Early Music ~ Sacred and Secular Collections
By Marie Stultz, Contributing EditorIn celebration of the Boston Early Music Festival (www.bemf.org), we devote this newsletter to the wide variety of collections and resources for performing early music. (Look for us at Booth 46 at the Festival.) Most of the collections of early music available at Spectrum Music are in what we call the small form. These collections are of a very high caliber and display a great deal of scholarship and research.
Early Sacred Music
In sacred music collections, the motet dominated much of the major composers' compositional efforts from the 13th to the 18th century. Each period had strict rules and guidelines determined by the Catholic Church for compositions to be performed as part of the liturgy. There are three major phases in the development of the motet form:
1) THE MEDIEVAL MOTET (ca. 1200-1450) which had a structure where the tenor part derived from chant became the foundation for the newly composed upper parts. The composer followed a strict compositional style which was generally influenced by the text. Most of the music was chant-like, with its roots taken from Gregorian Chant. In general it is very simple in musical gesture and ethereal in musical quality.
COLLECTIONS OF MEDIEVAL MOTETS
An English Medieval and Renaissance Song Book, ed. Noah Greenberg, Latin & English text, Dover, 486-41374-8, for one to six voices. This is a fine collection of songs both sacred and secular by one of the leading authorities on early music. $10.95
Invitation to Medieval Music, Music of the Early Fifteenth Century, ed Thurston Dart, mixed languages, Stainer & Bell, 2202-0864-5, all voicings with instruments. A collection of 19 compositions both sacred and secular including motets. $12.95
Invitation to Medieval Music, ed. Thurston Dart, Brian Trowell, & John Stevens, ECS, (3.5655, 3.5571, 3.1225, 3.0317, 3.1109, 3.1110, & 3.3341), from 1-5 voices in 7 volumes. From $10.35-$11.502) THE RENAISSANCE MOTET (ca. 1450-1600) is an enormous body of music, much still uncataloged. It can be described as a polyphonic composition set to a sacred Latin text. This period flourished with many fine composers who sought out unique and more advanced texts to set. This period saw a tremendous expansion of compositional style that would ornament the liturgy. Settings of Psalms also became quite prominent.
COLLECTIONS OF RENAISSANCE MOTETS
The Renaissance Singer, ed. Thomas Dunn, original languages, ECS, 31342974, mixed voices 4-5. A collection of European motets in their original language with translations and program notes. $14.95
Motets for the Christmas Season, by Orlando de Lassus, ECS, CM3221, SATTB. This collection contains most of the motets Lassus wrote for the Christmas season. $7.953) THE LATER MOTET (after 1600) includes the English Anthem, the setting of chorale tunes. The difference in this period of the motet is that the Protestant Church supported composers setting music in the vernacular while the Catholic Church continued to insist on the use of Latin.
COLLECTIONS OF LATER MOTETS
A Byrd Anthology, ed. John Milsom, Latin & English text, Oxford, 352007-9 for 4-6 mixed voices. This anthology includes 14 motets and anthems from the Tudor period. $12.95
A Josquin Anthology, ed Ross W. Duffin, Latin text, Oxford, 353218-2, 4-6 mixed voices. This collection includes all periods of Josquin's compositional career, composed in the Franco-Flemish style. $13.95Faber Motet Series:
Masterworks from Rome, ed Dixon, Latin text, Boosey, 0571-512860, mixed voices up to five voices. This collection includes such luminaries as Palestrina. $9.25
Masterworks from Lisbon, ed. Ivan Moody, Latin text, Boosey, 0571-516521, mixed voices up to five voices. This collection contains some lesser known composers including Pedro de Cristo and Manuel Cardoso. $9.25
Masterworks from Seville, ed. Tess Knighton, Latin text, Boosey, 0571-516033, mixed voices up to five voices. This collection also contains some unknown composers. $9.25
Masterworks from Venice, ed. Roche, Latin text, Boosey, 0571-512860, mixed voices up to five voices. This collection contains such luminaries as Willaert, Andrea Gabrieli, and Monteverdi. $9.25The Chester Books of Motets, Chester Music from 3-5 voices in 12 volumes. Some of the motets in the collections below could be included in the middle period of the motet form.
The Italian School for 4 voices, CH55096 $11.95
The English School for 4 voices, CH55103 $11.95
The Spanish School for 4 voices, CH55104 $9.95
The German School for 4 voices, CH55107 $11.95
The Flemish School for 4 voices, CH55127 $11.95
Christmas and Advent Motets for 4 voices, CH55110 $11.95
Motets for 3 voices, CH 55222 (for SSA or TTB0 $11.95
The French School for 4 voices, CH55236 $11.95
The English School for 5 voices, CH55240 $11.95
The Italian and Spanish Schools for 5 voices, CH55241 $11.95
The Flemish and German Schools for 5 voices, CH55261 $11.95
Christmas and Advent Motets for 5 voices, CH55262 $11.95
The English School for 6 voices, CH55417 $13.95
The Italian and Spanish Schools for 6 voices, CH55418 $11.95
The Flemish and German Schools for 6 voices, CH55438 $9.95
Christmas and Advent Motets for 6 voices, CH55439 $11.95The Oxford Book of Tudor Anthems, compiled and edited by Christopher Morris, Oxford, 353325 1, for mixed voices. The 34 anthems in this collection display a wide range of style. From simple 4-part chorale pieces, the collection also includes elaborate motets as well. They can be used throughout the church year and cover all seasons. $17.95
English Anthems 1, ed. Phillips, Shawnee, CH59097, SATB. A collection of Renaissance masters. $11.95
English Anthems 2, ed. Phillips, Shawnee, 6400633, for 3 voices. A collection of motets and anthems by Thomas Tomkins. $9.95
English Anthems 3, ed. Phillips, Shawnee, 6400933, for 4-5-6 mixed voices. Anthems and motets of Thomas Weelkes. $11.95Early Secular Music
In secular music written between 1450-1600, the small form included the French Chanson, the Contrapuntal Chanson, the Parisian Chanson, and the Program Chanson. The Madrigal Form appeared in the sixteenth century as a rebellion against the Franco-Flemish style. The Frottola appeared about 1530 and preceded the Madrigale Form (including the canzonet). The Frottola was more frivolous in nature and a source of entertainment in the various courts of Europe. Once this compositional style entered the sixteenth century, the Madrigal flourished and was written by composers of all countries.
COLLECTIONS OF CHANSONS
The Oxford Book of French Chansons, Ed. Frank Dobbins, French/English text, Oxford, 343539-X. This collection contains 84 chansons of superb quality for SATB voices with some pieces for two to seven voices. It includes composers of the 15th and 16th century. $19.95
Parody Chansons, ed. Martin Picker, by Josquin des Prez, Jerona, JR80, 3 to 6 voices (treble and mixed). These humorous pieces are quite wonderful and seldom performed. $8.95COLLECTIONS OF MADRIGALS
Madrigals and Partsongs, Ed. Clifford Bartlett, original language, Oxford, 343694-9. This collection gathers together 60 of the finest examples of secular choral repertoire from the late15th to the 20th century and includes all the major European countries. The editions are based on the most reliable MS available at the time of publication. $19.95The Chester Books of Madrigals
The Animal Kingdom, ed. Anthony G. Petti, original languages, Chester, CH 55388, SAT to five voices. This collection includes Italian, French, German, and English composers. $11.95
Love and Marriage, ed. Anthony G. Petti, original languages, Chester, 266445, SAB to seven voices. This collection includes Italian, French, German, and English composers. $11.95
Desirable Women, ed. Anthony G. Petti, original languages, Chester, 355447, SAB to seven voices. This collection includes Italian, French, German, and English composers. $11.95
The Seasons, ed. Anthony G. Petti, original languages, Chester, 355447, SAB to seven voices. This collection includes Italian, French, German, and English composers. $13.95
ECS Publishing offers an enormous volume of Italian Renaissance madrigals from four to six voices. Unless otherwise noted, they contain pieces by composers from all periods and countries.Carlo Gesualdo: Selected Madrigals, ed Denis Stevens, ECS, GM3205, mixed voices. $18.00
Introduction to the Italian Madrigal, ed. Jerome Roche, ECS, GM3200, SATB. $15.00
Invitation to Madrigals, Book 1, ed. Thurston Dart, original languages, ECS, 1.5106, SAB. $7.25
Invitation to Madrigals, Book 2, ed. Thurston Dart, original languages, ECS, 1.5088, SATB. $7.25
Invitation to Madrigals, Book 3, ed. Thurston Dart, original languages, ECS, 1.5135, TTB. $7.25
Invitation to Madrigals, Book 3A, ed. Thurston Dart, original languages, ECS, 1.5256, SSA. $7.25
Invitation to Madrigals, Book 4, ed. Thurston Dart, original languages, ECS, 1.5217, SA or TB. 7.25
Invitation to Madrigals, Book 5, ed. Thurston Dart, original languages, ECS, 1.5103, SATB. $7.25
Invitation to Madrigals, Book 6, ed. D. Scott, original languages, ECS, 1.5217, SSATB & SSATBB. $7.25
Invitation to Madrigals, Book 7, ed. D. Scott, original languages, ECS, 1.5105, SSATB & SSATBB. $7.25
Invitation to Madrigals, Book 8, by Thomas Morley, English text, ECS, 3.0320, SATB, SSAT, SSATB, & SATTB. This collection contains some of Morley's finest madrigals. $11.50
Invitation to Madrigals, Book 9, by Thomas Weelkes, English text, ECS, 3.0321, SSATB. This collection contains some of Weelkes's finest madrigals. $10.50
Invitation to Madrigals, Book 10, by John Wilbye, English text, ECS, 3.1205, SSATB, & SATTB. This collection contains some of Wilbye's finest madrigals. $11.15
Invitation to Madrigals, Book 11, by Orlando Gibbons, English text, ECS, 3.1206, SAT, SATB, SSATB, & SSATT(B). This collection contains some of Gibbon's finest madrigals. $11.15
Invitation to Madrigals, Book 11, by Luca Marenzio, Italian text, ECS, 3.0013, SATB. This collection contains some fine Italian madrigals. $10.50
Invitation to Madrigals, Book 12, by Luca Marenzio, Italian text, ECS, 3.0014, SATB. $10.50
The Flower of the Italian Madrigal, Volume I, ed. Jerome Roche, Italian text, ECS, GM3201, 5 & 6 voices. A collection of madrigals by various composers. $18.00
The Flower of the Italian Madrigal, Volume II, ed. Jerome Roche, Italian text, ECS, GM3202, 5 & 6 voices. A collection of madrigals by various composers. $18.00
The Flower of the Italian Madrigal, Volume III, ed. Jerome Roche, Italian text, ECS, GM3214, 5 & 6 voices. A collection of madrigals by various composers. $20.00
Il Trionfo di Dori, ed. Harrison Powley, ECS, GM3204, for mixed voices. $20.00
Luca Marenzio: The Complete Five Voice Madrigals, Ed. John Steele, Books 1-9, the Madrigali Spirituali and the Madrigals from Various Collection in 6 volumes. Each $20.00
Luca Marenzio: The Complete Four Voice Madrigals, Ed. John Steele, Books 1-9, the Madrigali Spirituali and the Madrigals from Various Collections in 6 volumes. Each $20.00
Luca Marenzio: The Complete Six Voice Madrigals, ed. John Steele & Suzanne Court, Books 1-6 and the Madrigals from Various Collections in 7 Volumes, ECS. Each 18.00
Sigismondo D'India: The First Five Books of Madrigals, ed John Steele & Suzanne Court, Books 1-5 in 5 Volumes, ECS. $18.00The Oxford Book of English Madrigals, Ed. Philip Ledger, English text, Oxford, 343664-7. This collection contains 60 madrigals of superb quality for SATB voices with some pieces for three to six voices. It includes composers of the late16th and 17th century. $17.95
The Oxford Book of Italian Madrigals, ed. Alec Harman, Italian text, Oxford, 343647 7, for mixed voices up to seven voices. This collection contains all periods in the history of the Italian madrigal. $18.95
European Renaissance, ed. Philip Lawson, original languages, 3-6 parts, mixed voices, Volume 1-2, Hal Leonard, 08743236 & 0873237. A collection of Renaissance music from the repertory of the King's Singers. $6.95 eachMasses and liturgical music abound in Spectrum's collection of major works by such great composers as Lassus, Monteverdi, Palestrina, etc. Operas and concert works can also be found in very fine editions. This article is in no way an attempt to make definitive observations on early music. It is written to help the choral professional become familiar with some of the wonderful editions currently available.
Selecting Editions
In selecting an edition of early music, it is important to ask yourself whether the
piece has been arranged or edited? In general, editing implies that the editor has examined the original MS or collected editions of a composer's works. It should display scholarship and research and contain information such as source of the edition, performance suggestions and teaching suggestions, background on the composer, and historical data.When the pieces are arranged, try to find the original source and analyze what the arranger did in preparing the arrangement. If the arranger has changed the voicing, determine whether this arrangement is effective in the new voicing. In addition, it is important to determine if the harmonies and musical gesture adhere closely to the original. It can't be emphasized enough that arrangements of established works must reflect a working knowledge and understanding of performance practices.
It is critical that you grow in skill and knowledge of performance practices in all periods of music history. The more knowledge you have, the more likely you are to make a good decision about selecting an edition. Below is a list of reference books I own and refer to on a regular basis, writers that will help you become better informed. The list is in no way intended to be comprehensive, but may get you started on building a research library of your own.
BOOKS ON PERFORMANCE PRACTICES:
The Interpretation of Music, Thurston Dart, Harper Collins 0061319783
The Interpretation of Music of the Seventeenth and Eighteenth Centuries, Arnold Dolmetsch, Classic Textbooks, 1404704159
The Interpretation of Early Music, Robert Donnington, W.W. Norton, 039396003X
The History of Music in Performance, Frederick Dorian, W.W. Norton, 0393003698STUDIES AND WRITINGS ON EARLY MUSIC
Renaissance and Baroque Music, Friedrich Blume, W.W. Norton, 0393097102
Studies in Medieval and Renaissance Music, Manfred F. Bukofzer, W.W. Norton, 0393002411
Music and Musicians in Early America, Irving Lowens, W.W. Norton, 0393097439
New Releases ~ Sacred SATB Voices~ Sacred
Advent Alleluia, by Jonathan Willcocks, English text, Lorenz, 10/2983R, SATB & organ. Taken from Willcocks' Festival of Lessons and Carols, this simple setting quotes both Cross of Jesus by John Stainer (1887) and Helmsley by Thomas Olivers (1763). The text is by Charles Wesley (1707-1788). The piece opens with unison octaves between the men and women, singing the beautiful Stainer tune. The two tunes are uniquely overlapped and intertwined to make for an effective anthem that closes with some ringing "alleluias." Difficulty rating 2. $1.75
Ave Maria, by Anton Bruckner, Latin text, Alfred, 21675, SATB (divisi) a cappella. This fine motet was composed to be used in the liturgy of the Catholic Church. A devout Catholic, Bruckner demonstrates his interest in the music of Palestrina. This seven part work is filled with lush Romantic harmonies. Background on the piece, translation of the Latin, and editorial remarks are part of the edition, edited by Patrick M. Liebergen. Difficulty rating 4. $1.65
Christus Factus Est, by Anton Bruckner, Latin/English text, Oxford, 341814-2, SATB a cappella. This gradual for Maundy Thursday set to a text from Philippians 2:8-9 is beautifully edited by John Rutter. This edition first appeared in the Oxford Choral Classics anthology entitled European Sacred Music. Rutter has offered a beautiful translation. It is wonderful to have this fine piece with elegant counterpoint and rich harmonies available separately. Difficulty rating 4. $1.60
Drei geistliche Gesänge, op. 31, by Georg Schuman, German text, Lorenz, Und ob ich schon wanderte im finstren Tal (Pslam 23), 15/1816R, SATB (divisi) a cappella; Siehe, wie fein und lieblich ist es (Psalm 133), 15/1816R, SATB (divisi) a cappella; and Herr, wie lang (Psalm 13), 15/1858R, SATB (divisi) a cappella. These three Psalm settings, each sold separately, are a challenge in that they require a restrained, meditative tone quality. These motets, written in 1902, are the first a cappella pieces from this prolific Berlin composer. Beautifully edited by William Weinert, background and translation are included in the three publications. All three are meditative in their musical gesture and include some elegant counterpoint on simple rhythms. Difficulty rating 4. $1.50-$1.50-$1.95
Geistliches Lied (Sacred Song), by Johannes Brahms, German/English text, Oxford, 341813-4, SATB & organ. This 4-1/2 minute piece is beautifully edited by John Rutter. This edition first appeared in the Oxford Choral Classics anthology entitled European Sacred Music. Written in 1856, it is dominated by slow elegant counterpoint over a florid, supportive accompaniment. Brahms sacred music is always a challenge because of the way he approaches ascending and descending phrases. Background on the piece is included in this fine edition. Difficulty rating 4. $1.80
Harlem Songs, by Gwyneth Walker, English text, ECS, Spirituals, 5769; Harlem Night Song, 5770; and Tambourines, 5771, SATB & piano. Commissioned by the Chesapeake Chorale, these unusual pieces, each sold separately, had their first performance on May 12, 2001. Set to poems by the African-American poet Langston Hughes, they are filled with imagery on notes of both intervalic and rhythmic challenge. The off-beat rhythms and choice of melodic materials add to the spiritual quality of the text painting and overall gesture of the three pieces. Hughes lived in Harlem, New York where he was surrounded by blues, spirituals, and typical urban images, which Walker captures in both the voice writing and in the accompaniment. Difficulty rating 4-5. $2.40-$2.95-$2.95
If God Be For Us, by Daniel Pinkham, English text, ECS, 5049, SATB & organ (optional string quintet or chamber orchestra). Opening with tersely powerful chords to a text from Romans 8:31-39, the piece shifts to harmonies that are more hopeful. Set homophonically, the interval writing offers a real challenge. The "alleluia" section written on ascending and descending scales is set contrapuntally. The final "alleluia" on open homophonic chords in both organ and voice make for great power and finality. The piece was later scored for strings and two oboes by the composer and parts are available from the publisher. Difficulty rating 5. $2.40
Immortal Love For Ever Full, by Richard Delong, English text, ECS, 4856, SATB & organ. This timeless melody is set over a flowing organ part with simple gestures. Set to a powerful text by John Greenleaf Whittier (1807-1892), the simple but shimmering harmonies seem almost magical in their gesture. Richard DeLong knew he was dying when he wrote this simple setting, and portrays a man that is at peace with his destiny. This is a must for church choirs that love to sing sensitive music with elegance and feeling. Difficulty rating 3. $1.65
Kyrie (from Missa Tempore Quadragesimae), by Johann Michael Haydn (1737-1806), Latin/English text, Hal Leonard, 08743647, SATB & piano. Edited by Patrick M. Liebergen, this Kyrie is only about two minutes long. The younger brother of Franz Joseph Haydn, Johann also attended the Cathedral of St. Stephen in Vienna, now known as the Vienna Boy's Choir. Most of his music was written for the Catholic Church and follows very careful compositional guidelines. This Kyrie comes from one of 25 masses he wrote for the church. The piece opens in octaves that alternate with homophonic chords of warmth in the key of d minor. Many books have been written about Haydn, with much of his music finally being published. This peaceful, quiet setting is quite the find. Difficulty rating 3-4. $1.50
Music Down In My Soul, arr. Moses Hogan, English text, Hal Leonard, 08743468, SATB & piano. Listed as a Gospel Praise Song inspired by the spiritual Over My Head,. This is another complex setting by Hogan of great power. The antiphonal aspects of the piece make it quite powerful. The spiritual starts in the key of G Major then modulates in half steps to A major. A very showy, upbeat piece, this arrangement is truly a barn burner. Difficulty rating 4-5. $1.50
My Prayer, by Bob Chilcott, English text, Oxford, 343295-1, SSAATTBB & soprano solo a cappella. Set to the first verse of Psalm 102, Chilcott was inspired by Henry Purcell's Hear My Prayer. This fabulous anthem opens very simply in two parts that are chant-like pleas over a sustained melody. It stays at a double piano until all the voices are brought in on various layers. Minimalist in its effect, the piece grows in power as the contrapuntal layers build to a powerful homophonic section in eight parts where the soprano soloist sails over the choral parts. After this enormous plea to hear prayer, the piece ends quietly on a homophonic c minor chord of great beauty because of the unique voicing of the eight parts. The key to an artistic performance of this piece is to develop the choir's ability to sing the same musical gesture of the various phrase shapes. This piece is absolutely gorgeous and follows the great tradition of English choral writing of great expanse and power using large vocal layers. Difficulty rating 4-5. $3.00
Shepherds' Chorus (Contenti n'andremo from Laud to the Nativity), by Ottorino Respighi (1879-1936), Italian/English text, Hal Leonard, 50600010, SATB & piano. This chorus has been popular for years as a part of Respighi's unique Christmas cantata for choir and winds. It is set to an Italian text attributed to Jacopone da Todi, with an English translation by Harold Heiberg. It is wonderful to offer an a cappella section of the cantata with piano introduction and conclusion without having to buy an entire collection or the full score. Difficulty rating 3-4. $1.60
Sicut locutus est (from Magnificat, BWV 243), by J.S. Bach, Latin text, Hal Leonard, 08596740, SSATB & keyboard. This famous movement from this popular extended work by Bach is edited by John Leavitt. The keyboard realization is quite simple, thus it is recommended that the keyboardist ornament and use the figured bass for a proper realization. The elegant counterpoint and large phrase shapes make this piece timeless and affords choirs an opportunity to sing Bach without singing the entire work. Difficulty rating 4. $1.50
Song, by Bob Chilcott, English text, Oxford, 343314-1, SATB, S or T solo, horn in F, & piano. An absolutely beautiful melody is placed over an expressive horn part and sustained with effective chords in the piano. The extensive solo at the opening of the piece should be sung with a great deal of lyricism and purity. Chilcott was an accomplished boy soprano and now a fine tenor, the realization of this anthem hearkens back to his time at Kings College in Cambridge, England under David Willcocks and Phillip Ledger. Set to a text by Gerard Manley Hopkins (1844-89), the SATB sections have exciting text painting with phrase shapes that alternate between homophonic and contrapuntal passages. As Chilcott deals with immortality, where we come from and where we go, and this powerful setting is another fine piece in this composer's catalog. It ends quietly with the soloist spiraling above the choir, communicating a feeling of resolve. Difficulty rating 3-4. $2.00
The Time of Snow, by Bob Chilcott, English text, Oxford, 363312-5, SATB & piano. Chilcott forms the phrase shapes of both piano and choral parts mysteriously to musically help singer and audience picture Mary and Joseph traveling to Bethlehem. The time of snow" is a reference to European and American Christmas celebrations where snow is often on the ground. Originally scored for upper voices in a simple two-part setting, the piece was commissioned by Barbara Tagg and The Syracuse Children's Chorus. Set to a text by the composer, this arrangement of his original carol is quite effective in this expanded voicing. The hopeful text and powerful thoughts become almost bone-chilling. Filled with mystery and joy, this carol should enter the permanent Christmas repertory. Difficulty rating 3-4. $1.80
Upon Your Heart, by Eleanor Daley, English text, Oxford, 342651-X, SATB (divisi) a cappella. This is a reflective and fresh setting of the famous text from Solomon that many composers have addressed over the centuries. William Walton, who wrote one of the great settings of this text, has inspired many composers to tackle this great text about profound love. The piece begins homophonically and then moves to a semichorus that alternates with full chorus, which adds to the power of the text. There is a contrapuntal mid section, moving to ringing chords in divisi, then ends quietly with great mystery. Difficulty rating 5. $1.60
Verleih uns Frieden (Lord, in thy mercy grant us peace), by Felix Mendelssohn (1809-1847), German/English text, Oxford, 341815-0, SATB & organ (opt. ochestra). Mendelssohn wrote this piece, set to a text by Martin Luther (1483-1546), on his tour in Italy. Viennese singer Franz Hauser sent a Lutheran hymnal to the compose,r which inspired Mendelssohn to write this great original hymn to a tremendously moving text. Edited by John Rutter, the edition includes program notes with English text by the editor. The four-minute piece opens with the bass section on a dark, mysterious melody soon joined by the alto section in counterpoint. The brief chorale writing for mixed voices quickly moves to counterpoint that pleads for God's defense of his followers. This is another fine piece from the European Sacred Collection edited by Rutter in 1996. Difficulty rating 3. $1.60
Treble Voices ~ SacredAlleluia (from Exsultate, jubilate), by Wolfgang Amadeus Mozart (1756-1791), Latin text, Hal Leonard, 08551690, SA & piano. An adaptation of this famous soprano aria, this arrangement uses the accompaniment harmonies to develop the second part. This is a wonderful way to introduce younger singers to this great music. Done with a great deal of taste and respect for the original, this arrangement by Henry Leck works well. Difficulty rating 4. $1.50
Four Old English Carols, by Gustav Holst (1874-1934), English/Latin text, Treble Clef, TC-183, SSA, soprano solo, & piano & a cappella. This is a wonderful collection of original carols by one of England's most prominent composers. Included in this collection are A Babe Is Born, Now Let Us Sing, Jesu, Thou the Virgin-born, and The Saviour of the World Is Born from unison to SSA voices. All of them are sensitively written and provide an excellent introduction to this great composer's music. The pieces also offer an ideal opportunity to feature your better singers as soloists. Difficulty rating 3-4. $2.10
Domine Deus, Agnus Dei, by Antonio Vivaldi, Latin text, Lorenz, 15/1857R, unison & piano. Vivaldi wrote two Glorias in his time at the foundling school in Venice, the Pio Ospedale della Pieta. RV 559 is one all of us know, but RV 588 is a fine piece and very seldom performed. This aria from RV 588 is wonderful for developing fine melismatic singing with a pure, clear tone quality. It is particularly good for building power and breath support in the young voice. In general trios, duets, and arias from the Baroque era are terrific on children's voices. Difficulty rating 3. $1.50
Happy Land, by Bob Chilcott, English text, Oxford, 343316-8, SS (divisi) & piano. This bright, happy anthem written in "Rock Gospel Style" was composed for Cheryl Dupont and the New Orleans Children's Chorus and premiered at the Crescent City Choral Festival in 2002. Set to a text by Andrew Young (1807-89), the piece is dominated by octaves in the voice parts that alternate with antiphonal singing. The piece is loaded with bright harmonies. Some rhythms will take some study. The divisi section splits to five parts, making it an excellent selection for the accomplished choir or programmed in a festival situation. The key change from g minor to B major is quite dramatic with effective counterpoint that leads to the piece's conclusion in unison. This is another text selection by Chilcott that is so appropriate for young singers. Difficulty rating 4. $1.60
New Releases ~ Secular SATB Voices ~ Secular
A Lover's Dirge, English text, Oxford, 386665-X, SATB a cappella. Filled with dark harmonies, this setting from William Shakespeare's Twelfth Night is a real challenge. Off-beat rhythms and changing intervals will make the choir work hard for accuracy. In general, the tessitura for the voice parts lies in the mid range of the voice, which works well in painting the text. Difficulty rating 4. $1.60
Brindisi (from La Traviata), by Giuseppe Verdi, Italian/English text, Oxford, 341812-6. SATB, soprano & tenor solo, & piano or orchestra. Taken from the first scene of Verdi's great opera, this duet and chorus will be great fun to prepare with your chorus. Beautifully edited by John Rutter, this is one of 35 choruses in the Oxford Choral Classics anthology Opera Choruses which is edited and researched by Rutter. The piece can be performed in Italian or in a fine English translation by the editor. Background information is included and a pronunciation guide for the entire opera collection is available on CD or cassette. Full orchestral score and parts are available on rental from the publisher. Difficulty rating 4-5. $1.80
Everyone Sang, by John Sanders, Hal Leonard, 08743519, SATB (divisi) & soprano solo a cappella. Commissioned by the Britten Singers of Hereford in January 2000 for the choir's 25th anniversary, this challenging piece is filled with tricky harmonies and rhythmic counterpoint. The text by Siegfried Sassoon is filled with images that compare singing to the freedom of the winging bird. The tone painting in this piece is amazing. Difficulty rating 5. $2.55
Home, Sweet Home, arr. Bob Chilcott, English text, Oxford, 343313-3, SATB (divisi) a cappella. Chilcott has avoided being overly sentimental in this beautiful setting of a well known melody by Henry Bishop. Set to a text by John Howard Payne, this timeless arrangement is filled with glorious harmonies and spectacular suspension. In this genré it just doesn't get much better. Difficulty rating 4-5. $1.30
Il est bel et bon, by Pierre Passereau, French text, Oxford, 341816-9, SATB a cappella. Edited by Clifford Bartlett, this famous chanson has been a favorite of choirs for years. This edition is based off an MS entitled Vingt et huyt chansons musicalles from a Paris publication of 1534. This piece was first published in the Oxford Choral Classics anthology Madrigals and Partsongs edited by Clifford Bartlett. Background information is included. Difficulty rating 4. $1.60
In the Heart of the World, by Bob Chilcott, English text, Oxford, 343318-4, SATB, soprano solo, & piano. Set to a text by Brian Andreas, this piece was commissioned by Arthur V. Neis and the AmericaFest Festivals. The opening and closing portions of the piece makes music reference to "Skyscrapers" from Chilcott's City Songs for upper voices. It opens and closes hauntingly with soprano solo. The piece is filled with harmonic challenges with divisi in the women's vocal parts. The descant is timeless in its gesture. Difficulty rating 4-5. $1.95
My Spirit Like a Charmed Bark Doth Float, by Rebecca Clarke (1886-1979), English text, Oxford, 386667-6, SATB a cappella. Set to a text by Percy Bysshe Shelley, this choral piece was written around 1911-12. This particular setting reflects Clarke's interest in Elizabethan song prototypes. Written in canon between the men and women's voices, the elegant phrase shapes with changing intervals weave as "liquid waves of sweet singing." The text painting in this piece is wonderful. This edition by Christopher Johnson includes notes on Clarke and information about her choral music, which is just now being published. Difficulty rating 4. $1.80
Music, When Soft Voices Die, by Rebecca Clarke, English text, Oxford, 386666-8, SATB a cappella. Set to the famous poem by Percy Bysshe Shelly (1792-1822), this setting is filled with intervals and text painting that will take some sorting out. Challenging counterpoint with some tricky rhythms makes this a piece for choirs that really enjoy working hard. Difficulty rating 4-5. $1.80
Ne Sedi, Djemo! (Don't just sit there, Djemo!), arr. Steven Sametz, Bosnian text, Oxford, 386630-7, SATB a cappella. Arranged for the Lehigh University Choral Arts, this Bosnian Folk Song requires an accomplished choir. Changing meter signatures such as 11-8, 10-8, etc. makes the piece equally difficult for singer and conductor. A pronunciation guide is included in the edition and the Princeton Singers have recorded the piece on CD. Difficulty rating 5. $2.00
Philomela, by Rebecca Clarke, English text, Oxford, 386663-3, SATB a cappella. The stepwise progression in the voice parts on simple counterpoint make this piece fairly accessible. Set to a text by Sir Philip Sidney (1554-86) the weaving phrases and triplet figures imitate the sound of a soulful bird. Difficulty rating 4. $2.50
Time Pieces, by Stephen Chatman, Latin & English texts, ECS, Tempus, 7.0417; Come, My Celia, 7.0418; I Saw Eternity, 7.0419; and Clocks, 7.0420; SATB a cappella (no. 3 with violin). These pieces were commissioned by Capriccio Vocal Ensemble of Victoria, B.C. This set of four pieces uses sounds that all relate to time. The first and last movements use sounds rather than poetry to imitate the clock. The second and third movements use texts by Ben Jonson (1572-1637) and Henry Vaughan (1621-1695). Choirs will have great fun creating the environment and atmospheres of these pieces. Difficulty rating 4-5. $1.65-$1.65-$1.65-$3.50
Weep You No More, Sad Fountains, by Rebecca Clarke, English text, Oxford, 386668-4, SATB a cappella. The words for this piece are taken from John Dowland's famous song from his Third Book of Songs. The work is loaded with changing meters and challenging intervals in the counterpoint. The text painting and vocal writing is very reminiscent of the madrigal form itself, only with contemporary harmonies. Difficulty rating 5. $1.60
When Cats Run Home and Light Is Come, by Rebecca Clarke, English text, Oxford, 386669-2, SATB a cappella. This humorous setting of Alfred Tennyson's poem will be enjoyed by all. The counterpoint is quite straightforward, with the melodic writing in stepwise progression. The rhythms and harmonies are very accessible. This piece is the perfect introduction to this fine English composer's choral music. Difficulty rating 3-4. $1.60
Treble Voices ~ Secular
Beidh Aonach (Tomorrow There'll Be a Fair), arr. David Mooney, Irish text, ECS, 6020, SSAA & piano. This wonderful Irish folksong is beautifully arranged and edited. The translation of the old Irish and a pronunciation guide are included, and phonetic pronunciation of the poem underlays the text. Much of the piece is written in unison with simple harmonies in the voice parts. The reprise of verse one is placed in two-part canon that eventually divides into four parts. The piece is a wonderful way to introduce upper voices to this interesting dialect. Difficulty rating 3. $1.95
The Cat's Ramble to the Child's Saucer, arr. David Mooney, English text, ECS, 6019, SSA & piano. This is a fine medley of Irish folksongs which includes the popular Cockles and Mussels and When Irish Eyes are Smiling. There are seven tunes included in this charming medley for upper voices. Difficulty rating 3-4. $3.50
Dandansoy, arr. Martil L. Ellis & Henry H. Leck, Hiligaynon text, Hal Leonard, 08743495, SSA & piano. This Filipino folksong in an island dialect is one in an expanding series from Hal Leonard edited by Henry Leck. The simple partwriting makes it an excellent introduction to this country's music. Performance notes, translation, and pronunciation guide are included. Difficulty rating 3. $1.50
The Lily and the Rose, by Bob Chilcott, English text, Oxford, 343317-6, SS & piano. A simple setting of this anonymous 16th English text, the part writing is homophonic with easily sung harmonies over a lyrical piano part. Commissioned by the All-OMEA Children's Chorus in 2003, Jean Ashworth Bartle conducted the world premiere. The piece is ideal for a festival where rehearsal time is limited. Difficulty rating 3. $1.75
Secular - Treble Extended Work
Songs of Innocence and Experience, by Larry Thomas Bell, English text, ECS, 5788-5794, SSA & orchestra or piano. This major work for children's chorus is comprised of 10 movements published as seven separate pieces. Set to poetry by William Blake, the piece was commissioned by the New England Conservatory Preparatory School and the Boston Modern Orchestra Project, and it received its premiere on January 20, 2001 in NEC's Jordan Hall. It is scored for strings, percussion, and harp with full score and parts available from the publisher on a rental basis only. Full program notes and background information about the composer are included in the edition. Changes in key signatures occur throughout the various movements which help connect the movements to each other. This is a wonderful addition to the extended works repertoire for treble voices. Difficulty rating 4. $1.65 - $2.95
Men's Voices ~ Secular
Shenandoah, arr. Kevin Riehle, English text, Oxford, 386626-9, TTBB, flute, oboe, bassoon, & piano. This beautiful arrangement opens with the wind instruments describing the valley. The basses and baritones begin quietly with a simple statement of the melody, which adds to the breathtaking atmospheres in the piece. After the first statement of the melody, the tenors enter in counterpoint over a florid piano part. This is a very fine arrangement of this timeless melody. Difficulty rating 3. $2.25
Toreador Song (from Carmen), by Georges Bizet, French/English text, Oxford, 341820-7, TTBB & Soprano, Mezzo (opt.) & Baritone soli with piano or orchestra. This famous chorus by the great French composer Georges Bizet has been a popular favorite for all opera lovers. Beautifully edited by John Rutter, this edition is highly recommended. Difficulty rating 4. $1.75