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THE MUSIC OF JOHN JACOB NILES~SETTING THE RECORD STRAIGHT
By Marie Stultz, Contributing Editor
John Jacob Niles is synonymous with American Folk music. An ardent collector of tunes from America's oral tradition, particularly throughout the South, he became world famous for his lute and dulcimer playing, while singing songs associated with the American folk tradition. The American music community is deeply grateful for his conscientious search for the best melodies created and sung from person to person, recapturing and notating tunes for scholars and musicians for generations to come.
What many musicians don't realize is that Niles was a great composer in his own right, using his knowledge of folk music and incorporating that style into his own musical gesture. A composer of unforgettable melodies and a writer of moving texts that touch our hearts, his original music is often confused with the tunes he collected, tunes that have shaped the history of American oral and folk music traditions.
BIOGRAPHY
John Jacob Niles was born in Louisville, Kentucky in 1892. Renowned as a singer, dulcimer player, guitarist, accomplished lute player and composer, he began his adult life by serving in the US Army Air Corps in France during World War I. He was injured in 1918 and partially paralyzed in a plane crash, but once recovered he began his musical studies at the Schola Cantorum in Paris. After completing one year of music study in Paris, he returned to America to enter the Cincinnati Conservatory of Music in 1919, where he finished his music degree. In his professional career, he was renowned for his performances with contralto Marion Kerby. Among his original works are Lamentations, performed at Indiana State Teachers College in Terre Haute in 1951. Along with major works such as Rhapsody for the Merry Month of May and Mary the Rose, he published many books on folk music and ballads particularly as they related to the British Isles and America. His stories about his haunts through the South are charmingly related in a publication of 1960 by Dover Books. In this fabulous account of his life and understanding of our oral history, he shares 346 pages of music and insight into his discoveries about the relationships between the two English-speaking nations.
NILES AND FOLKSONG COLLECTING
Niles began collecting folksongs at an early age. Young and lacking in worldly knowledge, he timidly began writing down the melodies people would share with him. He describes his exploration into melodies often written from centuries long ago as an "uphill battle from the very beginning." In 1912, at the age of 20, he continued to collect songs from people's heads as a private effort, not realizing well-informed scholars were doing the same on a systematic basis.With little knowledge of this kind of music and lack of ethnological scholarship, he still found the music fascinating, constantly notating and remembering great melodies and texts shared by the amateur singing public. Once collected, practiced and interpreted, he began to perform this music for small audiences who quickly responded to this musical genre with interest and great enthusiasm.
In The Ballad Book of John Jacob Niles, first published by Dover in 1970, he talks about his passion for keeping his collecting of oral materials as a private effort. "So for many years my collection was a private family property, out of which I was selecting the ballads, the love songs, and the nursery rhymes I employed - at first in my early singing engagements and finally in my concert and lecture appearances." He goes on to say: "There were several reasons for keeping my collection private, and I thought them to be entirely valid. First among them was the feeling that publishing would be very unrewarding, because of the lack of public interest. And as I was making my collection at my own expense, I thought I deserved the first right to its use."
This privacy issue and then finally the publishing of extensive collections of both folksongs and carols have added to the confusion over which of Niles' music is collected as part of his study of the oral traditions of various regions and what was original to Niles himself. Because of expanding piracy and imitators of varying quality in the 1940's, Niles again refused to publish his private collection of folk music. "For more than 10 years thereafter, the ballad book lay quietly in several large brown envelopes, waiting the day when I thought I had employed my material sufficiently. I had collected it at great pains. No vastly rich foundation had helped me. I had financed the entire operation myself. Therefore, as I have said earlier here, I thought I should have first right to its use."
The pirating and imitating of the Niles tunes both original and collected began to cloud all of his musical efforts. His greatest goal was to expose children and people worldwide to great music of our oral heritage. He soon found himself agreeing with Cecil J. Sharp who said, "the primary purpose of education is to place the children of the present generation in possession of the cultural achievements of the past, or to put it another way, the aim of the educationist should not be to forge the first link of a new chain, but add a fresh link to the already existing chain."
Niles' greatest fears were eventually realized, as the origins of the music that was original to him and the music that was collected by him became totally confused and a private musical nightmare. "Lest I be misunderstood, may I hasten to assure the reader that I have always wanted my composed and collected music employed by the public, either privately in homes or publicly in schools and colleges and in concert halls, on the radio, and by television. But I strongly object when the singer, either through ignorance or misinformation, mistakes my composed love songs and carols for public-domain folk material, and when the aspiring collector, through a complete lack of ethics, publishes or records any of my material without my knowledge and consent."
Niles career was riddled with these problems, and the crossover and misidentification of his music remains to this day. Niles own publisher has just printed two arrangements of his original music and labeled them as a folksongs: "The Lass from the Low Countree" and an Appalachian carol "I Wonder as I Wander." G. Schirmer (distributed by Hal Leonard), which published the first collection of his music in 1975, five years before his death, identified this problem in the preface of The Songs of John Jacob Niles. In an expanded version published in 1990 and edited by his Niles' wife Rena, the misrepresentation was again addressed. Yet the confusion and misconceptions still remain even with a fine publishing house like G. Schirmer. It is a credit to his capability as a composer that Niles was able to write timeless music that sounds "passed down" rather than original. The following pieces are some of the most popular and the most confused:
Go 'Way from My Window, words and music by John Jacob Niles. It is one of Niles' earliest compositions and was written in 1907 and 1908 for "a girl with blue eyes and blond hair of whom I was greatly enamored." It was first published in 1934 by G. Schirmer as a simple song sheet in five verses and later arranged in 1944 by Niles with piano accompaniment. It appears in his songbook in that 1944 accompanied arrangement.The Lass from the Low Countree, words adapted by Niles with original music by the composer. Composed in folksong style, this elegant tune was first published in 1938. It has a timeless quality about it that sounds more like a British folksong rather than an American original tune of the 20th century. G. Schirmer publishes three arrangements of this tune approved by Niles for SSA, SSAA and SATB voices. Niles was assisted in creating these arrangements by J. Stanley Sheppard. The tune was first published in 1938 with a piano accompaniment and solo song version to follow in 1956.
I Wonder as I Wander, an adaptation and arrangement by John Jacob Niles with text collected by the composer. Composed in 1933, this beautiful carol is "based off a fragment overheard in the courthouse square in Murphy, Cherokee County, NC." Much of it is original to Niles, with only a smattering based off a brief oral hearing experience. Confusion surrounding the carol comes from a publication by G. Schirmer in a collection by Niles entitled "Song of the Hill Folk." In The New Oxford Book of Carols the editors question the carol's origin and attribute the majority of the carol, words and melody, to Niles.
Black Is the Color of My True Love's Hair, text collected and adapted with music by John Jacob Niles. First published in 1936, Niles was enamored with the beautiful text but found the melody dull and ordinary. Therefore he created a timeless melody that perfectly expresses the noble text. Niles points out that a more detailed explanation (of its' origins) is in order, because the text is indeed in the public domain, but the tune [which is the tune now employed wherever the song is sung] was composed by me, because I felt that the traditional one, dull beyond belief, was unworthy of that fine text."
The Carol of the Birds, text and music by John Jacob Niles. This charming carol is totally original. Written for his oldest son Tom when he was just four years old, the piece is dedicated to Gladys Swarthout, the first performer of this song. Originally published by the Kentucky Music Publishing Company in 1942, G. Schirmer was assigned the publishing rights in 1943. This graceful carol composed in pastoral style is filled with textual images about the birds that fly to the manger to sing of Christ's birth. Not as well known as some of his other tunes, this piece is a representational hallmark of Niles' compositional style and ability to write a great text to an expressive melody.
Sweet Little Jesus Boy, text and music by John Jacob Niles. Another innocent, relatively unknown carol published in 1944, about which little is known. This simple piece, so poignant on children's voices, is as beautiful as any of Niles original carols. Composed in 9/8, the piece rings on young voices. This text, somewhat modified, can also be found in an arrangement by Michael Neaum, published by Roberton Publications. The text is very similar to the one by Niles, but set by an English arranger and labeled as a spiritual for SSAA choir, soprano solo and piano. We come full circle on the relationship between British and American oral history with these two adaptations of similar texts with different melodies in very different genres.
Jesus, Jesus, Rest Your Head, adapted by John Jacob Niles, is constructed from the singing of three people in Hardin County, Kentucky. It is also dedicated to his oldest son Tom one year after the writing of The Carol of the Birds. There is a wonderful story about this adaptation, which Niles freely shares. It came into being after Niles and his mother visited a family named the Grahams, who at the turn of the century, lived in Hardin County, Kentucky. His mother noted down a "little Christmas Song" they sang, as Niles was too young at the time to take it down himself. About 1909, after he had written Go 'Way My Window, his mother gave him a few slips of jumbled notes and said, "Here, see if you can make a song out of this?"
I hope these stories and annotations help straighten out the record and further our understanding of John Jacob Niles' compositional and collecting output. He was a troubadour, a composer and one of the finest collectors of our oral heritage of the 20th century. Because of his skill as a composer and poet laureate, it is difficult to distinguish the original composer from the collector. He knew and heard great music and exceptional poetry. Combining his skill as a composer and performer, he has given us all a rich musical legacy.
BIBLIOGRAPHICAL RESOURCES
The Songs of John Jacob Niles, G. Schirmer (Hal Leonard), available in high voice (50481076) or low voice (50481653) and piano.The Ballad Book of John Jacob Niles, Dover Books, 486-22716-2, more than 100 of the best American ballads from English and Scottish sources collected in the Appalachian Mountains and simply arranged for piano and guitar by America's great authority.
New Releases ~ Sacred Agnus Dei (from Missa Lorca), by Corrado Margutti (b.1974), Italian/Latin text, Astrum Music, AS 34.010, SATB, SSATTB soli, a cappella. Biting, complex harmonies dominate this fine setting of the Agnus Dei which uses traditional Latin and the poem entitled "World" by Spanish poet and writer Federico Garcia Lorca (1898-1936). The Lorca poem, translated by Corrado Margutti, is taken from a larger work entitled "Ode to the Most Holy Sacrament of the Altar." The rhythms are simply constructed with the half note getting the beat. The difficulty lies in the large forces and accomplished soloists needed for this work and in the harmonies, which are spectacular but definitely challenging. Margutti was born in Turin, Italy, and continues to reside and work in that country. The "Agnus Dei" was commissioned by the Torino vocal ensemble, Carlo Pavese conductor. The first performance was in Savona, Italy, on June 16, 2002 in the Church of San Giuseppe. The entire mass was commissioned by St. Jacob's Chamber Choir of Stoccolma, Italy, under the direction of Gary Graden. Difficulty rating 4. $2.70
Bonus est Dominus, by Ambroz Copi (b. 1973), Slovenian text, Astrum Music, AS 4.358/01, SATB/SATB a cappella. Composed with stark harmonies in contrast to warm rich tones that ring brilliantly, this piece is set to a text from Lamentations 3:25. Filled with changing meters on somewhat challenging rhythms, the double choir part is quite brief and both choir parts can be handled with small forces. A translation accompanies the edition. Difficulty rating 4. $1.50
For Peace, by Jane Marshall, English text, ECS, 6211, SATB a cappella (opt. organ). I have known Marshall's work for over 40 years as a student in her classes and as a graduate of Southern Methodist University where she has served on the faculty of the Meadows School for the Arts and on the graduate faculty for the Perkins School of Theology. She has gone through many compositional periods, but this piece displays her commitment to world peace as well as demonstrates that she still retains her excellent compositional skills at the age of 80. This short piece set to a text from "The New Zealand Hymnbook Trust" is one of her more distinguished pieces. Composed for the World Council of Churches in recognition of their commitment to the DECADE TO OVERCOME VIOLENCE (2001-2010), this piece will strike a chord in the heart of everyone who sings it. Lasting only 2'30', the beautiful suspensions and rhythmic writing are perfectly set to her text adaptation. The text painting is simple, straightforward and moving. This is the perfect piece to program in a service for world peace, but is relevant on any Sunday when our country, peace and justice need prayer. Difficulty rating 3-4. $1.45
God Is My Rock, by Johann Friedrich Peter (1746-1813), English/German text, Mark Foster (dist. Music Sales), MF 6004, SATB and organ. This piece requires an accomplished soprano section with many a2's in their voices. Set to a text from Second Samuel, 22:3, this piece is beautifully edited by Nola Reed Knouse. Part of the Moravian Music Foundation Series, this piece is filled with satisfying counterpoint and beautiful harmonies. This anthem from the classic period is perfect for programming when celebrating the church and Christ's fulfillment to our belief as people. The anthem would be tremendously effective in German with the English translation placed in the bulletin. Difficulty rating 3-4. $1.50
Hark, I Hear the Harps Eternal, arr. Alice Parker, English text, Lawson-Gould (Warner Brothers), LG 51331, SATB (divisi) a cappella. This is a re-issue from Warner that was first published in 1967. It is set to the tune Invitation and is part of the Robert Shaw Choral Series. Alice Parker and Robert Shaw in collaboration wrote many beautiful hymn and spiritual arrangements. The opening statement of the tune is composed homophonically. The piece expands into some simple counterpoint that builds both melodically and harmonically on the text. This still remains one of the best arrangements of this great tune. Difficulty rating 3-4. $1.60
Let Their Celestial Concerts All Unite, by George Frideric Handel (1685-1759), English text, Thorpe Music (dist. Presser), 392-03073, SATB and keyboard (opt. orchestra). Taken from Handel's great oratorio Samson, it is the last movement of this powerful work set to texts by John Milton. Extensive background and historic data, along with rare photos accompany this fine publication. The anthem information offered in this edition will be terribly helpful in writing program notes for much of Handel's music composed in England. This edition is a "must own" for the research and historic data alone. Difficulty rating 4. $1.70
O Sacrum Convivium, by Andrea Gabrieli (1510?-1585), Latin text, Mark Foster (dist. Music Sales), MF 4008, SATTB a cappella. Composed contrapuntally, this communion or Lenten anthem is taken from the composer's first book of Sacrae Cantiones. The edition is based on a publication by Gardano in 1583 found in the Bavarian State Library, Munich, Germany. Editorial notes and translation are included as part of the edition. Andrea Gabrieli is less performed than his nephew, Giovanni Gabrieli. This is a wonderful opportunity to sing this great composer's music. Difficulty rating 3-4. $1.50
O Taste and See, by Stuart Forster, English text, Paraclete Press, PPM00514, SATB a cappella. A communion anthem set to a text from Psalm 34:8, I first encountered this beautiful anthem when Sir David Willcocks conducted this graceful motet as part of the second New England Youth Choir Festival in 2002 at a dinner party after the concert. All of the adult artistic participants fell in love with this piece as Willcocks guided us through this fine contemporary motet. It is filled with sensitive text painting and sensual feeling so appropriate to the interpretation of the text. The anthem can be used in a general service situation as well. This fine anthem has received numerous performances, including the Washington National Cathedral and the American Anglican Musicians Convention. Scholarship, excellent compositional skills and sensitive choral writing make this piece a must for the choral library where effective literature is so important to your service planning. Difficulty rating 3-4. $2.10
Peace, by Allan Bevan, English text, Classica Music, MV #009, SATB a cappella. This is a stunning setting of the famous Henry Vaughan (1622-1695) text that was also set by Elgar. Taken from Silex Scintillans written in 1650, the poem begins "My Soul, there is a Country far beyond the stars." Bevan sets the text with brilliant homophonic writing in contrast to moving counterpoint that is quite striking in gesture. Many key changes are transitioned in such a way as to add wonderful elements of surprise both harmonically and as part of the text versification. As the piece builds in power, the tempo becomes quicker and the harmonies more complex. This is a provocative setting. Bevan is highly regarded in Canada, winning numerous awards, making him a composer of sizable distinction. This piece won the 2002 Ruth Watson Henderson Composition Competition. Difficulty rating 5. $1.85
The Good Things of Life, by Daniel Pinkham, English text, ECS, 6212, SATB and piano. This is a striking setting of a text from the Wisdom of Solomon 2:29. The piece begins with somewhat terse chords often prominent in Pinkham's compositional style. The text versification is brilliantly set, deliberating the observation "Our life is short, a wisp of smoke, the last vestige of a cloud, a mist chased away by the sun's rays, a passing shadow." This powerful piece continues with brilliantly written chords filled with surprising and unusual colors. The dancing section set in 6/8 at measure 34 becomes less harmonically complicated, yet joyful in expression. The final section is more chorale-like in gesture. On the text "Come let us enjoy the good things that exist. Let us crown ourselves with rosebuds before they wither," the harmonic texture simplifies. The piece concludes in brilliant power with "This is the life for us" on a pure E Major chord. This is a gorgeous anthem and worth every bit of work to get it learned. It does require an accomplished choir, but will work with the small ensemble or large forces. It was commissioned by the Rock Valley Chorale at Rock Valley College, Rockford, Illinois, Dean Durst director. This is truly a great commission where Pinkham explores our very soul with breathtaking harmonic colors and musical gestures. Difficulty rating 5. $1.75
The Shepherd of My Soul, arr. Austin C. Lovelace (1919), English text, ECS, 6237, SATB and organ. This simple setting of a famous melody by Freeman Lewis (1780-1850) uses texts by Joseph Swain (1761-1796) and a free paraphrase of Psalm 23 by the composer. This is one of those wonderful anthems that is very effective but not difficult and can be used when there is a short learning curve for the choir. The piece would be extremely effective with small forces. It opens with the men singing the first statement of the tune that could also be sung by a solo voice. The women pick up the gauntlet, singing this melodious tune in unison. A simple change of key to d minor is quite effective in the third a cappella section. Composed homophonically, it is chorale-like in nature. The piece concludes as it began, in the key of D Major, as a canon between the men and women. The piece closes simply, yet powerfully on a unison octave D's. This is simply one of those anthems that is well crafted and belongs in everyone's library for that fallback moment or when small forces are expected. Difficulty rating 2-3. $1.75
Walk in Jerusalem, arr. Rollo Dilworth, English text, Hal Leonard, 08744360, SATB and piano (opt. bass guitar and percussion). This is a fine setting of this famous spiritual that can be found under the titles "I Want to Be Ready," "Walk in Jerusalem," and finally "Jus' Like John." This is so typical of our American oral history, finding versions of tunes that vary somewhat, remembered and shared by different singers. Dilworth arranged this particular version for the Indianapolis Children's Choir, Henry Leck, Artistic Director. It is a brilliant mixture of spiritual and gospel style originally composed for SSA voices and later arranged for mixed voices. Everyone will rise to the challenge of this brilliant setting of "Walk in Jerusalem." It is recommended that bass guitar and percussion would add to the overall artistic impression. This is a wonderful addition to the thoughtfully arranged spiritual repertoire. Difficulty rating 4-5. $1.60
Let Me Fly, arr. Robert DeCormier, English text, Hal Leonard, 08744632, SSAA a cappella. This spectacular arrangement of a great spiritual is part of a new series from Hal Leonard entitled "The Music of Counterpoint" which is the name of DeCormier's professional mixed vocal ensemble. A reprint of an arrangement DeCormier did years ago and dedicated to the Meredith College Chorale, it is wonderful to see this fine arrangement available again. It begins in simple unison, with a question and answer structure between the sopranos and altos. The off-beat rhythms and harmonies are great fun to sing and help develop the treble ensemble's ability to sing this music with stylistic validity. As the arrangement progresses, the harmonies become increasingly complex and challenging. The "Hoo Hoo" section is brilliantly composed and will need careful observation of all the rests. The vaporization of the nonsense words is handled in the skillful writing. The piece increases in difficulty, with a wide range for the first sopranos that are composed divisi and includes an a flat2 and b flat2 that must be sung with ease and effectiveness. This piece is perfect for the women's chorus, college choir or the accomplished treble ensemble. Difficulty rating 4-5. $1.60
Psalm 119, by Ronald Arnatt, English text, ECS, 5458, unison, congregation, and keyboard. This fine setting of Psalm 119, verses 41-48, is accessible and useful service music that can be led by a unison ensemble or solo voice. A bulletin insert box is provided in the publication and may be reproduced free of charge. Difficulty rating 3. $1.45
MEN'S VOICES ~ SACRED
The Souls of the Righteous, by Allan Bevan, English text, Classica Music, EVW #007, TTBB a cappella. It is so appropriate that this piece dedicated to the memory of the composer's father and set to a text from Wisdom 3:1-3 be scored for men's voices. The striking harmonies filled with richness of phrase gesture are uncanny. Bevan loves to change keys and seems to do it effortlessly. The range requirements for the men are reasonable but also expand into larger demands. The basses must have a solid C but at a triple piano. The tenors must be able to phonate a high a2 in the tenor range on a double forte. This composer obviously understands and is able to write for the voice in an uncanny fashion to bring the most out of his music. The harmonies and counterpoint are extremely effective. This lament to his father's death has a universal language that touches everyone. Difficulty rating 4. $1.85
New Releases ~ Secular Molly na gCuach Ni Chuilleanain, arr. David Mooney, Irish text, ECS, 6234, SATB (divisi) a cappella. This arrangement of a traditional Irish folk song includes a phonetic pronunciation guide under the original Irish poem. It is wonderful to see these pieces in their original dialect, skillfully arranged in a relatively new series from ECS. Set to the lively tempo of 108 to the dotted quarter (6/8), this playful story of the poor boy in love with the rich girl is quite charming. The arrangement begins with the tenors in unison. The altos and basses quickly join with simple harmonies as the sopranos offer a descant. Filled with nonsense syllables and stylized phrases that seem to suggest dancing, this charming arrangement is wonderful for high school or choir. This is just another fine arrangement as composers add to the world's music from the oral tradition. Difficulty rating 3-4. $2.05
Sing All Ye Joyful, by Ruth Watson Henderson, English text, Lorenz, 15/1961R, SATB and piano (opt. orchestra). Filled with wonderful imitative materials between the voice parts, this piece set to a text by J.R.R. Tolkien is quite striking and must have pulled at the heartstrings for performers and audiences alike at the Toronto Independent Schools Festival. Premiered on April 26, 1994, under the direction of Peter Merrick, this joyful song with text from The Hobbit is a powerful declamation of joy. The text versification and tone painting is extremely effective. This is a real winner for high school, college or festival environments. The surprising shifts in harmony and playful choral writing just make this a true choral romp of high quality. Another fine piece from this acclaimed Canadian composer, this piece displays a mature compositional style. Difficulty rating 4. $2.50
Soneto de la Noche (Sonnet of the Night), by Morten Lauridsen, Spanish text, Peer Music (dist. Presser), 62129-121, SATB a cappella. Lauridsen writes very profound music that is totally original as well as identifiable by the concert-going public. Set to a mystic text by Pablo Neruda, this piece is taken from a larger work entitled Nocturnes. The entire three-movement work was premiered at the ACDA Los Angeles national convention in February of 2005 by the Donald Brinegar singers with Morten Lauridsen at the piano. Originally composed for a cappella voices, the three movements include "Sa Nuit d'Éte" to a text by R.M. Rilke, this movement, and "Sure On This Shining Night" to a text by James Agee and may be performed separately or as a choral cycle in that order. This is another brilliant piece by this great contemporary American composer. Difficulty rating 5. $2.25
The Moon Is Silently Singing, by David Hamilton, Spanish text, Walton (dist. Hal Leonard),08501530, SSATB/SSATB and two horns. This beautiful music is set to a short poem by the Spanish poet Miguel de Unamuno (1864-1936). The piece opens with vocal utterances on the word "canta" on a g minor chord in choir one and on a altered version of that chord placed under an E Flat Major chord in choir 2. These fragmentary statements offer glorious atmospheres as the horn in C offers the first melodic statement that imitates the voices. This large piece is not for the faint of heart but it is a spectacular piece for this unusual combination of musical forces. Performance instructions, a description of the work, and translation are included in this fine edition. A rehearsal piano part is offered for both choirs, making the score easier to learn. Difficulty rating 5. $2.95
5 "When I…" (A Cycle of Miniatures), by Vytautas Miskinis, English text, Astrum Music, AS 33.025, SATB (divisi) a cappella. This cycle of five miniatures is set to poems by Rabindranath Tagore (1861-1941). These settings are as unusual as the poet himself who merged Eastern with Western thought. Composed with challenging rhythm and harmonies, the text painting in these short pieces is quite extraordinary. Filled with contrasts, these pieces are perfect for the advanced choral society or college choir looking for the unusual. Difficulty rating 4-5. $2.20
Harp of Wild, by Allan Bevan, English text, Classica Music, EVW #004, SSAA and piano. Set to a text by Emily Brontë (1818-1848), this composition won the Association of Canadian Choral Conductors Composition Competition in 2004. Crossing voice parts and suspensions add to the atmospheres created in this music. Filled with numerous key changes and challenging rhythms, the piece would be tremendously successful with the accomplished woman's chorus. The lyrical counterpoint, in contrast to full homophonic sections on ever changing dynamics, makes the piece an artistic challenge. After some very complex writing in the middle section of the piece, it concludes simply in two and three parts with the second altos having the capability of singing a low e sharp. Difficulty rating 4-5. $1.85
Quick! We Have but a Second, arr. David Mooney, English text, ECS, 6325, SSAA (divisi) a cappella. This charming arrangement of a Thomas Moore (1779-1852) poem and melody is a real winner. Originally called Paddy O-Snap, this drinking song will amuse singers and audience alike. It is cleverly set, with the various voice parts taking on the three verses with refrain, throwing the melody about. The use of the word "Quick!" emulated through the various parts adds to the pieces amusement. This piece is perfect for the advanced treble ensemble. It is pure entertainment as the choir learns to sing artistically and accurately amidst the minimalist patter. A real winner! Difficulty rating 4-5. $2.05
Téir abhaile 'riú, arr. David Mooney, Irish text, ECS, 6327, SSAA (divisi) a cappella. A traditional melody set to traditional Irish words, this piece in 6/8 was commissioned by Máire Mannion for St. Mary's College School Choir in Naas, Ireland. Again, Mooney shares the melodic wealth with all voice parts. This brisk piece is filled with straightforward rhythms and "ah" passages that support the melody, functioning almost as an accompaniment. The edition includes program notes and translation of the poem about a girl named Mary who is forced into an arranged marriage with a piper. The edition also contains an IPA chart and a phonetic pronunciation guide under the Irish words, making the piece a bit more approachable to learn while conquering the Irish Brogue. A piano reduction accompanies the edition. This is another fine edition is this scholarly series from ECS called the "David Mooney Irish Choral Series which contains arrangements for all voice combinations. Difficulty rating 4. $2.05
Men's Voices ~ Secular
Oh, Susanna, arr. Ken Berg, English text, Hal Leonard, 08744431, TB (opt. TBB) and piano. Part of the Henry Leck Choral Series, this arrangement of the Stephen Foster tune was written for John Kincaid. An accessible work, it is perfect for a young choir of boys with changed voices. The key changes and harmonies add to the effectiveness of this famous tune. Difficulty rating 3. $1.60