144: 3,4 and 90:6, the piece is filled with lilting melodic phrase shapes in D Major and d minor. The haunting solo in the minor, middle section should be sung with rich melancholy. A pronunciation guide and program notes are included in the edition. Sargon is currently head of the composition department at Southern Methodist University. Difficulty rating 3. $1.95
*Dona Nobis Pacem (from St. Nicholas Mass), by Franz Joseph Haydn (1732-1809), Latin text, Walton (Hal Leonard), 08501719, SATB, SATB solo, & organ (piano). This movement concludes this short mass by Haydn. It opens as a duet between the alto and soprano soloists and then the tenor and bass soloists. The solo quartet which introduces the tutti chorus requires strong, balanced singing. Filled with elegant phrase shapes composed contrapuntally, this is the perfect anthem to close an evensong or evening concert. This work is beautifully edited by Philip Brunelle. Difficulty rating 3. $1.90
How Lovely Your Abiding Place, by Austin C. Lovelace, English text, Paracete, PPM00906, SATB & organ. This simple setting of the Appalachian tune called "Warlock" is quite effective. Set to an adapted text of Psalm 84, it was conceived in 1984 by Arlo D. Duba. Composed in a quick tempo, it must be sung with an effective and definite swing. Somewhat canonic in structure, the piece is filled with lovely suspensions and surprising unisons. As always, this fine composer delivers an effective anthem accessible to choirs of varying capability. Difficulty rating 3. $2.10Let Not Your Hearts Be Troubled, by Craig Phillips, English text, Paraclete, PPM00936, SATB (divisi) & organ. Set to a text taken from John 14, the anthem is filled with challenging rhythms and numerous key changes on shifting meters. Opening and closing in E Major, the piece's sparkling harmonies glisten when sung properly. The middle C Major section is more languid in tone. A perfect choice for Lent, the anthem requires an accomplished choir that can perform varying vocal colors. The closing phrase, "believe in God, believe also in me," closes with great power on a divisi between the sopranos and basses, while the tenors and altos provide some simple but elegant counterpoint. Difficulty rating 4. $2.80
Now, Brethren Though We Part, arr. Alice Parker, English text, GIA, G-6272, SATB & piano. Parker has been on a Hymnody quest for many years. Set to a folk melody named Lake Leon by Issac B. Woodbury (1819-1858), the anonymous text is taken from The Brethren's Tune and Hymn Book, 1879. With each verse, the color of the voices is determined by the meaning of the text. Arranged for the Church of the Brethren for its 1986 Conference, this anthem is one in a series of publications of great hymn tunes adapted from varying sources - accessible arrangements marked by simplicity and quiet sentiment. The piano part should sound like a dulcimer: light and filled with glistening color. Difficulty rating 3. $1.50
Now, Lord, You Let Your Servant, by Paul D Weber, English text, MorningStar, MSM-50-6208, SATB (divisi) a cappella. Filled with warm, rich harmonies, this is an elegant setting of the Nunc dimittis text taken from Luke 2:28-32. In terms of compositional style, the men are often paired in contrast to the women. Composed with changing meters on block harmonies filled with divisi sections, it will require a large chorus. The tessitura of the soprano part can be demanding, requiring singers who can sing a g2 to b2 with great ease. Filled with powerful harmonies on changing dynamics, the choir should be able to sing with great subtlety. Difficulty rating 3-4. $1.70
Preces and Responses, by Daniel Hahn, English text, Paraclete, 00904, SATB a cappella. Composed homophonically, this simple service music is filled with elegant suspensions. The cantor part can be intoned by a priest or good soloist. Included in the publication, after the Preces, is a setting of The Creed, The Lord's Prayer and three Collects. The entire edition is composed in D Major with emphasis on the fifth of the chord. Difficulty rating 3. $1.60
*Psalm of Praise, by David L. Brunner, Boosey (Hal Leonard), 48019989, SATB divisi & piano. Set to a text adapted from several verses of Psalm 104, the anthem begins on unison women's voices marked piano -- eventually splitting into simple parts. The text painting in the four-part writing is composed on fluid harmonies set to changing meters and numerous effective key changes. The anthem ends in G Major on a final unison that moves to powerful chords set at piano. The middle section, set in A Flat Major, features luscious harmonies and insightful, brilliant text versification. This anthem was composed for the St. Louis Children's Chorus 30th Anniversary. Difficulty rating 4. $1.80
*The Sixty-Seventh Psalm, by Carl W. Haywood, English text, GIA, G-7384, SATB a cappella. This fine setting is filled with special musical moments and displays Haywood's great experience with choral music. Composed for the Norfolk State University Concert Choir where the composer is director, the anthem is set in c minor on changing meter signatures. The piece opens in octave unisons with a melody that skillfully expounds the text. The musical contrasts in the solemn opening and the jubilant middle section of praise is tremendously effective. This fine anthem closes in octave unisons that move into sonorous harmonies. Dynamics play an important role in the quiet chords that close this piece in d minor. Difficulty rating 4. $1.40
Two Psalmic Motets, by Peter Pindar Stearns, English text, Paraclete, PPM00933, SATB (divisi) a cappella. The first Psalm, My Soul Fainteth for Thy Salvation, is filled with powerful harmonies that at times are gritty, in stark contrast to others of great beauty and expansion. The setting of Verses 102-103, from the same Psalm, is filled with warm harmonies set homophonically. Both pieces are powerful statements that reflect the dynamic texts. Stearns is a master of text versification and these two motets reflect his refined compositional style. Difficulty rating 3-4. $2.10
*Y'hi Ratzon Milfanecha (Prayer for the New Month), by Ben Steinberg, Hebrew text, Transcontinental (Hal Leonard), 00191614, SATB, cello & keyboard. Steinberg writes beautifully for chorus, cello, and voice; and this piece is no exception. V'ha eir eineinu for treble voices, cello, and piano is another spectacular piece. This hypnotic prayer is filled with the melodic, rhythmic and harmonic elements familiar to music from the Middle East. The soloist must be able to chant effectively, while navigating the complicated rhythms. Difficulty rating 4. $2.25
TREBLE VOICES~SACRED
*Ave Regina Coelorum, by Giovanni Pierluigi da Palestrina (1524-1594), Latin text, Roger Dean (Lorenz), 15/2165R, SSAA a cappella. This elegant motet is the second in a group of Three Marian Antiphons for Treble Choir. Featuring graceful counterpoint with crossing voice parts, this antiphon is pure magic. First published in Venice in 1584, it is set in A Major and edited by Raymond Sprague. The piece was originally in cut time but edited in this publication in common time. Although composed in four parts, it is quite accessible. This motet is the perfect choice for an honors choir or with an accomplished women's chorus. Difficulty rating 3-4. $1.95I am a Little Church, by Daniel Brewbaker, English text, Boosey (Hal Lenard), 48020623, SSA & piano. e. e. cummings' poems have a rhythm and melody all their own. Few composers can effectively set his poetry, but Daniel Brewbaker has managed to not get in the way of the poetry and lets the words lead him down the compositional path. The anthem's many key and meter changes help with the poetic gesture; meanwhile the beautiful melodies and harmonies are set to challenging rhythms. The singers must learn to intone the text while singing an anthem filled with musical challenges. The anthem is dedicated to the composer's mother, honoring her 87th birthday, and seems to reflect an inner strength and deep faith. Difficulty rating 4. $1.95
*Mendelssohn's Prayer for Peace, by Felix Mendelssohn, German/English text, Santa Barbara, SBMP-884, SA, piano, flute & cello. This haunting setting was composed on a sojourn to Rome in 1830, at the same time Mendelssohn wrote his Three Sacred Songs, op. 23. Originally composed for woodwinds, strings, organ and four-part chorus, this adaptation by Kirk Aamot is simple but quite effective. The cello part weaves between the unison voices, while the simple descant, Dona Nobis Pacem, hovers elegantly over the melody. Difficulty rating 3. $1.60
Musica Dei donum optimi (Music, gift of the supreme God), by Antonin Dvorák, Italian//English text, Santa Barbara, SBMP 858, SSA & piano. The theme for this anthem is taken from a composition originally written for violin and piano. Dvorak eventually set it to a famous anonymous Latin text dating from the 16th century. The arranger and editor, Robert Sieving, has tried to hold true to the original. In describing the structure of this piece, he makes the following observations: "The theme and variation organization used in this arrangement passes the subject and subsequent variation from section to section, while the piano score framing the harmonic language in a chaconne-like structure remains true to the original with only minor alterations." Difficulty rating 4. $1.70
*I Love Thee, Lord (Al lado de mi cabana), arr. Alice Parker, English text, Lawson-Gould (Alfred), 3211, SAB & piano. A 17th century Spanish hymn, this arrangement is part of a series of hymns that has attracted Alice Parker over the years. It is based on an English translation by Edward Caswell (1814-1878) and later adapted by Percy Dearmer (1867-1936). The anthem is quite simple, set to a charming melody that small choirs will really enjoy. The harmonies are constructed homophonically, making the anthem very accessible. These hymn settings are very useful as service music. Difficulty rating 3. $1.75
New Releases ~ Secular *Al Shlosha D'varim, by Allan E. Naplan, Hebrew text, Boosey (Hal Leonard), 48019890, SATB & piano. Constructed on two counter melodies, this plea for peace is both lyrical and surprising in melodic structure. Much of it is composed in unison with some simple harmonies on elegant counterpoint, after the composer's original two-part arrangement. The piece opens in A Flat Major with the soloist intoning the first melody. The choir also sings the melody - first in unison, then splitting into parts -- with the tenors and basses singing long sustaining phrases in counterpoint, as the sopranos and altos introduce the second melody. Naplan brilliantly combines the two counter melodies throughout the piece, which shifts to A Major. This is the perfect choice for high school choirs or for a peace program, as the text exclaims "The world is sustained by three things - truth , justice and peace." The edition includes performance notes, translation and pronunciation guide. Difficulty rating 3-4. $1.80
Sun, Moon, Stars, Rain, by David L. Brunner, English text, Boosey (Hal Leonard), 48020620, SATB & piano. Set in the key of C Major, the piece begins in four-part unison on a simple melody filled with many repeated notes. Shifting between 6/8 and 9/8, it remains quite simple - then, surprisingly, begins to build in harmonic interest, as it slowly grows and builds in power. Brunner's text versification skills are always on the mark. Set to a poem by e.e. cummings, he manages to melodically and harmonically interpret the text, while using simple rhythms that do not get in the way of the poem. Difficulty rating 3-4. $1.95
Yove, Malay Mome (Yove, Little Girl), by Alexander Tanev (1928-1996), Bulgarian text, Santa Barbara, SBMP 871, SATB a cappella. Composed by one of Bulgaria's most eminent 20th century composers, this publication is beautifully edited by Dr. Gabriela Hristova. Set in the multiple meter of 7/8+11/8 per measure, the piece is filled with nonsense syllables. It was composed in 1974 and based on a folk tune from the Shopluk region of Bulgaria. The most difficult aspect of the piece is establishing the pulse of the music and then working out the conducting patterns. The pronunciation of the vowels is very much like those found in Italian. There are some pronunciation instructions, along with editorial notes and a translation of the folk text in the publication. Singers will have great fun musically creating this charming folk dance from Eastern Europe. Difficulty rating 4. $2.10
TREBLE VOICES ~ SECULARA Symphony of the Heart, by Rollo Dilworth, English text, Hal Leonard, 08749825, Hal Leonard, 08749825, SA & piano. Composed in B-flat Major, both music and text are by the composer. Commissioned by the St. Louis Children's Chorus, the composer makes the following observations: "A Symphony of the Heart" is a celebration of music and its power to unite people from all walks of life. While working on the text for this piece, I decided to use a symphonic orchestra as a metaphor to symbolize the concept of unity." The piece uses the question and answer technique and is filled with short repetitive phrase shapes, making it a very accessible anthem for children's choruses. The harmonies are simply constructed with many unison passages. Difficulty rating 3. $1.70
*An Exhortation, by David Conte, English text, ECS, 7390, SSA & piano. This music set to Barack Obama's victory speech on November 4, 2008, was commissioned and performed by the San Francisco Girls and Boys Choruses, and performed at the Presidential Inauguration on January 20, 2009 - a performance heard throughout the world. Conte was asked to do additional versions of this powerful piece by numerous organizations; but with the later versions, the piano part cannot be used. This short musical statement, beginning in C Major, is filled with powerful harmonies. Conte has perfected his ability to write for treble voices in tessituras that ring off the page. The majestic "Yes, we can" is sung three times on changing, powerfully constructed chords. Difficulty rating 3-4. $1.50
An Exhortation, by David Conte, English text, ECS, 7391, SATB (divisi) a cappella. This version was commissioned by the Central Bucks High School-West Chamber Choir and is a very effective adaptation from the original. Difficulty rating 4-5. $1.50
An Exhortation, by David Conte, English text, ECS, 7392, SAAA a cappella. This version is an expansion of the SSA version. Difficulty rating 4-5. $1.50
An Exhortation, by David Conte, English text, ECS, 7393, TTBB a cappella. This version was commissioned by the Turtle Creek Chorale and is adapted from the SSAA edition. Difficulty rating 4-5. $1.50
Pretty Saro, arr. Nancy Boone Allsbrook and Glenda Goodin, English text, Boosey (Hal Leonard), 48019924, SSA & piano. The text of this Appalachian folksong originated in the British Isles. However, many versions of the text exist, due to its oral history. This edition of the words is based on a lyric used by Jean Richie. Set in the key of G Major, the arrangement begins in unison. With the second statement of the melody, the sopranos and altos sing in canon. The third verse is set contrapuntally in three-part harmony. This is a very accessible arrangement and would be a good vehicle to build the choir's partsinging and music reading skills. Difficulty rating 3. $1.80
*The Seal Lullaby by Eric Whitacre, English text, Walton (Hal Leonard), HL08749771, SSA & piano. The melody for this beautiful lullaby was composed for an animated movie of Rudyard Kipling's The Seal Lullaby. The music was written in a day but never used, because the studio dropped the project. A few years later, this three-part arrangement was commissioned by The Town Singers and The Lawrence Children's Chorus. It opens with "Ooh's" as if to sing the baby to sleep. This lovely poem is tenderly set with gentle harmonies on graceful counterpoint. Set in D Flat Major, it requires a choir that can sing with great beauty and gentleness of tone. Difficulty rating 3-4. $2.25
Servants' Chorus (from Don Pasquale), by Gaetano Donizetti (1797-1848), Italian/English text, Boosey (Hal Leonard), 48019951, SA & piano. This humorous duet is adapted from a servant's chorus, where everyone is complaining about how often the servant bells ring, never allowing them to rest. It is a sparkling duet filled with great fun, where the singers have to imitate the constantly ringing bells. This fine arrangement by Scott Gilmore is well thought-out and was created to introduce children to operatic singing. Optional solos are indicated in the score. This is ideal for the accomplished children's chorus. A pronunciation guide and operatic background are included in the score. Difficulty rating 4. $2.50
Still as the Night (Still wie die Nacht), by Carl Bohn, English text, Peters, 68161, SSA & piano. Originally a solo song, this arrangement for three voices by Doug Andrews is a fine adaptation of a timeless melody that singers have loved for years. The harmonies of the other two voice lines are taken from the piano part. This adaptation works on beautiful legato singing and fine breath support. Difficulty rating 3. $2.50
EXTENDED WORK
*Let's Have Some Music, by Darius Milhaud, English text, Durand (Hal Leonard), 50564949 - full score; 50564950 - singer's score, unison & piano (strings). Fourteen minutes in length, this is a fabulous collection of game songs for children by this great French composer. Milhaud gives the following instructions to the teacher: "The mischievous students are placed on the left; the obedient students on the right. A student from the group involved announces each upcoming song. The performance can be accompanied by a corresponding pantomime, if desired. Individual movements may be performed separately." An easy orchestral accompaniment (violins and cellos) is available from the publisher, sold separately. Difficulty rating 3. (full score) $12.95 (singer's score) $4.95
* New releases marked with an asterisk (*) are especially recommended.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