Mozart and Masonic Influence ~ A 250th Anniversary Tribute With a Twist
By Marie Stultz, Contributing EditorMOZART AND THE MASONS
Wolfgang Amadeus Mozart has long been linked with the Masons because of the deep Masonic ties to his final opera THE MAGIC FLUTE. Composed in Vienna in 1791, the opera demonstrates how active Mozart was in the Masonic movement and how their beliefs influenced his music.The Masonic movement began in England on the 24th of June in 1717 with the founding of the Grand Lodge of London. It was organized around the Feast of St. John the Baptist. Many illustrious men from all walks of life joined and actively participated in the Freemason movement. Grand Lodges quickly appeared throughout Europe with a great deal of activity in Vienna. The Masonic movement appeared in Austria as early a September 17, 1742. Mozart was inducted in the Grand Lodge "Crowned Hope" on December 14, 1784. The Lodge, in less than a fortnight after Mozart's induction, quickly boasted such members as renowned composer and friend Franz Joseph Haydn and Haydn's patron, Prince Nicholaus Esterházy, as well as Mozart's father Leopold. A good deal of his music and operatic characters were drawn from associations with the Masons.
MUSIC FOR THE MASONS
The year 1784 was a critical one for Mozart in that he not only joined the Masonic movement but he also began a thematic catalogue of his works that would be kept throughout his short adult life. This catalogue not only carefully referenced his music but also his Masonic activities. The first piece he wrote specifically for the Masonic movement was his cantata DIE MAUERFREUDE (K.471) for tenor, male choir and orchestra and was composed in honor of his father's elevation to Master Mason in 1785.Mozart next wrote and produced his Maurerische Trauermusik (K. 477). This MASONIC FUNERAL MUSIC is filled with symbolism (the concept of three or the trinity) and in terms "of its overall form (in the middle 'B' part three appears an old Gregorian chant, part of the music for Passion week), reveals Mozart's total involvement with the theories and philosophies of death and their symbolic relationship to the First Degree of the Craft." Two years later Wolfgang writes as Leopold lies on his deathbed:
As death, when we come to consider it closely, is the true goal of our existence, I have formed during the last few years such close relations with this best and truest friend of mankind, that his image is not only no longer terrifying to me, but is indeed very soothing and consoling! And I thank my God for graciously granting me the opportunity (you understand what I mean) of learning that death is the key which unlocks the door to our true happiness. I never lie down at night without reflecting that-young as I am-I may not live to see another day…
THE MAGIC FLUTE AND THE MASONS
I learned of Mozart's involvement in Freemasonry through my musicology classes at Southern Methodist University. Dr. Kenneth Firebaugh gave a number of brilliant lectures on Mozart's operas in his course on the History of Opera. Mozart was an active Mason and in the last year of his life wrote THE MAGIC FLUTE composed to a libretto devoted to the rules and philosophy of the Masonic movement by fellow Mason Emanuel Johann Schikaneder (1748-1812). Johann had many ups and downs in the theater, acting in Shakespearean plays and other theatrics with less success. This libretto displays some of those ups and downs and is also considered profound in that Mozart was able to brilliantly weave his Masonic beliefs, rituals and symbols in a very clever way into the story. Many people of Mozart's day would recognize many of the symbols found in the opera.Because some of the spoken dialogue is considered awkward and childish, it is often cut. In spite of the libretto controversy, audiences are delighted and charmed by such elements as the serpent, the courageous Prince Tamino and Princess Pamina, the Three Ladies (which represent the Trinity), the silly Papageno with his Papagena, the evil Monastatos and the ruthless Queen of the Night. With these colorful figures and Mozart's powerful music, the opera became an instant hit with lasting appeal that has entertained audiences for centuries.
In the 1980's, after that course at SMU, I was participating in a wedding at the Masonic Temple in Boston, MA. After the rehearsal, I took a wrong turn and opened a door where the Mason's were preparing for one of their major ceremonies. Fully costumed, they could have easily been recreating a scene from THE MAGIC FLUTE. I was astonished at the authenticity of the figures in front of me. Obviously, Schikaneder included Masonic symbolism in the often innocuous libretto but he also based a lot of his characters on his fellow Masons.
Throughout his adult life, Mozart was always borrowing money from his Masonic brothers. Constantly in debt and always spending more than he had, his Mason friends were constantly paying his bills, keeping him one step ahead of his creditors. During the writing of THE MAGIC FLUTE, Mozart was also working on his REQUIEM, a work he was not able to complete. After the successful performance of THE MAGIC FLUTE on September 30, 1791, Mozart died a few months later on December 5, 1791. His Mason friends held a Lodge of Sorrows in Mozart's memory just before his burial. After receiving Christian rites at St. Stephen's Cathedral he was buried at St. Marx Cemetery in an unmarked pauper's grave.
BIBLIOGRAPHY
Mozart and the Mason~NEW LIGHT ON THE LODGE "CROWNED HOPE," by H.C. Robbins Landon, Thames and Hudson Publishers, ISBN 0-500-27647-1.The Mozart Handbook~A Guide to the Man and His Music, Compiled and Edited by Louis Biancolli, Grosset & Dunlap, New York, Library of Congress 54-8174.
Music and the Theater~An Introduction to Opera, By Reinhard G. Pauly, Prentice-Hall, 13-607002-7
IN MEMORIUM
As many of you may know, Allen Lannom passed away on Monday, March 20, 2006 at his home after a brief illness. He was 88 years of age. Spectrum Music would like to take a moment to reflect on the life of Allen Lannom who gave so much to singers both amateur and professional for over 70 years.Allen Lannom was the artistic director of the Masterworks Chorale of Lexington, MA since 1952 and was on the faculty of Boston University for three decades, where he conducted choral organizations and taught voice and conducting. After his retirement from Boston University in 1982, he was Director of Choral Activities at the Boston Conservatory until 1999. He was the keynote speaker at the Eastern Division American Choral Directors Association convention in February 2004. In 1998, he received a Lifelong Service Award from the ACDA.
I had the privilege of preparing an interview with Allen in the spring of 2004 for The Choral Room newsletter. That interview can be found on our website at http://www.spectrum-music.com/ChoralRoom.html. Just two years ago I had the joy of preparing a boy soprano for one of Allen's final season concerts with the Masterworks Chorale in their performance of Mendelssohn's masterpiece Elijah. He brought the same vitality to that concert as he did to his conducting classes at BU where as a post graduate student I gleaned so much from this fine conductor. As a colleague at Boston Conservatory he continued to be that feisty, consummate musician who always found time for everyone. I think my most memorable time with him, however, was when the Masterworks Chorale and The Treble Chorus of New England jointly prepared a performance at Great Woods of La Boheme under the baton of Michael Tilson Thomas. None of us will ever forget the thunderstorm at the conclusion of that concert as we walked out on the stage. Thanks Allen for giving so many memories to all of us!
New Releases ~ Sacred Adam and Eve, Andrew Carter, English text, Banks (dist. Hal Leonard), 08745322, SATB (divisi) a cappella. Although composed for the Chapter House Choir of York Minster on their 30th anniversary in July of 1995, the piece is set to a secular text from He that should come in FOUR SACRED PLAYS by Dorothy L. Sayers. The piece is about Adam and Eve and their life beneath a tree but there are no other religious references, so the anthem could be used in both a sacred or secular environment. It is filled with elegant harmonies on changing 6/8 and 9/8 meters that are both moving yet simple in gesture. Composed on long phrase shapes of great beauty, the divisi sections are filled with some rhythmic and harmonic challenges that are spectacularly composed. This piece is appropriate for church or concert, but does require an accomplished choir. First published in England in 2003, the anthem has just been made available in America. Difficulty rating 4. $2.65
Ave Verum Corpus, John Bertalot, Latin text, Banks (dist. Hal Leonard), 08745056, SATB (divisi) a cappella. Composed for Ian Harrison and the Choir of St. Stephen's Church, Bournemouth, in May of 2004, this expressive setting of this famous text is filled with crossing voice parts on long phrase shapes of meditative beauty. The divisi sections are brief and only occur in the soprano and bass parts with the exception of the final phrase that shimmers into the air. The anthem is filled with rich, flowing harmonies that gently ring off the page. Perfect to program during lent, this setting would also be appropriate in a concert environment where perhaps contrasting settings of this popular text could be performed. Set in b minor, the piece finishes with an elegant closing at double piano on an E major chord with divisions in all parts. Difficulty rating 4. $2.65
Creator Spirit, Ronald Arnatt, English text, ECS, 6042, SATB & organ. Set to a text by John Dryden (1631-1700), this anthem is filled with unexpected harmonic turns that are quite effective. The unison and duet sections are in sharp contrast to the homophonic four-part writing that is filled with some harmonic challenges. The anthem would be appropriate for general use as well as an ordination ceremony. It was composed for the ordination of Susan Esco Chandler in May of 2002. Difficulty rating 4. $1.75
For Behold, I Create New Heavens, by Daniel Pinkham, ECS, 5744, SATB & opt. keyboard. Set to shifting harmonies to a text from Isaiah: 17 and 18, this spectacular piece is not for the faint of heart. Pinkham has provided a keyboard part that will support the voices. The first section of the piece is composed homophonically in sharp contrast to the second section where the tenors and basses sing in counterpoint to the chordal soprano and alto part that breaks into polyphonic passages with some divisi in the soprano section. The anthem is loaded with harmonic challenges, but is quite effective and accessible from a listening point of view. Composed in 2000 for Wendell S. Purington and the Seacoast Community Chorus for their 30th Anniversary, the piece closes with an "alleluia" of great expanse. Difficulty rating 4-5. $1.75
Let the Whole Creation Cry, by Frederick Swann, English text, FitzSimons (dist. Hal Leonard), 08739913, SATB (divisi) & organ. This anthem, set to a text by S.A. Brooke (1832-1916), is filled with fanfare-like passages that are both showy yet accessible. The piece is composed homophonically with harmonies that will ring in a large cathedral environment. Difficulty rating 3-4. $1.75
Make Me a World, by Ruth Watson Henderson, English text, Boosey & Hawkes (dist. Hal Leonard), 48019050, SATB (divisi), baritone & piano. The text for this powerful work is taken from James Weldon Johnson's (1871-1938) "The Creation." It is a large work of about 13 minutes and requires a choir of great power and capability. The baritone soloist represents the voice of God. Commissioned by the Nova Singers of Galesburg, Illinois, the anthem requires an accomplished pianist and a baritone soloist with a great deal of warmth in his tone. The text painting in this piece is very moving and leaves a powerful impression on performers and audience. The anthem is appropriate for evensong or concert hall. Difficulty rating 4. $2.50
Simple Boat, by David L. Brunner, English text, Boosey & Hawkes (dist. Hal Leonard) 48018989, SATB, treble voices & piano. Set to the Irish Fisherman's Prayer "The Way of the Bodhisattva" by Shantideva, this powerful anthem opens simply with children's voices. The SATB section is filled with beautiful lyrical phrases that are very descriptive of the text. The piano accompaniment is composed to imitate the waves of the sea. Composed for the 25th anniversary of Netherlands conductor Dion Ritter, the piece blends the treble voices with the SATB voices with great elegance and beauty. This piece is ideal to program at a festival where large forces are available and where children's chorus can be combined with adult voices. The anthem requires an accomplished pianist. Difficulty rating 4. $1.95
Sing and Praise His Wondrous Love, by Craig Courtney, English text, MorningStar Music, 50-7062, SATB (sop. descant) & organ (opt. trumpet). Set to a poem by Fanny Crosby (1820-1915), this simple elegant anthem is quite accessible. This piece will work well with either small or large forces. A gifted high school student can play the short, simple trumpet part. Composed homophonically, the unison sections make this piece a very accessible anthem that is quite graceful in its musical gesture. Difficulty rating 3. $1.75
Aleluia Brasileria (Brazilian Alleluia), by Ralph Manuel, Alleluia text only, Hinshaw, HMC2065, SSAA a cappella. This charming ALLELUIA is filled with offbeat rhythms and beautiful harmonies that are filled with graceful South American phrase shapes. The composer uses simple imitation and repeated phrases to develop a feeling of minimalism between the voices. This anthem is perfect for concert or in a festival environment with large forces. The piece would also be an excellent choice for honors choir, offering something unusual in terms of text settings. Difficulty rating 4. $1.70
Guide My Feet, arr. Henry Leck & Martin Ellis, English text, Hal Leonard, 08745190, SSA & piano. This spiritual arrangement uses an offbeat ostinato and surprising blue notes to add to the piece's artistic gesture. Ellis, who is the accompanist for the Indianapolis Children's Choir, has composed a challenging piano part. The vocal tessitura demonstrates both arrangers' understanding of the voice with the piece's conclusion rising to a2 that will ring off the page. The arrangement has an overall feeling of a gentle walk that requires a strong rhythmic understanding. This is an extremely effective arrangement that was first composed for SATB voices and commissioned by the Carolina Music Educators Association for its 2005 middle school honors choir. Difficulty rating 3-4. $1.60
Lost in Wonder, Love and Praise, by Valerie Shields, English text, Boosey & Hawkes (Hal Leonard), 48018710, SSA, piano, (opt. organ, flute & opt. handbells. This piece is based on the famous hymn text by Charles Wesley "Love Divine, All Loves Excelling," which was said to be inspired by the John Dryden poem "Fairest Isle" set by Henry Purcell. The text was set to a melody by Rowland J. Prichard (1811-1887) and better known as HYFRYDOL. This arrangement by Shields is an extensive one that frames the meaning of the words with original music material. A five-and-half minute anthem, this piece would be extremely effective for a festival or circumstance where large forces are available. The flute and bells parts are quite accessible and add to the overall artistic effect. Difficulty rating 3-4. $2.25
Quam pulchra es, by John Dunstable (1380-1453), Latin text, Mark Foster (dist. Music Sales, MF 3103, SSA a cappella. Set to a Latin text from Song of Songs 7:4-8, this edition by Jameson Marvin was prepared for the Radcliffe Choral Society. Based on the Dunstable complete works, Volume VIII of Musica Britannica, this edition as been transposed up a minor sixth to a minor which allows the piece to ring on treble voices. The elegant counterpoint and long phrase shapes make this a wonderful addition to the treble catalog. Difficulty rating 3. $1.60
EXTENDED WORK FOR CHRISTMAS~TREBLE VOICESHail the Blest Morn!, by Marie Stultz, English text, Colla Voce, 15-96580, SSA(A) voices, baritone solo, oboe & keyboard (organ or optional instrumental accompaniment trumpet and strings.) This seventeen-minute work was composed in the fall of 2000 and premiered at the Collegiate Church in December as part of a 5th anniversary celebration for Richard Santagati, President of Merrimack College in North Andover, MA and the 20th anniversary of The Treble Chorus of New England. It is a carol suite based on Early American hymn tunes that tells the story of the birth of Christ. The carol suite, in five movements, includes melodies by William Walker, William Wyeth, William Billings, Supply Belcher, William Caldwell, Isaac Watts and Jeremiah Ingalls. The piece is arranged to re-create a climate of music in early America while it shares the world's joy and wonderment of Christ's birth by sincere, slightly naive composers. The tunes were carefully selected for their melodic authenticity and their ability to communicate the founding fathers' profound Christian beliefs. As a result, the work is intentionally filled with open chords of great expanse and stark harmonies that musically describe the beauty and power of our country. Difficulty rating 3-4. $7.50 (Full score and parts available for purchase $125)
Credo a 3, by Giovanni Battista Martini (1706-1784), Latin text, Hinshaw, HMC2059, TTB, Tenor duet & keyboard (opt. chamber orchestra). This fine edition by Martin Banner is based off an MS from the Civico Museo Bibliografico Musical in Bologna, Italy. Composed in four movements by lifelong resident, priest and composer of Bologna, Martini was a highly regarded theorist and teacher who boasted Mozart as one of his pupils. This four-movement work includes three choruses and a tenor duet. The first chorus is quite florid and shows his advanced counterpoint capability. The simple second movement is composed homophonically. The "Crucifixus" requires a first and second tenor of advanced capability. The final "Et Resurrexit" displays advanced contrapuntal lines that imitate some of the first movement. This is a delightful addition to the male repertory with orchestra parts available from the publisher. Difficulty rating 3-4. $2.95
He's Got the Whole World in His Hands, arr. Mark Hayes, English text, Hinshaw, HMC2058, TTBB a cappella. This straightforward arrangement was prepared for the Turtle Creek Chorale. This arrangement of the famous spiritual opens with some original material, with the first statement of the tune sung over a bass ground on nonsense syllables that act as an accompaniment. As the middle section unfolds, the piece becomes more spectacular with some divisi in the baritone part. The 4-minute piece ends powerfully on a broad A Flat Major chord that is quite spectacular. Difficulty rating 3-4. $1.80
New Releases ~ Secular This Is My Country, arr. Moses Hogan, English text, Hal Leonard, 08745045, SATB (divisi) & piano. In typical Hogan style, this is a wonderful arrangement of this popular patriotic song. It opens with a sensitive setting of the text with the women singing in three parts. They repeat with a second verse that talks of the universality and diversity of our country. The actual setting of the tune is quite broad with chords in divisi in all sections of the voice parts. The piece is only two minutes long but is quite a barn- burner. Although the second verse makes reference to God, it really falls into the secular category. Difficulty rating 4. $1.70
Three Partsongs, by Felix Mendelssohn (1809-1847), German/English text, Pavane (dsit. Hal Leonard), each sold separately (see below for catalog numbers), SATB a cappella. The first and last piece are taken from op. 88 and composed in 1851. The second piece in the set is No. 4 in Mendelssohn's 1843 publication SECHS LIEDER, op. 59. All three pieces are beautifully edited by Peter Aston. Mendelssohn actually wrote most of his choral music for his the entertainment of his friends, rather than the concert hall. Many of them were "for singing in the open air." He and his friends liked to take long walks and they would sing these pieces as they sat down for a rest.
1. Neujahrslied (Song for the New Year) is a German/English text with words by J.P. Hebel (1760-1826) with translation by Peter Aston and Christopher Smith. Composed homophonically, with a few exceptions, this gentle piece in four verses is about nature. The piece was composed on August 8, 1844 and published after his death. , Difficulty rating 3. Hal Leonard, 08301754, $1.95
2. Die Nachtigall (The Nightingale) is set to a text by J.W. Goethe (1749-1832) with translation by Peter Aston and Christopher Smith. It opens with the sopranos and altos singing harmonies in thirds. The piece is filled with charming counterpoint as if to imitate the bird in flight. It was composed on June 19, 1843. Difficulty rating 3-4. Hal Leonard, 08301757, $1.80
3. Die Waldvögelein (The Woodland Singers) is set to a text by H. Schütz who lived in the early 19th century with translation by Peter Aston and Christopher Smith. This piece also opens with the sopranos and altos in thirds with counterpoint sung by the tenors and basses also in thirds. This piece has some challenging harmonies imitating the trilling birds. It is filled with beautiful text painting and phrases of great elegance. Difficulty rating 4. Hal Leonard, 08301758, $1.95Garden of Light, by Aaron Jay Kernis, English text, Hal Leonard, each sold separately (see below for catalog numbers), 5939, 5940, 5941, 5942, SATB, soloists, treble chorus & piano (orchestra). This five-movement work was premiered on October 8, 1999, by the New York Philharmonic with Kurt Masur conducting the New York Choral Artists, Joseph Flummerfelt director and The American Boychoir with James Litton as their conductor. These pieces were commissioned for the Third Millennium Celebration by Walt Disney Pictures. All of them are quite challenging and when performed with piano, they require an accomplished performer. All five-movements of this extended work are set to poems by David Simpatico and Menna Elfyn.
No. 1 Home, SATB, soprano, mezzo-soprano, tenor & baritone soloists. This piece is filled with rhythmic challenges, changing meters and divisi in the voice parts. Difficulty rating 4. 50485938, $1.70
No. 2 The Light of Heaven, SATB, soprano & tenor soloists. Two accomplished soloists dominate this tranquil movement where the choir hums an accompaniment over long phrase shapes. Difficulty rating 3-4. 50485939, $1.70
No. 3 Is There a Place, SATB, soprano, mezzo-soprano, tenor & baritone soloists. This movement is dominated by the baritone soloists while the choir provides a humming accompaniment. The piece concludes with a solo quartet as the choir sings in four-part harmony making for a powerful double choir situation. Difficulty rating 3-4. 50485940, $1.70
No. 4 In Search of Hope, SATB a cappella (divisi), soprano, mezzo-soprano, tenor & baritone soloists. This a cappella movement is dominated by changing meters, divisi in the voice parts and powerful harmonies. It is the most difficult movement for the chorus but very beautiful. Difficulty rating 4. 50485941, $1.70
No. 5 In Our Children's Embrace, SATB (divisi), treble or women's voice, soprano, mezzo-soprano, tenor & baritone soloists. This movement opens with baritone, tenor and soprano soloists accompanied by treble voices in two parts. The adult choir configuration is SSAATB, singing a powerful counterpoint under the treble chorus. Difficulty rating 4-5. 50485942, $1.70
The Brightening Air, by Daniel Brewbaker, English text, Boosey & Hawkes (Hal Leonard), 48018873, SA, treble solo, & piano (pipes, B flat instrument & string orchestra). This charming, yet simple piece is set to a text by W.B. Yeats and taken from his poem "The Song of Wandering Aengus." The solo writing in contrast to the simple yet effective choral writing makes this ideal for school chorus or community choir of intermediate capability. The poem is filled with wonderful images and has a magical quality about it. Difficulty rating 3. $1.95
Celtic Cradle Song, arr. Robert I. Hugh, English text, Hal Leonard, 08744430, unison (opt. descant part) & piano. This Irish folksong has a haunting quality about it. Set in the key of C Major, it is excellent for working on the choir's chest-to-mid-range of the voice. The simple second part at the end of the piece can easily be handled by a few voices. The piece is perfect for the beginning or intermediate treble ensemble. The lullaby is known as the Celtic Cradle Song but is also known as The Gartan Mother's Lullaby, which is a region of County Donegal, Ireland. Difficulty rating 2. $1.60Miracles, by Nils Vigeland, English text, Boosey & Hawkes (Hal Leonard), 48018900, SA, solo & piano. Part of the Transient Glory series edited by Francisco J. Nunez, this piece is set to a text by the composer. Commissioned by the Young People's Chorus of New York City, the piece is filled with challenging harmonies and numerous accidentals that will build the choir's reading capability. The piece begins simply on walk-like phrase shapes that advance in difficulty. The piece received its premiere on December 21, 2003. It is filled with changing meters and a cappella sections of great beauty on short phrase shapes. Difficulty rating 3-4. $1.70
The Spinning Wheel, arr. Mark Sirett, English text, ECS, 6416, SSA & piano. Set to a poem by John Francis Waller (1810-1894), this piece tells the story of the spinning wheel in eight verses. Sirett cleverly sets this story with key changes and vocal tessituras that color the story of the wheel and nature. Treble voices will love to tell the story through this famous Irish melody. Difficulty rating 3-4. $2.50
Thrush Song, by Lee R. Kesselman, English text, Boosey & Hawkes (Hal Leonard), 48018973, SSA & piano. Colorful and atmospheric images are created harmonically in this setting to a short poem by Wendell Berry. The piece is filled with awe and reverence through the use of short phrase shapes that are both imitative and slightly minimalistic in gesture. The harmonies are quite beautiful and will challenge a young choir to create vocal atmospheres of great beauty. This effective piece was commissioned by The Oak Park River Forest Children's Choir. Difficulty rating 4. $1.95
Vivos Voco, by Joan Szymko, Latin text, Santa Barbara Music, SBMP 615, SSSAAA, piano, & handbells. The piece opens with fanfare-like shouts that translate to "I call the living!" This challenging work is set to a text by Julian of Norwich (14th c.) taken from Medieval virtutes. The work has a wide range that requires an accomplished choir of singers that can create bright and dark colors describing prayers to the heavens. These words were often put on church bell towers in medieval times. Composed homophonically, the piece has great extremes in dynamics and refined interpretation skills. Composed for the San Francisco Girls Chorus, it would work tremendously well with women's chorus. Difficulty rating 4-5. $1.85
SECULAR EXTENDED WORK - TREBLE VOICES
Three Hopes for the Future, by Robert Kyr, English text, each sold separately (see below for catalog numbers), SSA a cappella. These three pieces can be sung separately or as a group of pieces. The texts, adapted by the composer, are "based on written responses from members of the Youth Choruses of the Oregon Repertory singers to the question, 'What is your greatest hope for the future?"' The dialogue occurred in response to September 11.
1. May all Living Things Know Peace is filled with tender harmonies and lovely counterpoint between the voice parts. It seems to glimmer with the gentle hope for the world. It is set to a text adapted by the composer. Long phrase shapes dominate the musical fabric of this elegant movement. Difficulty rating 3. 6260, $1.75
2. Hold onto Peace begins homophonically on touching harmonies that celebrate the sound of children singing together and the hope that "Someday we will all speak the same language: Peace." The peace section at E is filled with repetitive counterpoint between the three parts that uses International Words of Peace such as shalom (Hebrew), an (Chinese), amani (Kiswahili, Pan-African), etc. This is an extremely effective movement filled with great power and sensitivity. Difficulty rating 3-4. 6261, $1.75
3. Peace is a Song is a lively setting about spreading the word through our voices. Filled with counterpoint and accidentals, this movement is in sharp contrast to the others. The tempo marking is 104 to the quarter note and the use of Peace terms in various languages is much more challenging in this movement. The phrases are repetitive which helps in the learning of it as the choir builds their pleas for peace. Difficulty rating 4. 6262, $2.05
MEN'S VOICES ~ SECULAR
Postcards from Frank, by John David Earnest, English text, ECS, 5167, TB & piano. This piece is based on three postcard communications sent by a colleague, Frank Lo Scalzo, from the Greek island of Hydra and from Jaipur, India. These texts drive this piece about life on this beautiful Saronic Island and at a Maharajah's palace in India. These communications were written from August 1986 through 1995. They are very descriptive, travel-like texts that are more effective when sung by a male adult chorus. Changing meters and slightly more complex harmonies on changing melodic lines make this extended work quite interesting. This publication is perfect for the more mature adult male chorus that understands the poetic gesture while the man talks about running a common household. Difficulty rating 3-4. $2.50