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TrebleSongs of Survival II- Israel Celebrates 60 Years
An Interview With Dr. Joshua Jacobson
By Marie Stultz, Contributing Editor
Dr. Joshua Jacobson is one of the most distinguished Jewish choral directors and scholars in this country. His understanding of Hebrew music of all periods and nationalities is consistently insightful. His research into Hebrew music of the past has unearthed some incredible works in all periods of music.I asked Dr. Jacobson to express his thoughts on choral music activities and opportunities in Israel as this young state reaches its sixty-year milestone. I also asked him to make observations on the growth in the understanding of this music worldwide. Below are some of his astute observations.
MS: You have been making fine choral music at Northeastern University and with the Zamir Chorale for many years. What are some of the largest and most impressive advances in the performance and publication of Hebrew music since you began your work?JJ: Today most choral directors are aware that there is a wealth of wonderful music available beyond the Western cultural canon, and they know how to find it. I'm tremendously encouraged when I see so many school choirs (including honors choirs) and community choruses programming Hebrew music (some of which even belongs to the Western cultural canon). For the past three decades I have been working with five major publishers: Transcontinental Music Publications, Broude Brothers, World Music Press, earthsongs and ECS Publications. I am thrilled to see over 100 of my editions, compositions and arrangements in publication. In addition, look at the immense (and well-deserved) popularity of such works as Eric Whitacre's Five Hebrew Love Songs and Leonard Bernstein's Chichester Psalms.
MS: What have been the most significant changes in the making of choral music in Israel since its founding in May of 1948?
JJ: Choral singing has always been popular in Israel. It was seen as an important factor in the creation of a sense of community. It was also an effective means of teaching the Hebrew language to the new immigrants. The original professional choirs, Rinat and Ichud, no longer exist. But the overall level of choral singing in the country is far more sophisticated than it ever was.
Many hundreds of Israeli choral works were published by the Department of Culture and Education, but these were never marketed outside of Israel. In the past few decades I have been working with Transcontinental Music Publications to issue some of the most appealing choral works in American editions.
Since 1952 the State of Israel has sponsored the Zimriya international choral festival. Choirs from all over the world have enjoyed the hospitality of the Jewish state and participated in wonderful cultural exchanges.MS: How many times have you taken your choral organizations to Israel?
JJ: The Zamir Chorale of Boston has toured Israel six times. Our first trip was in 1973 and our last visit was in 2002.
MS: What kind of programming did you offer on the various trips?
JJ: Our primary focus is the musical repertoire of the Jewish people. When on tour in Israel we focused on several areas: the wonderful (but now neglected) Israeli songs of the early twentieth century, and music from America, both Jewish and non-Jewish. In addition, we were invited to perform with the major orchestras of Israel. So we had the opportunity to perform with the Jerusalem Symphony and the Israel Philharmonic under Zubin Mehta and Daniel Barenboim. We sang the great classics, including Beethoven's Ninth Symphony, Mahler's Second, Verdi's Aida, and Stravinsky's Symphony of Psalms.
MS: There must be some fine performance arenas in Israel. What are your favorite venues and what kind of music would be appropriate for others planning a tour to Israel?
JJ: The most significant venues are Mann Auditorium in Tel Aviv (home of the Israel Philharmonic) and the Jerusalem Theatre (home to the Jerusalem Symphony). And there must be thousands of small concert halls in cultural centers, museums and schools throughout the country. But one of my most memorable concerts was performing Beethoven's Ninth in the outdoor amphitheatre in Caesarea. Concerts are regularly given in this restored ancient Roman site, and the natural acoustics are actually quite excellent. As we were singing "Brüder, überm Sternenzelt muss ein lieber Vater wohnen" the chorus (but not the audience) could see the moon rising in the starry sky!
If you're planning a tour to Israel, bring the music that you love the most and that you perform the best. Bring the music that represents your culture. Of course, people will always appreciate when you go out of your way to learn music from their traditions. I have a number of recommended Israeli choral works at my website www.joshuajacobson.org.
MS: Are there exchange opportunities for choral directors who would like to tour Israel as part of this celebration?
JJ: Your best bet is to go through the offices of the major choral festival in Israel: the Zimriya <http://www.zimriya.org.il/i>. You also may get some leads from the Israel Choral organization <http://www.welcome.to/isco>. There are several excellent tour companies that can assist you with setting up a tour in Israel, including ACFEA <http://www.acfea.com/>. Don't miss the opportunity to travel to and perform for some of the smaller communities. Another thrilling experience is singing (even without an audience) at the many historic and holy sites in Jerusalem and around the country.
MS: Please make some observations about the discovery of Hebrew music by established composers of the past -- for instance, music by Marcello and other great composers that other choral conductors could consider to program in this historic year.
JJ: The earliest Hebrew polyphonic music was composed by Salamone Rossi of Mantua, Italy, and published in Venice in 1622. This collection of 33 synagogue motets is not only historically significant, it's beautiful music. You mentioned Benedetto Marcello. This Christian composer visited the synagogues of Venice in the early 18th century looking for Hebrew chants on which he could base his church music. You can find these interesting pieces in his Estro poetico-armonico. Franz Schubert befriended the great Viennese cantor, Salomon Sulzer, for whom he composed a setting, in Hebrew, of Psalm 92. Mussorgsky was fascinated by Jewish melodies, and based his oratorio, Joshua, on a Hassidic niggun (devotional melody). Both Ernest Bloch and Darius Milhaud composed great choral-orchestral sacred services.
MS: Could you provide a small list for conductors to consider that includes publisher and catalogue numbers?
JJ: Sure. For a comprehensive annotated list I would recommend that your readers visit www.joshuajacobson.org. But I'll pull out just a few favorites by Israeli composers:
composer: Tzvi Avni
title: Mizmorei Tehillim (Psalm Songs)
publisher: Transcontinental Music Publications, #991377composer: Yehezkel Braun
title: Shir Hashirim (Cantici Canticorum Caput III)
publisher: Transcontinental Music Publications, #992035composer: folk (arranged by Daniel Faktori)
title: Hava Nagila
publisher: Transcontinental, #993137composer: folk (arranged by Paul Ben-Haim)
title: Hitragut
publisher: Transcontinental, #991760composer: Joseph Hadar (arranger Jack Klebanow)
title: Erev Shel Shoshanim
publisher: World Music Press, #WMP 03composer: Yair Rosenbloom (arranged by Joshua Jacobson)
title: Shir LaShalom
publisher: Transcontinental, #991450composer: Shlomo Weissfish (arranged by Joshua Jacobson)
title: Simona MiDimona
publisher: earthsongs, #S 98composer: Moshe Wilensky
title: Uri Tsiyon
publisher: Transcontinental, #992019
MS: Would you make your own personal observations about this historic milestone?JJ: I was born just five months before the establishment of the State of Israel, so its existence is something that I cannot help but take for granted. The Zionist idea was that normalcy for the Jewish people could be achieved only when they could be a self-sufficient nation on their own ancestral land. Israel still has many problems to solve, but it's only 60 years young.
The last time I took the Zamir Chorale to Israel, several of the choir members were extremely anxious. The images that they were seeing every day on CNN were disturbing, to say the least. But within a few hours after our arrival, one of my singers said to me, "What was I worried about? Everyone is going about their lives normally, just like back home!" This is a typical reaction. The amazing history and sanctity of the land of Israel, the richness of its culture, the friendliness of its people - these are the overwhelming impressions that greet the first-time visitor.
Joshua R. Jacobson, one of the foremost authorities on Jewish choral music, is Professor of Music and Director of Choral Activities at Northeastern University, and Visiting Professor of Jewish Music at Hebrew College. He is also founder and artistic director of the Zamir Chorale of Boston. He is past President of the Massachusetts chapter of the American Choral Directors Association. Over one hundred of his choral arrangements, editions and compositions have been published, and are frequently performed by choirs around the world. His book, Chanting the Hebrew Bible: The Art of Cantillation, published by the Jewish Publication Society in 2002, was a finalist for the National Jewish Book Award. Dr. Jacobson holds degrees in Music from Harvard College, the New England Conservatory, and the University of Cincinnati.
New Releases ~ Sacred Amazing Grace, arr. Hale, McKendree, Jordan, English text, Paraclete Press, PPM00738, SSAATTBB, violin and cello. This is a unique setting of this great hymn tune -- improvisational in style, set to a famous text by John Newton. This arrangement requires large forces or an accomplished smaller choir to be artistically effective. Everyone needs to understand how to perform jazz and be capable of delivering a light-hearted, stylized performance. The splits in the voice parts require careful study. The DOO sections should act as an accompaniment to the melody with the bold harmonies adding to the piece's power. The descants in the soprano part are quite effective, giving the other parts an opportunity to sing the melody. The eight-part ending requires a careful balance between the parts. The anthem requires accomplished string players who can play this style of music. Difficulty rating 4. $4.20.
Aleluia Brasileira (Brazilian Alleluia), by Ralph Manuel, Latin text, Hinshaw, HMC2159, SATB a cappella. The repeated motives in this South American setting of "Alleluia" will assist in the learning curve of the more difficult Latin American rhythms. It is composed in sharp contrast to the famous Randall Thompson setting of "Alleluia." Filled with offbeat rhythms and calypso-like harmonies, this anthem will wow a Sunday morning congregation. The harmonies are simply laid out; therefore the challenge of the anthem lies in the effective counterpoint and Brazilian rhythms. This editor suggests the use of maracas, which will add more authenticity to the performance. This great and fun-filled piece of music is appropriate for church or an accomplished high school or college choir. It is an excellent choice as an encore or concert closer. Difficulty rating 4. $1.90
Great is the Lord, by Craig Phillips, English text, Paraclete Press, PPM00813, SATB and organ. This is a powerful piece set to Psalm 48:1-2 and 8-13. The organ part requires an accomplished player. Set in the key of D flat major, the mostly straightforward rhythms alternate between 6/8 and 9/8 with many hemiola passages that must be carefully executed. These two against three sections are carefully supported by the organ part. Phillips is a fine composer and this anthem is a great example of his thoughtful compositional style. The anthem has four key changes, but concludes with great effect on a double forte in the opening key of D flat major. Difficulty rating 3-4. $3.00
Psalm 124, by Samuel Adler, English text, Paraclete Press, PPM00814, SATB and organ. Adler's music is rarely simple but always effective. This setting of Psalm 124 contains complex harmonies and rhythms. Filled with many accidentals, the piece requires a choir with excellent ears. Everyone must have the ability to sing challenging harmonies that are constantly shifting from major to minor seconds between the voice parts and the melodic line as well. This very dramatic work ironically ends quietly on a sustained B major chord of great simplicity. The anthem would be very effective with a small choral ensemble or solo quartet. The organ part requires an accomplished player. Difficulty rating 5. $2.10.
Salve Regina, by Michael Joncas, Latin text, Oregon Catholic Press, 4613, SSAATTBB a cappella. Set to a Latin text attributed to Hermanus Contractus (1013-1054), this elegant eight-part setting is a real jewel. The anthem opens with choir one, with the second choir singing the same harmonic and melodic materials one measure later. Marked slow and contemplative, the piece must be sung with quiet elegance. The imitation between the two choirs continues through much of the piece. This imitative style will elevate the teaching and learning curve. The anthem must be sung very quietly; therefore the choir must learn to sing with tremendous breath support. The work would be quite effective when performed antiphonally. Difficulty rating 3-4. $2.00.
Tantum ergo, D. 750, by Franz Schubert (1797-1828), Latin text, Santa Barbara Music, SBMP763, SATB, piano or organ (opt. brass). This setting of the famous St. Thomas Aquinas (c.1264) prayer is the fifth time Schubert turned to this text. Originally written for chorus, orchestra and organ, the anthem has rarely been performed because of the large forces required. Edited by Peter A. Eklund, this version has been modified from the original MS and uses either organ or piano with optional brass parts. An accessible anthem, it is strophic in form (two verses) with some remarkable and surprising harmonies. Difficulty rating 3. $1.60
Ubi Caritas, by Mark G. Sirett, Latin text, Walton Music (Hal Leonard), 08501678, SATB (divisi) a cappella. This setting of a popular Latin text taken from the Liber usualis is filled with lush and elegant harmonies that seem to drift through space. After a quiet opening on long, expansive phrase shapes, the anthem becomes rhythmically more challenging but still filled with harmonies and counterpoint of great imagination and surprise. The middle section is more complex with phrases of even greater challenge. The anthem ends quietly in great peace and repose. This is a great anthem to program in either a church or concert setting. Difficulty rating 4. $2.25.
What Sweeter Music, by K. Edmund Hughes, English text, Santa Barbara Music, SBMP758, SATB (divisi) a cappella. This charming carol is a breath of fresh air. Set to the famous Christmas poem by Robert Herrick, the musical gestures in this piece are more than satisfying. The nonsense syllables composed in counterpoint are extremely effective. Written in the changing meters of 6/8 and 9/8, the melody rings off the page. This is a must to consider as a new carol for the season. It is perfect for concert or for Christmas Eve or Christmas Day services. Difficulty rating 4. $1.85EXTENDED WORK
Credo in D a 8, by Giacomo Puccini (senior), Latin text, Hinshaw, HMB259, SATB/SATB, keyboard or orchestra. This is a fantastic edition with a fine keyboard reduction by Martin Banner. The famous opera composer of the same name is the great grandfather and was one of five generations of fine composers who lived in the Italian town of Lucca. This wonderful extended work was composed in 1742 and is perfect for a church service or evensong and could be sung in place of the Nicene Creed in the worship service. The setting is scored for 2 trumpets in D, horns in G, 2 oboes, and strings, all available from the publisher. This fine extended work is 11 minutes in length and composed in four movements. The double choruses are composed independently of each other and will require two ensembles of equal size. This is an excellent addition to the church repertoire and can be sung in a concert setting as well. Wouldn't it be fun to organize a program that includes all five Puccini composers? Difficulty rating 4. $8.95
TREBLE VOICES~SACRED
Preces and Responses (St. John's Wilmington), by Iain Quinn, English text, Paraclete Press, PPM00805, SA and organ. This elegant service music is a wonderful way to introduce your youth choir to the concept of singing liturgical music. All three responses are set to texts taken from the Book of Common Prayer. The publication includes a Preces, Responses after the Creed and finally an Amen to be sung after the Collect. The long phrase shapes and vocal tessitura afford the conductor an opportunity to build a ringing headtone of great beauty. Composed simply, with easy harmonies, the majority of the writing is in unison. This is an invaluable purchase for your church library. Difficulty rating 3. $1.60.
Two Brief Motets, by Michael Sitton. Latin/English text, Paraclete Press, PPM00817, unison and organ or piano. These two motets are simply constructed and lie in the mid-and-upper tessitura of the voice. "Ave Verum Corpus" is a 14th century Eucharistic hymn which uses an English alternative by H.N. Oxenham (1829-88). A short motet, it has been composed to be sung at communion. It is excellent for building the lower range of the child's voice. "O Nata Lux" is based on an office hymn used for Lauds and is appropriate for the Feast of the Transfiguration. Set in two verses, the motet is excellent for building the understanding of the long phrase shape. Difficulty rating 2. $1.60.
Welcome All Wonders, by David L. Brunner, English text, Boosey (Hal Leonard), 48019534, SA and piano. This gentle anthem is filled with a lot of lyricism. Set to a text by Thomas Traherne (1637-1674), young choirs will enjoy singing the text set over a piano part filled with charm and joy. The triplets in the rhythm teach young choirs how to sing three against two. Teach the rhythm of the first measure by having the choir say the following: " pine-ap-ple one and two and." In the third measure of the melody say pineapple twice: " pine-ap-ple, pine-ap-ple." Everyone will love this short, charming anthem filled with joy. Difficulty rating 2. $1.80
MENS VOICES ~ SACRED
DIn Exitu Israel (When Israel Departed Egypt), by Giovanni Battista Grazioli (1746-1820), Latin text, Santa Barbara Music, SBMP752, TTB and keyboard. Originally written for three part men's chorus, two oboes, two horns in G, two violins, viola, cello and bass, it is edited by Martin Banner. This larger work is based on an MS found at the Church of Santa Maria della Fava in Venice, Italy, with full score and parts available from the publisher. The piece is filled with dotted rhythms and lyrical phrase shapes that are challenging but accessible. This is a terrific new edition for men's chorus. Difficulty rating 3-4. $2.35
New Releases ~ Secular The Lady in the Water, by Eric William Barnum, English text, Santa Barbara Music, SBMP765, SATB (divisi) a cappella. This unusual piece is composed on a text written by Thomas Hood (1837-1895). The piece begins quite ethereally with OO's, which are composed very lyrically. The lower three parts act as an accompaniment to the beautiful melody. The text painting in this piece is quite beautiful, filled with suspensions. The long phrase shapes on melodic repetitions make this an easy piece to learn. The dynamics are very specific and require careful interpretation. This is particularly true in the last section, which must be sung with power and then with a gentle restraint. This is a fine choice for the accomplished high school choir. Difficulty rating 4. $$1.65
Laughing Song, by David Dickau, English text, Santa Barbara Music, SBMP762, SATB, children's chorus or soloist, piano, tambourine and flute. This is a composition that deals with a laugh as a melodic gesture, with all the musical forces singing sharply contrasting ascending and descending scales. The piano part is challenging, with flute and tambourine used at occasional intervals. This composer has been cleverly creative in setting this text by William Blake (1757-1827). Difficulty rating 4-5. $2.10
Oread Farewell, by Dan Forrest, English text, Hinshaw, HMC2179, SATB (divisi) and soprano solo a cappella. This beautiful composition was composed at the University of Kansas, just before the composer's departure. The text is by a colleague, Charles Anthony Silvestri. The piece was commissioned by the KU music and dance department and premiered in October of 2007. The score is filled with glistening harmonies on large phrase shapes of great beauty. It includes effective seconds and surprising sevenths that add to the poignancy of the text. This is the perfect work to program at the end of a concert or at graduation. Filled with changing meters and harmonic challenge, this piece requires an accomplished choir. Difficulty rating 4-5. $1.80
The Magicker, by David L. Brunner, English text, Boosey (Hal Leonard), 48019532, SSA and piano. This piece could qualify in both the sacred and secular category as the text by James Broughton refers to priests and temples. The poem was written as a Litany to Lou Harrison in May of 1977. Brunner composed this wonderful piece for the Handel and Haydn Youth Chorus, Matthew L. Garrett, conductor, in 2004-2005, to honor his fifth anniversary. This piece is just as charming as the text, composed as if taking a lighthearted musical stroll through time. The music literally sings off the page with sparkling rhythms set on changing meters. Like most of Brunner's music for treble voices, the piece simply rings on the voice. It is an excellent choice for building the mid-to-head range of the choir. Difficulty rating 3-4. $1.80
Willie Taylor, arr. Stephen Hatfield, English text, Boosey (Hal Leonard), 48019706, SATB a cappella. This fine British folksong found great favor in Ireland. Composed in nine verses, the "dilly dum" sections between the verses are filled with vocal charm. The harmonies are quite straightforward with the nonsense sections between the verses cleverly layered between the voice parts. The piece tells the story of a young seaman forced into bondage. The story and text is as charming as this arrangement. Set in the key of g minor, the composer recommends that choirs sing it in his favorite key of g# minor. Difficulty rating 3-4. $1.80
EXTENDED WORKS
Three Nocturnes, by Dan Forrest, English text, Hinshaw, HMB258, SATB (divisi) and percussion. This wonderful new work in three movements is set to texts about stars. It takes its inspiration from a starlit sky on the plains of Kansas. The first movement, "Stars," is set to a text by Sarah Teasdale: "opens up sonic space as a way to paint the expanse of the heavens." Filled with mystery and then bursts of color through the use of dynamics, the composer is describing the stars as they "appear over the treetops." "Lightly Stepped a Yellow Star" is set to a text by Emily Dickinson and uses stacatto singing descriptive technique composed in sharp contrast to elegant contrapuntal lines. The music in the final section describes the punctuality of a clock such as Big Ben. The final movement "Thou motive of the Stars" is set to a text by Walt Whitman. It is more legato in nature and powerful in its expanse. It is filled with majestic harmonies that continue to build in beauty and expanse. At the movement's conclusion, Forrest returns to the opening first movement motive, drawing this extended work to a mysterious close. Difficulty ratting 5. $7.95
Wind Songs, by Caroline Mallonée, English text, Boosey (Hal Leonard), 48019704, SATB a cappella. "Wind Songs" is a set of four pieces that references the wind's direction and implies the seasons of the year. These fabulous pieces are set to original poems written by the composer while living in the Netherlands in April and May of 2005. "The Easterly Wind" is filled with mysterious harmonies and uncanny counterpoint on changing meters that speak of the whispering wind. "The Northerly Wind" is in sharp contrast to the first movement. It is filled with terser harmonies - as well as counterpoint, rhythms, harmonies and melodic material which brilliantly paint the color of the icy, cruel wind. "The Southerly Wind" is composed on changing meters with harmonies that seem to have light coming through them. The rhythms describe leaves that dance on the wind. The final movement, "The Westerly Wind" describes the resolute axeman, whose winds force branches to crack in the sharp wind. It is filled with powerful harmonies on determined rhythms that paint a furious picture. These are wonderful pieces to program with the advanced choir capable of creating colors with their voices. Difficulty rating 4-5. $1.80
TREBLE VOICES ~ SECULARA Song for Every Child, by David L. Brunner, English text, Boosey (Hal Leonard), 48019684, SA (divisi) and piano. This is a brilliant setting of this famous poem by William Blake (1757-1827) from Song of Innocence. This poem about a piper is set to music with changing meters that cleverly expand the meaning of the text. Brunner alternates between harmonic and unison passages that will force young singers to analyze their parts. Set to a grazioso marking, the choristers will have great fun singing this playful and joyous piece. The final four-part chord should be sung with great power. Brunner writes brilliantly for treble voices and this piece is no exception. Difficulty rating 3-4. $1.80
A Song to End All War, by David L. Brunner, English text, Boosey (Hal Leonard), 48019724, SA and piano. This hopeful piece is set to a text by Bill Worrell entitled The Shaman of Brotherhood (Lullaby for War). The poem unfolds poignantly, displaying a hopefulness that children should share in a troubled world. The piece begins in unison in the key of C Major. The second section is set with simple harmonies and counterpoint. The imitation and phrase shapes must be sung evenly and with great sincerity. The piece is appropriate to program in this time when our world is suffering the frustrations of war. Difficulty rating 3-4. $1.80
The Arrow and the Song, by Nancy Grundahl, English text, Santa Barbara Music, SBMP 753, SSA (divisi), piano and cello. Grundahl uses phrase shapes to expand the meaning of this poem by Henry Wadsworth Longfellow. It is filled with some rhythmic and melodic challenges, but the text painting is brilliantly done. The piece is filled with changing meters that help with the text versification. The DOO section should be sung lightly and stylistically. The final three pages are filled with intervalic challenges, but they are appropriate to developing an artistic performance of this fine piece. Difficulty rating 3-4. $2.10
In the Glow of the Moon, by Stephen Chatman, English text, Oxford, 387025-3, SSAA and piano. Scale-like melodic passages and imitation between the voice parts dominate this setting of a poem by Tara Wohlberg. The various canonic passages between the voice parts must be sung evenly and with the same artistic gesture. Composed in 6/8 time, the piece is filled with lilting counterpoint on appropriate rhythms. This piece is great for building a warm tone quality. Difficulty rating 4. $2.00
Looking at the Sea, by Chen Yi, English text, Theodore Presser, 312-41848, SSA (divisi) a cappella. Filled with harmonic atmospheres that are both mystical and luminous in tone, Chen Yi vocally captures all the atmospheres of the sea. You can actually feel the mist on your face while listening to the piece. Set to a Chinese text by Cao Cao (155-220) with English text by the composer, the graceful counterpoint and imitative passages build to luminous heights in this fine work. This is a challenging piece and ideal for the advanced treble ensemble or woman's chorus. Difficulty rating 4. $1.75
Sehnsucht nach dem Frülinge (Longing for Spring), by Wolfgang Amadeus Mozart (1756-1791), German/English text, Santa Barbara Music, SBMP 751, Unison, piano, flute and violin. A graceful melody dominates this beautiful song, K. 596, composed in Vienna on January 14, 1791, as a solo song with piano accompaniment. The arranger, Andrea Ramsey, has added flute and violin parts -- probably drawn from the original piano accompaniment. They are published separately by Santa Barbara (SBMP 751.1). Difficulty rating 3-4. $1.55
The Skye Boat Song, arr. Bob Chilcott, English text, Oxford, 335671-6, SSA and piano. Chilcott is a fine arranger whose work never gets in the way of a popular folksong melody. Composed mostly in unison, the harmonies have a wonderful ring to them. The unisons, harmonies and canonic materials make this an accessible but meaningful piece. When looking for a folksong arrangement, this is a serious candidate for consideration. Difficulty rating 3. $1.80
Difficulty Ratings Guide: All selections reviewed in The Choral Room are given a difficulty rating to help you select the music most appropriate for your singers. 1 - easy; 2 - accessible; 3 - medium difficulty;4 - advanced difficulty; 5 - extreme difficulty