New Releases - Sacred
SATB
Treble
SAB
New Releases - Secular
SATB
Treble
Men
The Choral Journey of G.F. Handel
Marking the 250th Anniversary of His Death
By Marie Stultz, Contributing Editor
The world is observing the 250th anniversary of Georg Friedrich Handel's death (1685-1759). This newsletter will explore his early years and some of the musical roots that led to his incredible career in England. Much like Bach's life, Handel's life falls into three periods: Apprentice/Germany, Journeyman/Italy, and England. His musical life was framed by where he lived, as he built an eclectic understanding of choral writing in both the sacred and secular genres.
APPRENTICE PERIOD
Handel was born in Halle, Germany, to a 63-year old barber-surgeon. Interest in music came early in his young life, much to his father's objections, who insisted he go into law. In spite of his father, a clavichord was snuck into the attic of their home, where Handel secretly practiced for hours on end. On a family trip to the court of Saxe-Weissenfels, where his brother held the position of valet de chamber, Handel's fine organ playing came to the attention of the reigning Duke. The rest is history. The Duke convinced his father to allow the young Handel to study both law and music. Handel was known for his business acumen, so perhaps these legal studies added to that innate prowess. He began studying organ with F.W. Zachow in 1696. He also learned to play the harpsichord and violin. These early music experiences would shape his interest in counterpoint and progressive musical styles.Handel's habit of reworking old musical materials throughout his career probably grew from his teacher Zachow's requirement that he study and copy both German and Italian manuscripts on a regular basis. With this copying exercise, Handel learned solid craftsmanship, particularly the style of the Italian masters whose work was more cosmopolitan in nature. Secular music in Germany was less progressive than in Italy at the time. Most German composers followed the French Baroque style that was more facile in nature. During this time, Handel composed Three German Arias; a Sonata for Gamba; and Laudate Pueri Dominum for soprano, two violins, and cello in the key of F Major. It was later revised in Rome, in 1707, for soprano, SATB chorus, 2 oboe, 2 violin, 2 viola, and cello in the key of D Major.
With a waning interest in Zachow's strict instruction and the need to make money, Handel accepted a one-year position in Hamburg in 1703. This move prompted a switch to more secular music making, since Hamburg boasted a first-rate opera house. During this time Handel taught keyboard to make ends meet, and he abandoned the study of law forever. He made contact with the composer and conductor Kaiser, who was at the pinnacle of his musical career. This time with Kaiser was a crossroads period for Handel, although his old teacher Zachow still had a hold on him. He actually entertained the thought of taking Buxtehude's position in Lübeck, traveling with a friend to audition for the position. Fortunately for the music world, he determined to stay in Hamburg and work in the opera house. His musical course had been set. During this period he worked on melodic substance. He was a master at counterpoint, but his sequential patterns still seemed contrived and his melodies had little lyrical substance.
His one contribution to church music during this time was the St. John Passion, written in 1704. This attribution is now considered spurious by some musicologists, who attribute the piece to three German composers of the period -- including his mentor Kaiser. Bukhofzer, in his Music in the Baroque Era, talks at great length about this work, maintaining that the composer worked long and hard to imitate Kaiser's compositional style. He attributes the work to Handel. There are no chorales in this passion setting; instead, short concertato choruses in the old style, recitatives, ensembles, and arias in opera style dominate the overall structure. Originally composed in 39 movements, Chester-Novello publishes an hour-long edition by J. Michael Diack and offers a string orchestration for hire. The reduced score, PAT61688, sells for $15.90.
Handel wrote four operas during his time in Hamburg. They were also in Kaiser's compositional style. Only one has survived: Almira, composed in 1705. The Sarabande from Almira was later used in the opera Rinaldo. Almira is filled with beautiful choral movements that predate what is to come in both his operas and oratorios.
JOURNEYMAN PERIOD IN ITALY
Handel's apprentice period ended in 1706, as he left for his journeyman period in Italy. His mastering of counterpoint and melodic ideas accomplished, he still needed a better understanding of the writing of cantabile melodies that were embodied in the Italian Bel Canto Style. In this period of his musical training he traveled to Florence, Rome, Naples, and Venice -- having the good fortune to attend meetings of a literary club known as Acadia. This was a group of artists, noblemen, and musicians dedicated to the improvement of taste. They loved to live and create in an idyllic setting far from reality. Handel adopted many principles of the Acadians, and these pastoral notions became a fundamental theme in his music.In his time in Italy, he came to know such luminary composers as Alessandro Scarlatti, Pasquini, Corelli, Marcello, Lotti, Gasparini, Steffani, and Domenico Scarlatti. The influence of these great Bel Canto composers and the Acadian ideas provided the perfect environment for Handel to improve his contrapuntal and improvisational skills. With these stimuli surrounding him, he began to compose with great abandon. The huge body of work during this period included secular cantatas, Catholic Church music, oratorio, and opera - exploring a large range of compositional subjects. He composed over 100 cantatas in this period, developing his ability to write in Bel Canto style. He explored all avenues of melodic direction, including writing melodies that at the time were thought un-singable. Of course these early criticisms were unfounded. He became a melodic master, writing glorious arias for all voice parts and styles.
Handel also absorbed the Italian concerto grosso form, as evidenced by his cantata Delirio. For the Catholic Church he wrote the great psalm Dixit Dominus. Bukofzer sites the following; "With the greatest of ease did the Lutheran composer take up the luxuriant counterpoint and the choral virtuosity typical of Catholic Church music of the late Baroque." Operas written during this period began to distinguish Handel as one of the great opera composers of the Baroque period. The greatest opera still intact is Agrippina, which was a huge success and brought him public acclaim.
With his journeyman period almost ending, he returned to Germany as a masterful composer. In 1710, he succeeded the composer Steffani at the court of Elector of Hanover. His encounters with Steffani were the final link to his knowledge of the Bel Canto style. He wrote many chamber duets and trios in this short period, paying homage to his new mentor. In 1711 he took a leave of absence from the court of the Elector of Hanover to go to England for a performance of his opera Rinaldo. Handel was never to return, living for the rest of his distinguished career in England.
THE ROAD TO ENGLAND
Handel's early years in England were dominated by opera. England was in operatic chaos and Handel found himself caught up in it. Between 1711 and 1737 Handel struggled with both successes and failures. He composed four operas in Italian style from 1711-1715. After that, he took a compositional rest of five years. With the founding of The Royal College of Music, headed by the crafty Heidegger, Handel entered his second phase. This was a tremendous period of contentiousness between opera house managers and composers. Handel's early period ended with his physical breakdown during the years of 1737-1741. During this time, Handel returned to oratorio. That being said, Handel would write 40 operas over the next thirty years.With opera dominating Handel's early years in England, he didn't realize his full potential as an oratorio composer until Israel in Egypt, composed in 1738. English choral music dominated the oratorio scene. It wasn't until Handel merged English choral polyphony with his own style that he became a real success in this competitive field. He wrote his first oratorio incorporating English words in 1713, his Te Deum and Jubilate. In doing so, Handel returned to old materials and adapted them with English lyrics. The cornerstone of this period was his twelve Chandos Anthems, which he composed before 1720. Below is a list of some of his major oratorios composed in English to consider programming as part of this anniversary.
Birthday Ode for Queen Mary - 1714?
Coronation Anthem for George II - 1727
Dettingen Te Deum - 1734
Foundling Hospital Anthem - 1734
Esther - 1732
Anthem for the Funeral of Queen Caroline - 1737
Saul - 1738
Israel in Egypt - 1738
Messiah - 1741
Hercules - 1744
Samson - 1743
Belshazzar -1745
Occasional Oratorio - 1746
Judas Maccabaeus - 1747
Joshua - 1748
Jeptha - 1751The above list is just a smattering of the tremendous choral output during his illustrious career. Below are some interesting collections and cantatas in the Spectrum Music library.
Anthem for the Funeral of Queen Caroline, English/German text, Bärenreiter, BA 4267-90, SATB and piano reduction (orchestra). This work was written in 1737 and contains an instrumental introduction, a symphony, and thirteen choruses. The anthem, considered a full anthem, is approximately 45-50 minutes in length, scored for full orchestra and organ. At the funeral, there were over 100 players and a massed chorus. Because of the specific nature of the work, Handel struggled to find other venues for performances. He eventually incorporated some of the music into Saul, Death of Saul and Jonathan, and Israel in Egypt. Extensive program notes and background on the Queen and this period in Handel's life are included in this fine edition. Martin Focke prepared the keyboard reduction of the choral score. Orchestral parts and full score are available under catalogue number BA 4267. Difficulty rating 4. $20.50
Great Handel Choruses, edited by Donald Burrows, English text, Novello, NOV078419, SATB (divisi) and keyboard accompaniment (orchestral parts available for hire). This fine collection of some of Handel's greatest sacred works includes 17 choruses from various oratorios and masques composed during his time in England. The editor has included short, but effective introductory notes written by Brian Kay. Background on composers influenced by Handel is also mentioned in the forward. On that list was the aging Joseph Haydn, who wrote three oratorios after hearing a brilliant performance of Messiah. Haydn's late oratorios include The Creation, The Four Seasons and The Seven Last Words of David. This collection includes choruses from such late oratorios as Alexander's Feast, Dixit Dominus, Judas Maccabeus, Samson, and Semele to name a few. Zadok the Priest, used for many major state events and pageants throughout England's history, is also included in the collection. Church musicians will find this a useful tool in their Sunday morning planning. In the longer scheme of things, this collection will offer great financial savings, while offering the choir beautifully edited anthems of some of Handel's most popular and finest sacred choruses. Difficulty rating 3-4. $21.95
Dettingen Te Deum,German text, Peters, 3389, SATB and keyboard reduction (orchestra). One of Handel's more popular oratorios, this work was written in celebration of the victory at Dettingen on June 27, 1743. It is composed in thirteen movements with one bass solo and chorus and one bass aria. Orchestral parts and full score are available from the publisher. The performance edition is by Karl Straube and the vocal score is by Max Seiffert. Difficulty rating 3-4. $12.95
Four Coronation Anthems, English text, Oxford, 335258-3, SATB (soli), and piano reduction or orchestra. This wonderful edition by Clifford Bartlett includes program notes in a thorough preface that includes performance notes, performance practices, and a sample Order of Service. The four anthems include the ever popular Zadok the Priest, Let Thy Hand be Strengthened, The King Shall Rejoice, and My Heart is Inditing. Of all the anthems, Zadok the priest is performed at every major royal event. Sir David Willcocks points out that the reason for the constant use of this great piece is the lengthy grand opening that is festive in color and tone. Full score and orchestral parts are available from the publisher. Difficulty rating 4. $11.95
My Song Shall Be Always (Mein Lied sing' auf ewig), English/German text, Bärenreiter, BA4292-90, SATB chorus, SATB solo, and keyboard reduction (orchestra). This Bärenreiter edition of a major work composed between 1717 and 1718 is beautifully realized by Andreas Köhs. Composed in eight movements, the work includes arias and duets for soprano, alto, tenor, and bass. The orchestral forces are small, making this a wonderful choice for evensong or with a choral society that has limited financial resources. The score calls for oboe, violin I and II, cello continuo, bassoon, and organ. Complete notes on the oratorio are included in this edition, by Gerald Hendrie. This oratorio is an adaptation of the Prayer Book Version of Psalm 89. Difficulty rating 4. $13.95
O Sing Unto the Lord a New Song (O Singet Unserm Herr ein Neues Lied), English/German text, Bärenreiter, BA4263-90, SATB, alto and baritone solo, piano reduction (orchestra). This church cantata was composed in 1714, early in Handel's tenure in England. Composed in six movements, this short oratorio only has three choruses, making it very accessible. The orchestral parts include flute, two oboes, two trumpets, two violins, viola, cello, bass, bassoon, and organ. This piece is associated with Handel's first association with the Chapel Royal. The text is adapted from Psalm 96. The choral parts are very accessible, but the oratorio does require an accomplished alto and bass soloist. The piano reduction is by Andreas Köhs. The edition contains excellent background and program notes by Gerald Hendrie. This is the ideal choice for a special church service or evensong. Difficulty rating 3. $11.95
BIBLIOGRAPHY:
Music in the Baroque Era, by Manfred F. Bukofzer, Norton and Company, New York.
The New Grove Dictionary of Music and Musicians, Edited by Stanley Slade, Volume 8, Macmillian Publishers of London.
New Releases ~ Sacred Antiphonal Praise, by Hal H. Hopson, English text, MorningStar Music, 50-2610, SSATTBB, three SSA trios, handbells and organ. This powerful antiphonal piece is set to texts taken from Psalm 95:1a,6 and Isaiah 6:3. Commissioned by the Church Music Institute for a Festival of Church Music, this effective piece was premiered at Meyerson Symphony Hall, Dallas, Texas, on October 12, 2008. The composer suggests that the solo trios be placed in different parts of the room, making the antiphonal aspects of the piece even more effective. The organ and bell parts are only used at the opening and closing of the piece, with the voices set a cappella. This is the perfect piece to program in a festival setting, particularly if a good children's choir is available that can be evenly divided. A performance of this song of praise would be ideal in a cathedral environment. Difficulty rating 4. $1.50
Dona Nobis Pacem (from "Grosse Orgelmesse"), by Franz Joseph Haydn (1732-1809), Latin text, Alfred, 28874, SATB and organ. This movement is taken from the Great Organ Mass composed in 1774, one of two masses composed in Haydn's early years of service to the Esterházy family. It was originally scored for chorus, English horns, and organ. The interplay between the three musical forces has been clearly realized in the keyboard parts edited by Patrick M. Liebergen. The basses open with an ascending motive that is repeated in all the parts. The imitative sections are set brilliantly in fluid contrapuntal lines between the various voice parts. This is a wonderful piece which the choir will adore singing. Quite accessible and very festive in nature, it is set in D Major in a quick 6/8 time marked Presto. Difficulty rating 3. $1.95
*Evening Service in G (from "The Tulsa Service"), by Stephen Tappe, English text, Paraclete Press, PPM00905, SATB (divisi) and organ. This Magnificat and Nunc dimittis is set to a traditional text adapted from Luke 1:46b-55. The first movement uses some unusual text versification, which once mastered will be quite effective. It opens with a chanted melody sung by treble voices, which occurs three times in changing keys throughout the movement. A children's choir or a small group of pure voices would be excellent to sing these passages. This movement is set in two keys, B Flat and G Major. The key transitions are masterfully done, using lovely counterpoint in contrast to some effective homophonic passages of great beauty. The Nunc dimittis set to Luke 2:29-32 is equally effective. Set in G Major, the composer creates a meditative mood with long legato lines. When using children's choir, have the basses sing with the children until measure 19. This vocal assignment will add to the dearness of the performance. Difficulty rating 3-4. $3.00
Kyrie eleison (from "Missa Secunda"), by Hans Leo Hassler (1564-1612), Latin text, Hal Leonard, 08596783, SATB a cappella. The opening chorus of Hassler's second mass is filled with reverent counterpoint alternating with homophonic passages. It is taken from a group of eight Masses composed for and dedicated to Hassler's patron, Count Octavia Fuguger, and published in Nuremburg in 1599. Set in A Major and composed in the Venetian School style of composition, the imitative counterpoint Hassler learned in his studies with Andrea Gabrielli is quite effective. The publication is beautifully edited and researched by John Leavitt. Difficulty rating 3. $1.70
Make a Joyful Noise, by Elliot Levine, multiple languages, Transcontinental (Hal Leonard), 00191609, five equal voices and keyboard. This is a unique canonic setting of Psalm 100:1. It was composed for Joyful Noise, a chorus of adults with physical and neurological problems. The chorus number 45, ages 20-70, and regularly commissions works by distinguished composers. The canon's five equal voices have each been assigned a different text in English, Hebrew, Spanish, Korean, and Italian -- all composed contrapuntally. The piece surely has an international voice. It is part of the Western Wind Series edited by the composer. Difficulty rating 3. $2.25
*Mizmor l'David, by Shlomo Carlebach, arr. Joshua Jacobson, Hebrew text, Transcontinental (Hal Leonard), 00191602, SATB, clarinet and tof (dumbek). This is a hypnotic setting of Psalm 29 using Carlebach's modal melody. The unison passages and imitation between the parts help in the learning of this dramatic piece. Jacobson uses harmonies skillfully to create a powerful arrangement of this beautiful melody. The clarinet is set in concert pitch in the full score, with a transposed score included at the back of the edition. Pronunciation guide, translation and program notes are included in the edition. This arrangement would work in a concert or religious setting. It would also be excellent to program with a talented high school or college choir. Difficulty rating 3-4. $2.95
Oseh Shalom, by Jeff Klepper, arr. Joshua Jacobson, Hebrew text, Transcontinental (Hal Leonard) 00191607, SATB (divisi), cantor, and keyboard. A prayer used frequently in the Jewish service, this lyrical setting is strophically set with the tenors and basses taking the first statement of the melody in unison. The piece begins in A Major but quickly modulates to C Major, as the women sing their statement of the tune in harmonies composed mostly in thirds. The B section is arranged homophonically with challenging rhythms. With the entrance of the soloist, the melody is restated over lyrical lines in the choral parts. It concludes on a powerfully spread C Major chord. The arranger suggests improvising the use of guitar, bass, and drum set. Pronunciation guide, program notes, translation, and biographical information are included in the edition. Difficulty rating 3. $2.75
Peace I Leave With You, arr. Paul Bouman, English text, MorningStar Music, 50-5002, SATB and baritone solo a cappella. This meditative setting of John 14:27 of the famous tune Veni Creator Spiritus (Plainsong, Mode VII) is wonderful to use at the closing of a service. The flowing homophonic lines unfold in a gentle, effective manner. A feeling of tranquility prevails throughout the entire anthem. The baritone solo is quite accessible and could easily be sung by the minister. Difficulty rating 3. $1.70
Roll, Jordan, Roll, arr. Ken Berg, English text, Santa Barbara, SBMP 819, SATB and piano. Composed for and dedicated to Jo-Michel Scheibe, this arrangement opens with a baritone solo singing the first statement of the melody. The choir then enters canonically, eventually breaking into parts. A question and answer section is arranged between the chorus and soloist. The piece builds in power and concludes with the choir singing in divisi on a powerfully spread D Major chord in eight parts. This is a fine arrangement of this great spiritual, with Berg displaying a working knowledge of this style of music. Difficulty rating 3. $2.10
*To Serve, by Gerre Hancock, English text, Paraclete Press, PPM00918, SATB and organ. Set to a text taken from the Gospel of Mark 10:43-45, this bold work requires an accomplished organist. It is filled with challenging harmonies of great power and expanse. Filled with long phrase shapes of soaring beauty under a rhythmic accompaniment, the anthem requires an accomplished choir. The A section is set homophonically, with the B section set with contrapuntal phrase shapes of great warmth and beauty. The choral parts build in power and harmonic tone on the words "The Son of man came to serve." The anthem closes quietly with a benediction-like quality to the writing. The choir ends on a B unison on the word "God" which concludes a cappella on a moving triple piano. This is a fine new anthem from this great church musician. Difficulty rating 4. $2.10
*Y'hi Ratzon Milfanecha, by Ben Steinberg, Hebrew/English text, Transcontinental (Hal Leonard), 00191614, SATB, cello, and keyboard. This prayer for a new month opens with an eloquent cello solo. It is followed by a solo voice -- requiring a skillful singer - either a high baritone or soprano. The ornamental closing of the anthem will determine which singer should be used: he/she needs to be accomplished, with great vocal agility if the part is to be sung artistically. The choir parts are composed contrapuntally on changing meter signatures, with Steinberg alternating the Hebrew with the English translation. An accomplished cellist is required, as well, since the cello part weaves through the solo and choral parts with beautiful, rhythmically-challenging lines. The long choral phrases should be sung with great ease and beauty, and the conclusion of this fine anthem should be sung with power and resolution. This is another excellent anthem by this fine composer and Hebrew scholar. Difficulty rating 4. $2.50
EXTENDED WORKS
Five Anthems (from "The Veil of the Temple"), by John Tavener, English text, Chester Music, CH73656, SATB (divisi) and organ. The Veil of the Temple was commissioned by the Temple Music Trust and premiered by the Temple Church choir and the Holst Singers as part of The City of London Festival in 2003. This publication contains five movements from the cantata. You Mantle Yourself in Light is scored for choir and organ. Filled with changing meters and vocal challenges, this movement is set to texts from the Psalms with a translation by David Melling. Mother of God, Here I Stand is set a cappella over a 16' Bourdon on G that is sustained throughout the movement. This short, quiet movement has elegant harmonies composed to a text by Mikhail Lermontov (1814-1841). What God Is, We do not Know is composed for choir and organ, set to a text by Angelus Silesius (1624-1677). This mysterious movement with brilliant harmonies on changing meters is sung over a complex d minor chord that is sustained on the organ throughout the entire movement. Awed by the Beauty is an unaccompanied movement set to a Byzantine text. Like the other movements, it is filled with changing meters on quietly ecstatic harmonies that sound radiant in tone. O Mary Theotokos is set to a Byzantine text with beautiful tone painting. The Byzantine poems used in this collection are brilliantly translated by Mother Thekia. Difficulty rating 4. $9.95
TREBLE VOICES~SACRED
Agnus dei, by David P. Rossow, Latin text, Santa Barbara, SBMP 843, SSAA and piano 4 hands. This beautiful setting is filled with lyrical legato lines on long phrase shapes in changing meters, with the elaborate piano parts weaving through the music. Composed in A-B-A form, the piece is filled with florid counterpoint. The phrases sung at the tempo marked Adagio require accomplished breath control. This anthem is appropriate for the accomplished women's chorus. It is a companion piece to the Sanctus reviewed below. Difficulty rating 4. $1.65*Gloria, by Ola Gjeilo, Latin text, Walton (Hal Leonard), HL08501690, SSAA and piano four hands or orchestra. This unusual setting opens with ethereal chords composed homophonically. The ringing colors in the harmonies are masterfully crafted. The piece uses changing meters and the realization of the texts employs key signatures that move from the opening sections of shifting harmonies in D Major. The jubilant "Laudamus te" section is composed in G. This is a powerful piece filled with rhythmic and harmonic challenges. Difficulty rating 4. $2.25
*Pueri Hebraeorum, by Giovanni da Palestrina (1525-1594), Latin text, Paraclete Press, PPM00907, SSAA a cappella. Filled with open harmonies and crossing voice parts, the counterpoint in this motet is filled with lines of great beauty. The piece appears in a 1563 publication of four motets. Beautifully edited by Jameson Marvin, program notes, edition source, and performance suggestions are included in the edition. This is a festive, joyous piece that introduces the choir to Palestrina's classic imitative style. The alto section must have a solid and elegant low G. Difficulty rating 3-4. $2.10*Sanctus, by David P. Rossow, Latin text, Santa Barbara, SBMP 842, SSAA, piano 4 hands, and percussion. This is a wonderful, joyous setting of the Sanctus text. Set in 3/8 time, this spirited setting includes low drum and claves that can easily be played by the choir. The counterpoint is absolutely wonderful, and the key changes just add to the spirit of the performance. The "Dominus Deus Sabaoth" is set in 8/8 and is conducted in three, two groups of three and one group of two. There are many articulation marks that must be carefully followed. The canonic imitation sections are written in the lower tessitura, which will build the choir's chest voice. The powerful ending should be carefully built to a dramatic conclusion. This is a real winner for either church or concert stage. Difficulty rating 4. $2.35
Didn't My Lord Deliver Daniel, arr. Steven Porter, English text, Walton (Hal Leonard), 08501689, SAB and piano. This is a fine arrangement of a popular spiritual. Using imitation and clever counterpoint, the piece will be great fun to sing. Arranged in e minor, the ranges are quite reasonable for the average church choir or middle school chorus. The repetitive rhythms bounced between the three parts make this a very accessible arrangement to learn. Filled with rhythmic interest, choirs will enjoy learning this beautifully crafted piece. Difficulty rating 3. $1.90
New Releases ~ Secular *Come Live With Me and Be My Love, by David C. Dickau, English text, Walton (Hal Leonard), 08501688, SATB (divisi) and keyboard. Tone painting is the hallmark of this setting of the great Christopher Marlowe (1564-1593) poem. The word images made through brilliant harmonies make this a stunning piece of music. The work opens with the piano making the lover's plea for her to join him. The harmonies are radiant and make some surprising, but fabulous shifts as the story unfolds with the two lovers out in nature. The unexpected key changes are provocative, and the setting is filled with luminous harmonies on long phrase shapes. The poem should lead the choir to develop various tone qualities to build an artistic performance. Don't let the difficulty rating restrain you from programming this wonderful piece. With a capable choir, this piece will offer an exciting choral experience and artistic stretch. Difficulty rating 4. $2.25
*Epilogue: Voici le soir (Night Has Come), by Morten Lauridsen, French text, Peer Music, 62330-122, SATB and piano. Harmonic tone painting illuminates the mystery of the coming night in this fine anthem. It must be sung with quiet darkness and careful intonation on harmonies that have many major and minor seconds. Evening seems to ebb on the concert stage, as the singers describe night's beauty. Set to a poem by Rainer Maria Rilke, the piece was not composed to stand alone, but to be part of a choral cycle entitled Nocturnes. Lauridsen offers the following explanation: "Voici le soir is designed as an epilogue to my choral cycle Nocturnes, and should be performed only when the entire cycle is programmed, as an extension to Sure On This Shining Night." This composer continues to give us great pieces that move both performers and audiences. The entire cycle has been recorded on Hyperion CD67580. Difficulty rating 4. $1.60
*Silent Noon, by David C. Dickau, English text, Santa Barbara, SBMP 815, SATB (divisi) and piano. This is a much different interpretation of the text than that of Ralph Vaughan Williams. The choral partwriting is exquisitely realized, set to a great poem by Dante Gabriel Rossetti. The harmonies are rich and luminous, with the text versification adding to the challenge. The piece is composed on rhythms that will have to be carefully sorted out, while the elegant piano part requires a sensitive, accomplished pianist. This music replicates this love story in an unforgettable manner for choir and audience. Difficulty rating 4. $1.85
Therefore, by Joelle Wallach, English text, G. Schirmer (Hal Leonard) 50486710, SATB a cappella. Set to a poem by William Dickey, this dark, ponderous music is rich in harmonic and motivic structure. Although sometimes terse in tone, the piece must be performed with quiet meditation. It has been constructed in such a way that the audience can be drawn into a world of imagination. The forte sections should quickly return to the more meditative mood. According to the publisher's notes, "Therefore is one of Joelle Wallach's Spiritual Speculations, a series of short works for chamber choir or vocal quartet which probe the puzzle of living with conscience in a flawed world." Included are performance suggestions by Harold Rosenbaum, who edited this fine four-minute work. Difficulty rating 4. $1.80
EXTENDED WORKS
Solfège a la Francaise, by Louis Moyse, French text, E. Henry David Music Publishers (Presser), 392-02560, SATB (divisi) a cappella. This five-movement work was composed for Robert and Louise De Cormier and the Counterpoint choral ensemble, based in Vermont. A native of France, Moyse, a virtuoso flutist, settled in Vermont in 1949 and was co-founder of the prestigious Marlboro School of Music. "As an admirer of Counterpoint…Moyse agreed to write a composition for the group. Having been required to attend a solfège class that involved sight singing, rhythm exercises, ear training and harmony in Paris….(he decided to) makes fun at solfège classes." This humorous work is the result, as he describes many theory debacles. Intrata - Allegro Giocoso is filled with wonderful points of imitation as the choir pokes fun at dynamics and musical terms related to dynamics. The second part of this movement deals with ascending and descending scale passages on motivic materials associated with solfeggio. Sarabande is a courtly movement that is hummed throughout. Menuet is another court dance -- quick movement that makes fun of poor dancing at court events. Sicilienne is filled with wonderful counterpoint and uses solfeggio syllables. The final movement, Gigue, is a rout on how to dance this crazy dance. These are marvelous pieces and will add a great deal of humor to a concert. They are beautifully written and well crafted. The piece requires an accomplished choir. Difficulty rating 4-5. $6.95
TREBLE VOICES ~ SECULARAnatomy of Peace, by Marvin Hamlisch, English text, G. Schirmer (Hal Leonard), 50486744, SSA and piano. Commissioned by the Dallas Symphony and premiered in November of 1991, the piece called for orchestra, child soprano soloist, and children's chorus. The work was inspired by the book on world federalism, The Anatomy of Peace, by David Reeves, published in 1945. David Zippel's lyrics are adapted from the choral parts from the larger symphonic work. The text opens in unison, including the statement, "I see the world as one community that must be joined by one law." Filled with triplets, it will develop the choir's sense of rhythm. The three-part choral writing uses the sopranos and second sopranos in a melodic canon, with the altos singing a supporting part often composed in thirds. This plea for peace ends quietly with the poignant words, "And we believe it's not impossible, for we are able to change." Difficulty rating 3-4. $1.80
The Birch Tree, arr. Shirley W. McRae, Russian text, Pavane (Hal Leonard), 08301871, SA Voices, piano, and flute. This famous Russian folksong affords the conductor the opportunity to introduce the choir to Russian diction. A phonetic pronunciation guide is included under the music. An accomplished student with good breath control can easily play the simple flute part. The first statement of the melody is in unison, in Russian, with the second and third unison statements sung in English. The fourth verse is set in two parts with simple thirds. The flute part is printed at the back of the edition. Difficulty rating 2. $2.10
*Bric-a-Brac, by Samuel Adler, English text, Boosey (Hal Leonard), 48019825, SSAA and piano. This quick and joyous piece to a text by Dorothy Parker was commissioned by the Young People's Chorus of New York City and its founder and artistic director, Francisco J. Nunez. It was composed to be an encore piece that was to last one minute, and it premiered on August, 13, 2005. Filled with challenging rhythms and harmonies, this piece requires an accomplished children's choir or women's chorus. Humorous and a bit tongue-and-cheek, this is the perfect piece to select for an honors middle school choir to close a short program. Sam Adler has distinguished himself for years, and this piece is no exception. The challenges and music are worth the learning curve and will amuse everyone. Difficulty level 4-5. $1.80
I Dreamt a Dream!, by Tod Machover, English text, Boosey (Hal Leonard), 48019150 SSAA and piano. Composed in 2004 and commissioned by the Young People's Chorus of New York, this powerful piece is set to a text by William Blake. Any choir attempting to learn this piece must have a strong sense of rhythm, and be equal to the dynamic demands, as well. The piece begins with spoken dialogue on the words "I dreamt" that should barely be audible. The text is set to short motivic counterpoint on changing meters. The middle section has changing meters at every measure and is more legato and homophonic in nature In order to achieve an artistic performance, the composer's road map must be carefully followed. The technique of vocal echoes, imitation between the voice parts on varying pitches, gives the anthem a feeling of minimalism. The unison double piano at the piece's conclusion should drift off to nothing. This piece requires an accomplished choir that understands contemporary music. Difficulty level 5. $2.50
I Shall Keep Singing, by Brian Holmes, English text, Thorpe Press (Presser), 392-03085, SSA(A) and harp or piano. Set to glorious, ringing harmonies, this is a gorgeous setting of a famous poem by Emily Dickinson. Set in 3/4 meter that boldly changes to such meters as 18/8, the piece is filled with triplets in alternation with dotted notes, adding to the musical challenge. The unison passages are breathtaking, as they break into harmonies filled with major and minor seconds that aid the text painting at just the right moment. The piece ends at a double forte of great beauty on a ringing G Major chord spread over two octaves. This is a must for the accomplished treble voiced ensemble. Difficulty rating 3-4. $1.75
EXTENDED WORKS
*Afternoon on a Hill, by Ned Rorem, English text, Boosey (Hal Leonard), 49019858, SA and piano. Composed in four movements for The Young People's Chorus of New York City, these charming pieces are set to four different classical poets. Rorem says of the music, "The piece reflects the innocence of childhood through the misty eyes of the aged, with nostalgic lilting melodies swaying back and forth or phrases, suddenly breaking into laughter through word-painting." Afternoon on a Hill is a unison piece set to a poem of the same name by Edna St. Vincent Millay. It is filled with scale-like passages that rise to a sustained g2 that will sound glorious on young voices. The Dark Hills is set for SA voices and composed to a poem by Edwin Arlington Robinson. It has some lovely canonic passages between the voice parts on simple rhythms. Crossing voice parts are part of the compositional fabric. Laughing Song is also in two parts and set to the famous poem by William Blake. In this movement, it almost sounds as if Rorem is laughing at himself. This movement also has a lot of canonic aspects about it, as the voice parts weave in and out of each other. The long legato phrases and vocal tessitura will ring on treble voices. The most difficult movement of the set, this movement's piano part is filled with florid runs and cascading passages of great beauty. On Music is composed for SA voices and set to a text by Walter Savage Landor. This last movement opens and closes in unison on a beautiful melody with long phrase shapes. The partwriting has some dramatic suspensions on accessible harmonies. This is another wonderful choral cycle for treble voices from this distinguished American composer. Difficulty level 3. $1.95This Day, by Bob Chilcott, English text, Oxford, 019-335933-8, SA(A) and piano. This ten-minute, mostly secular work was composed for the Crescent City Choral Festival after the ravages of Katrina. Cheryl Dupont had to close the festival in 2006, but reopened this wonderful festival for treble voices the following year. "I wrote this piece for the rebirth of the festival in 2007 on the theme of the day and all it brings: living every moment with energy and awareness." Bring me the sunset in a cup is set to a poem by Emily Dickinson (1830-86). This playful piece uses harmonies in thirds composed homophonically - with imitation also prevalent, as the composer spins the charming text. Awake, my soul is set to a jubilant poem written by Thomas Ken (1637-1711). This bright and rhythmic movement is set homophonically in 7/8 meter. Many of the three-part harmonies are composed in thirds, with the movement closing on a dramatic double forte as choir demands that you "Awake!" This Day is set to a Jewish text adapted by the composer. The movement is filled with playful counterpoint and accessible harmonies. The Bright Field is composed to a text by R.S. Thomas (1913-2000) that is set expressively. Like much of the entire work, the movement moves from unison singing to homophonic three-part writing. The last movement, O Lord, support us, is composed to a marvelous prayer written by John Henry Newman (1801-90). Composed mostly in unison, the prayer for "safe lodging" was so appropriately premiered in a city ravaged by nature's forces. Difficulty rating 3-4. $3.95
* 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