PREPARING MUSIC THEATER WITH YOUR CHORAL ENSEMBLE
GUIDELINES FOR A SUCCESSFUL DRAMATIC PERFORMANCE
Part I: Score Selection and Casting Considerations
By Marie Stultz, Contributing EditorA successful music theater or music dramatic experience is determined by meeting the artistic needs of your students and turning those needs into a satisfying performance on stage. The tradition of involving students in theatrical music performances has increased in popularity both in community and school settings worldwide. Some productions reach a high level of achievement, produced by competent directors who know how to train and teach their young performers. Some productions, though well intentioned, never seem to achieve a high level of artistry. They often seem inconsistent in their quality and expression. The explanation for this dichotomy is as varied as the conditions, the talent pool, and the experience of the production staff. Success or failure of a theatrical performance is usually determined by some very important decisions early in the planning process.
The next two feature articles of The Choral Room touch on how to select performers and prepare musical dramas in all types of venues to achieve a high degree of artistic success. These observations and suggestions about how to select and prepare a production that is well thought out and properly planned will hopefully result in a successful music experience where everyone grows artistically.
THE PRODUCTION CRITERIA
There are a number of reasons why a production is chosen and produced. Most of these reasons do not necessarily guarantee success.[1] The conductor likes the musical, operetta, opera, or original musical play. This is as good a reason as any for selecting a dramatic production, but it may not necessarily guarantee you have the personnel or the space to secure a satisfying performance. When considering the type of production you wish to mount, practicality must become part of the equation. In general, smaller and simpler is best, particularly when you are first starting out.
[2] The audience will love it. This can also impact your decision, but again you must assess your circumstances when making your selection. An audience can be won over by a high quality performance regardless of any pre-conceived notions.
[3] The musical or opera is currently very popular. Choosing a production for this reason are often motivated by student interest or what you think the students might like to perform. Choosing something popular may initially generate a lot of enthusiasm and support, but again if the talent pool and venue are in question, the final result may not represent the standard you want your students to achieve.
[4] The theater will accommodate an ambitious, major production that will have everyone awestruck. This is the worst possible reason for making your choice. Unless you are a seasoned director with a large talent pool, productions like these take hours of time, planning, and money to be a great success.
The following criteria will help ensure a successful and artistic performance.
[1] The piece was composed or adapted for your ensemble. This is the best production to mount. It is geared to your situation and talent pool. An adaptation can often be done by one of your production staff, a local writer or composer, or by you as the director. If you are a novice, the first few attempts may not be what you want, but you will grow in skill and expertise as you gain experience.
[2] The production is timely and improves the artistic climate around you. This is another great consideration in your selection process. Choosing this route will call for a bit of research and investigation, but will often offer surprises and refreshing results on the stage.
[3] This production will be an substantial educational and artistic experience. You want everyone to grow, but never be overwhelmed. Choosing a production that has meaning or high artistic content is extremely important in your selection. Some questions to ask: "Is this production appropriate for this age group? Is the language and content something that will help my students become better leaders and artists? Am I setting the right example by selecting this production?" Your integrity as an artist and conductor is contingent on the kinds of decisions you make for both students and audience alike. If the production has integrity, your artistic staff and students will usually give their absolute best.
[4] The production will train your students to greater artistry as they entertain their audience. Points three and four are related in that both seek a broad artistic conclusion. This goal deals with the personal growth of each one of your students. The better artists they individually become, the more ambitious later productions might become.
[5] This production is different than what I would normally choose. Going this route is one way to achieve personal growth as an artist and conductor. Let's say you have always produced musicals. What would happen if you turned around and produced a simple opera, operetta, or original music theater production? How much would you and everyone around you grow as musicians and artists? If there is willingness to grow, than this will be an interesting and productive avenue for you. Being adventurous, in a cautious way, opens a new world filled with challenge and discovery.
THE ARTISTIC POOL
The key to producing successful musical theater or dramatic performances with the amateur singer is to carefully determine the artistic needs and capabilities of your young performers. This includes the decision to stretch your students to undetermined heights, as you evaluate exactly who is available to you and assess their capabilities.I often do not select my final musical production until I have a full and better understanding of who my key players might be. Start by evaluating your artistic pool to determine the right production. Consider the following points when selecting the score.
[1] List all potential performers onto a database and track the students on the following criteria:
male or female
age
voice lessons (how long)
theatric experience (with your ensemble and others)
quality of audition
determine solo or chorus potential
small ensemble potential
physical attributes (this often determines the type of role)[2] Before the auditions begin, have two or three scores in mind as possible theatrical vehicles before you begin the selection process. The more major role part assignment choices you have, the better the final outcome. If the students don't know your final choice, they will be more open to being considered for roles that truly fit their personality and capability rather than what they think might be their favorite part. I can't tell you the times I have changed my choice of production after auditions have been concluded. The final decision always comes after the final evaluation of the personnel available to me.
[3] Hold auditions in a non-threatening environment that is open and fair. Have two or more colleagues help you in the selection process. A joint decision makes the final cast more credible and less political. During the auditions, remember that the more encouraging the environment, the better the students will perform. The better the audition, the better the staff will understand the true ability and potential of the student in front of them.
Evaluate the students carefully in the following areas in terms of personal capability from 1-10 (10 being the highest):
sense of humor
stage presence
confidence
physical agility
leadership capability
sequencing skills (ability to repeat and memorize)
good team player
intelligence
Evaluate the students carefully in the following areas in terms of musicianship from 1-10 (10 being the highest):
musical accuracy (rhythms, pitches, dynamics, etc.)
tone quality
intonation
power and breath support
diction
expression (text interpretation and word meaning)
sight singing
general disposition and artistic temperament
final score (overall performance)Artistic Recommendation after Evaluation and Audition
Part Assignment
Solo Capability
Possible Small Part Assignment
Understudy
Ensemble Assignment
Dancing Part
Speaking PartAfter the auditions, consider your options with members of your staff. Cast the major parts of your possible productions, determining which cast and artistic venue will result in the strongest performance. As tedious and time consuming as this might be, it can also be exciting to feel out the possibilities as you put together your strongest production with your most gifted cast. Try to avoid the following pitfalls when casting:
a) Avoid casting favorite students just because you like them.
b) Approach your decision with as little bias as possible.
c) Consider people who might offer an artistic surprise.
d) Cast both experienced and inexperienced performers adding some spice to the performance/this also develops the talent pool.
e) Consult with colleagues in the final selection of a cast.[4] After you have determined the strongest cast and determined the production that will be mounted, assign the second and third tiers of performers to the smaller roles and ensembles. When casting the various tiers, make sure the various levels have a mixture of experienced and inexperienced performers. The second tier should include understudies, which are assigned a double responsibility.
[5] Once you have made your selection, the production should be formally announced. The one thing that must come across is that your choice was made based on the talent pool and the quality of the student audition. You get much more out of your performers when they all feel they have been treated fairly
[6] Have a cast meeting and set up the following guidelines to build a successful production:
a) Students should be prompt to rehearsal.
b) Everyone should help each other in the part learning process
c) Prima donna behavior will not be tolerated. (The understudy is always in the wings!)
d) Have a reasonable rehearsal schedule that respects everyone's time.
e) Involve all the students in the production process.
f) Set up committees and assign the more co-operative students to leadership roles.
g) Remind everyone that suggestions by the staff are not personal criticisms but observations for a better performance.
h) Positive feedback and suggestions by the students at the appropriate time are always welcome.When everyone is involved and has an investment in the production, the experience takes on a life of its own. Because of the fairness of the process from cast selection to the choice of production, everyone feels an integral part of the entire production. The groundwork has been laid for an artistic performance that has every opportunity of being truly unique and special; a performance those concertgoers will talk about for years.
In Our Next Newsletter:
The Cast and Production Have Been Chosen ~ Let the Rehearsals Begin!
The Ins and Outs of Nurturing and Producing a Successful Performance
New Releases ~ Sacred Astrum Music Publications, an Eastern European publishing house whose catalog we have just discovered, has introduced us to the brilliant music of Slovenia. The arrangements are intricate and refreshing and highlight the music of a number of excellent, though little known composers. A number of pieces from this publisher are reviewed below in both the sacred and secular sections.
Al Hanisim (For the Miracles), by Steve Barnett, Hebrew text, Oxford, 386536-X, SSAATTBB a cappella. This piece is set to the only significant liturgical text written specifically for Chanukah. Steve Barnett is a highly recognized composer, whose music has been performed by some of the major music ensembles throughout the United States. Commissioned by the Dale Warland Singers, this original piece for Chanukah will work as a liturgical piece or in a concert format. The edition is filled with composer's notes, pronunciation guide, and biographical information that will be helpful when preparing the score or writing program notes. The piece uses repetitive music phrases between the choral parts which are based on various traditional Jewish modes (some from the Ukrainian background) along with modern harmonic techniques. Spectacular in its compositional gesture and harmonic structure, this is a major contribution to the Hebrew repertoire. Difficulty rating 5. $2.50
Hail, Gladdening Light, by Charles Wood (1866-1926), English text, Collegium Music, CCS235, SATB/SATB a cappella or organ. The only way to describe this glorious double choir anthem is "gratifying." There is not one moment in this great English anthem from the early 20th century that one wants to change. The versification techniques between the two choirs is brilliantly realized and perfectly balanced. The homophonic text painting on conservative chords break out into glorious and startling harmonies of elegant beauty. The piece is described by editor John Rutter as a "resplendent double-choir anthem, a cornerstone of the Anglican cathedral repertoire." Composed in 1912, the anthem requires a supportive, reverberant acoustic. If the performance space has limited acoustics, a choir of large forces will be required to accommodate the scope of the piece. The anthem can be effective with a smaller, balanced ensemble that produces a pure sound that resonates into the room. Program notes are included in the publication. Difficulty rating 4. $1.65
I my Best-Beloved's am, by John Rutter, Latin and English text, Collegium Music, CCS 232, SATB a cappella. This stunning piece which intertwines Latin texts from the Nuptial responses of the Anglican Church with English texts by Francis Quarles (1592-1644) is quite unusual. The piece opens in quiet darkness with simple chant that is later supported by veiled harmonies. The tenors begin the chant-like phrases on changing meters. The basses in divisi support the tenors singing chords of dark beauty. The men continue singing in Latin as the women, in divisi, enter singing the English words composed on tight harmonies which are set homophonically. A powerful anthem composed for the BBC singers, it is artistically challenging. It would be effective when programmed for a wedding service or concert. The mesmerizing chanting in Latin by the men's section seems to draw the women into the pledge of marriage that suggests infinity. It is with great relief that we see Rutter finding his musical voice after a few years of compositional down time. Difficulty rating 4. $2.60
Lift Up Your Voice, by Jan Pieterszoon Sweelinck (1562-1621), English text, GIA, G-5707, SATB a cappella. An edition like this is always valuable, because it allows the conductor to include great music by this Franco-Flemish composer in an accessible rather than scholarly format. Edited in English by William P. Rowan, the original Latin is not included in this publication adapted from Psalm 96. The piece is filled with elegant contrapuntal lines that should be sung a cappella, building the choir's intonation, while singing with stylistic phrase shapes that should sound timeless. Difficulty rating 3. $1.30
Magnificat Anima Mea Dominum (My Soul Magnifies the Lord), by Giovanni Battista Pergolesi (1710-1736), Latin text, Hal Leonard, 08596751, SATB & keyboard. This setting is the first of six movements from the larger work Magnificat, a piece composed for mixed voices, strings and continuo. (Groves suggests that this Magnificat, attributed to Pergolesi, may have been composed by Francesco Durante) This joyful movement celebrates the life of the Virgin Mary as described in Luke 1:46-55. The imitative counterpoint and harmonies between the voice parts are brilliantly written by this master of the Italian School of the early eighteenth century. Realized by Patrick M. Liebergen, performance notes, translation, and pronunciation guide are part of the edition. Difficulty rating 4. $1.60
Notre Pére (Our Father), by Maurice Duruflé, English/French, Hal Leonard, 50600002, SATB (divisi) a cappella. This famous setting of the Lord's Prayer by the great French organist Maurice Duruflé, is adapted here by J. Mark Baker. An op. 14 in a scant catalogue by this highly respected French composer, this edition is adapted from the original Durand publication of 1978. A meditative setting to a universal prayer spoken in church services all over the world, this anthem will sound more powerful and evoke more feeling when sung in French. The text versification of the composition simply has more credibility when performed in the original language. Difficulty rating 4. $1.60
Ostende nobis Domine misericordiam tuam, by Gerald Near, Latin text, MorningStar, AE137, SATB a cappella. The opening chant, from Mode VIII, opens this soulful Alleluia from Psalm 85: verse 7, which was composed for the First Sunday of Advent. Filled with homophonic harmonies with poignant surprises, the alleluia section begins with straightforward counterpoint. More complex intervalic relationships ensue which resolve into refreshing compositional solutions that are often surprising. The imitative counterpoint is composed on stepwise phrase shapes that build to a beautiful climax and then resolve almost into nothing. The anthem concludes with the voice parts fading away mysteriously. Difficulty rating 4. $1.50
Psalm 149, by Gerre Hancock, English text, Oxford, 386702-8, SATB & organ. This bright joyful setting of this famous psalm is accompanied by a challenging organ part. A choral fanfare in "praise of the faithful," it is filled with some complex intervals. Set homophonically, the imitative writing between the voice parts makes the anthem more accessible. The mid-section of the anthem is filled with powerful octave writing between the basses and altos which is imitated by the tenors and sopranos on changing intervalic relationships. Warm, broad harmonies set homophonically close this triumphant work for choir and organ. Difficulty rating 4. $1.95
Sim Shalom (Grant Peace), by Gerald Cohen, Hebrew text, Oxford, 386741-9, SATB (divisi) & piano. This extensive piece composed for the Usdan Center for the Creative and Performing Arts on Long Island, New York, is a major addition to the Hebrew repertoire. Set to a prayer recited every morning as part of the central prayer of the Jewish liturgy, the song begins quietly on haunting a cappella harmonies composed homophonically. The divisi in the voice parts, surprising harmonies and interval relationships between the voice parts make the piece quite challenging to learn. The off-beat rhythms on changing meters are typical gestures in Jewish music and used with great effect here. The versification of the text is quite powerful, making it more appropriate for a concert rather than a liturgical setting where a large and capable choir would be required. The homophonic middle section, with more accessible harmonies, is set over a florid organ part that requires an accomplished player. The piece ends quietly on sustained harmonies in the voice parts, with challenging motivic materials in the accompaniment that movingly draws the composition to a satisfying conclusion. Difficulty rating 4-5. $2.95
Three Spiritual Madrigals, by Daniel Pinkham, English text, ECS, 5992, SATB a cappella. These three fine madrigals set to texts by Gerard Manley Hopkins, display Pinkham's agile compositional style, where any harmonic and intervalic relationship is possible. The piece moves from challenging, tight harmonies to simple unison passages of great poignancy. This great American composer, now in his early 80's, still has much to offer our ears and our hearts. He continually explores, hears, and then composes his music in broad strokes. His knowledge of how to set texts in a brilliant and profound fashion is always eye opening. His voice is contemporary and always changing, speaking to the very soul of all of us. Difficulty rating 4-5. $2.05
Tu es Petrus (You are Peter), by Charles Marie Widor (1847-1937), Latin text, MorningStar, 50-6512, SAT(B)B & organ. This edition is arranged quite cleverly by David Cherwien. The anthem was originally scored for two organs (grande and petite) and two choirs (SATB and men), creating a brilliant dialogue of contrast between the two forces. This type of configuration, where two organs are placed in different places in the nave, is far more prevalent in Europe than in the US. This edition has been altered to accommodate one SATB choir, baritone soloist to replace the men's choir, and one organ. The dialogue between the two organs has been adapted to one instrument by a lengthy registering of two manuals to fulfill the double instrument requirements of the composition. A dramatic work of great power, this is a fine working adaptation by Cherwien. Difficulty rating 3. $1.90
Walk Softly, by Bob Chilcott, English text, Oxford, 343320-6, SATB & organ. A hymn-like setting of a text from the Early Shaker tradition with tune adapted by the composer, this accessible anthem will work in most church services. Written on changing meters and set over a simple organ part, the homophonically composed harmonies are challenging with some divisi in the choral parts. Composed for the Preston Hollow Presbyterian Church, this short anthem is perfect to program in a service in celebration of the church. Difficulty rating 3-4. $1.30
Extended Work ~ SATBMass of the Children, by John Rutter, Latin & English text, Hinshaw, HMB238, SATB (sop. & bar. Solo), SSA & orchestra or chamber ensemble (piano/vocal score). This mass was written at the request of MidAmerica Productions for a performance at Carnegie Hall on February 13, 2003 under the baton of the composer. Premiered and subsequently recorded by the Cambridge Singers, the Cantate Youth Choir, and the City of London Sinfonia, this 37-minute peace mass was composed to texts by numerous poets. The work uses Latin texts from the traditional mass juxtaposed over very carefully selected poetry by the composer. The use of traditional Latin superimposed over the English text creates a powerful work for large forces. The piece is filled with changing meters and text painting that at times simply makes your "skin crawl" with its beauty. This is a fabulous new work from this renowned and popular English composer. Program notes with more information about this unusual mass are available on the Collegium website at www.collegium.co.uk. Orchestral parts can be obtained from the publisher. Difficulty rating 4-5. $7.50 (piano/vocal score)
Alleluia, Ascendit Deus (Alleluia, God Has Gone Up), by Pietro Paolo Bencini (c.1670-1755), Latin text, Treble Clef, TC-210, SA & organ. This joyful piece is composed with straightforward, traditional trumpet-like harmonies between the voice parts. Edited by James H. Laster, this is the perfect anthem to program before the choir learns Purcell's great duet "Sound the Trumpet" from the popular Birthday Ode to Queen Mary, Come, Come Ye Sons of Art. An accessible duet, this piece will be a great joy to teach while introducing the choir to simple Latin words. Difficulty rating 3. $1.70
Lord, Make Me an Instrument (from Lux Perpetua), by Jonathan Willcocks, English text, Oxford, 342653-6, SA & piano. This simple setting on texts attributed to St. Francis of Assisi and the Vedas will work well with a young ensemble with two accomplished soloists. Composed imitatively, the counterpoint will be easy for young children to read. Composed in the mid-range of the child's voice, the conductor will have to work to develop a gentle voice quality in the choir. Difficulty rating 3. $1.60
Mi Shebeirach (A Prayer for Healing), by Valerie Shields, Hebrew and English text, Hal Leonard (Transcontinental), 00191484, SA (opt. Cong.), & keyboard. This is a fabulous, poignant piece for trebles, filled with striking harmonies on crossing voice parts. A beautiful prayer, the congregation can be included in the middle of this meditative anthem where the flute part weaves gently in and out of the voices. The arrangement will work as service music or in a school or concert setting. It is a wonderful addition to the Hebrew repertory for treble voices. Difficulty rating 3-4. $2.00
The Prayer (Prosnja), by Damijan Mocnik, English text, Astrum, AS 35.006, SSA a cappella. A stunning piece of music, the ethereal harmonic writing (with many major and minor seconds and their inversion) just leaves you breathless. Composed homophonically, the phrase gestures on an English translation by Irma Mocnik work brilliantly. The vocal range is extreme for the altos (a low F), making the piece rich with sonorous sound. Ideal for a woman's chorus, the piece would also be effective with an advanced children's chorus that can produce a pure, resonant sound. Extremes in dynamics on extended phrase shapes just add to the magnitude of this Slovenian composer's fine compositional style. Written in 1998, this a cappella piece is a must for the accomplished upper voiced choir. Difficulty rating 4. $1.50
Psalm 121, by Libby Larsen, English text, Oxford, 386364-2, SSSAAA a cappella. Composed for the Peninsula Women's Chorus celebrating Patricia Hennings's twenty-fifth anniversary, this piece is filled with enormously difficult atmospheric writing and text painting. Composed to original texts by John Muir and Patricia Hennings, these texts are interwoven into a smattering of verses from Psalm 121. The piece explores the timeless concept of life and infinity. It begins quietly with a choral sunrise on major seconds that crescendo and expand into bright daylight on multi-tonal chords of great power. The piece advances in difficulty where the text versification is almost mind-blowing. Because of the artistic demands and subtlety of the score, it is a piece recommended for the most accomplished women's chorus. Difficulty rating 5. $2.50
Ubi Caritas (Where There Is Love), by Eleanor Daley (b.1955), Latin and English text, Treble Clef, TC-184, SSAA a cappella. Set to an anonymous English text with traditional words from the Latin Mass, the anthem opens with original chant set on changing meters. The composition continues with the sopranos continuing the chant as the altos sing a sustained d1. With the three part section, the tonal harmonies are made more interesting by the use of sevenths and seconds with simple counterpoint between the vocal parts. The semi-chorus picks up the Latin text on chant-like phrases over homophonic writing set to the English text. The juxtaposition of the two languages is quite powerful in their double meaning as the choir closes with a beautiful repetition of the chant and a effective "amen" set homophonically. The intricate piece closes on a pure D Major chord and is a splendid piece to program with the accomplished treble chorus. Difficulty rating 4. $1.50
Wie lieblich sind deine Wohnungen (How lovely are thy dwellings), by Josef Rheinberger (1839-1901), German/English text, Treble Clef, TC-229, SSAA & harp or piano. Rheinberger was a consummate organist, so it is rare to see an anthem by this fine composer for voices and harp. Set to Psalm 84:1-4, the English text by Mary Josephine Augusta Cass (1882) is translated from the original German. Lasting 4 and 1/2 minutes, the piece has been edited by Charles H. Morse (Boston, 1882) and taken from the Wellesley College Collection of Part-Songs. The collection contains 25 pieces for treble voices all translated and arranged from the German repertory while Morse was professor at the all women's school. The piece is filled with beautiful counterpoint and harmony so typical of that period in German history. An organ edition of the accompaniment is available from the publisher. Difficulty rating 4. $2.85
Agnus Dei (from Missa Vulnerasti cor Meum), by Cristobal de Morales (c.1500-1553), Latin text, Hal Leonard, 08596745, SAB a cappella. Originally written for three voices (probably soloists), this piece is edited by Bradley Ellingboe. Flowing counterpoint and beautiful phrase shapes dominate the short motet. A translation and performance notes are part of the edition. The editorial suggestions are helpful in developing an authentic performance of this simple motet. Difficulty rating 3. $1.60
MEN"S VOICES ~ SACRED
Ave Maria, by Tomas Luis de Victoria (1548-1611), Latin text, Hal Leonard (Walton), 08501545, TTBB a cappella. This Ave Maria is part of a large body of sacred works by the great Spanish composer Victoria, who wrote in the late 16th century. This piece for lower men's voices was written in 1576 and is part of a large body of masses, magnificats, and motets in his compositional catalogue. This motet opens with the first tenor intoning the mode on which the motet is based. The piece continues with simple counterpoint that alternates between homophonic passages of great beauty. The darkness and mystery of the men's voices only add to the beauty of this passionate motet in celebration of Mary. Composed in the manner of the old school of writing, the piece was conceived with the concept of melody rather than harmony as the dominant force. In that regard, it differs from Italian composers such as Palestrina, who Victoria often imitated. Difficulty rating 4. $1.70Lux Aurumque, by Eric Whitacre, Latin text, Hal Leonard (Walton) 08501528, TTBB a cappella. Originally written for SATB chorus as a commission by the Master Chorale of Tampa Bay, it was later adapted for the Gay Men's Chorus of Los Angeles by the composer. The work shimmers with harmonies containing many seconds and sevenths composed to simple counterpoint intermingled with homophonic sections of quiet beauty. The Latin translation is by Charles Anthony Silvestri. Although it is a work for Christmas, the piece would work beautifully any time of the year. It is perfect in a concert where an unusual piece filled with atmosphere is needed. The suspensions and large phrase shapes simply radiate the text. Difficulty rating 3-4. $1.70
New Releases ~ Secular The Composer, by David Conte, English text, ECS, 6076, SATB (divisi) a cappella. This striking piece in celebration of music was commissioned by the Walden School in Dublin, New Hampshire as part of the school's 30th anniversary. Set to a text by John Stirling Walker, this is one of many pieces composed in collaboration with this poet. Conte's compositions require astute, accomplished performers and this piece is no exception. The piece is filled with simple counterpoint, alternating with homophonic passages with large expanses in the harmonic fabric. It opens with harmonies of great mystery on sustained chords of profound beauty. Once the singers understand Conte's harmonic gestures and intervalic twists, the music will begin to take on breathtaking moments of beautiful tonal sound. A keyboard part is provided to help in the teaching of the more subtle aspects of the score. This is a must for the accomplished high school or college choir. Difficulty rating 4-5. $2.50
Dulcis amica, veni (Come, My Sweet Friend), by Iacobus Handl-Gallus (1550-1591), Latin/English, Astrum, AS 31.411, SATB a cappella. Born in Carniola, Slovenia, this fine late Renaissance composer wrote this piece as part of a collection entitled Opus musicum published in 1586. Set to a text from Anthologia latina, 762, this unusual piece is filled with shifting harmonies and charming text painting. This piece only wants to make you explore more of this composer's music offered by this exceptional publisher from Eastern Europe. Difficulty rating 3. $1.60
Four Choruses, op. 29, by Antonin Dvorak, Czech Text, Alliance Publications, AP-1637, SATB a cappella. These four secular pieces were composed to texts by poet A. Hejduk and to traditional poems from the Czech folksong tradition. Written in 1876, they were published in Prague in 1879. They are unusual in that two of the pieces are written to traditional Czech poetry and two use as their poetic source texts from the Moravian movement. The pieces include an evening blessing, a lullaby, and two songs on the subject of love and rejection. A complete pronunciation guide and background on the life of Dvorak is included in this fine edition by Anita Smisek. Difficulty rating 4. $3.00
How Sweet and Fair, by Stephen Chatman, English text, ECS, 7.0432, SATB & clarinet. Simple text painting that is wonderfully effective fills the choral harmony of these two pieces set to texts by Edmund Waller (1606-1687) and Robert Herrick (1591-1674). The clarinet part, available separately from the publisher, requires an accomplished player. These two pieces are accessible for the average high school choir that has a good balance of parts. They are perfect to program in spring where the text titles, Go, Lovely Rose and To Daffodils. so fit the season. Difficulty rating 3-4. $2.05
Moonlight on Mount Fuji (from Moon Dream Child), by Paul Basler, English & Japanese text, Hal Leonard (Walton), 08501531, SATB (divisi) & piano. Composed with sharp contrasts, the juxtaposition of English and Japanese texts adds to the haunting effect of the piece. This movement uses imitative counterpoint that expands into harmonies of more complexity and challenge. Commissioned by the American School in Japan in 2002, the piece uses anonymous traditional Tanka poetry. The composition is filled with expressive text painting by an American composer emulating that beautiful culture. It is part of a larger, extended work for mixed chorus. Difficulty rating 3. $1.95
Cuartro Baladas Amarillas (Four Yellow Ballads), by Bob Chilcott, Spanish text, Oxford, 343286-2, SS & piano. This four-movement work was commissioned by Keynote Associates for the Children in Harmony Festival in Orlando, Florida on May 25-28, 2000, with Barbara Tagg conducting. Set to thoughtful texts by world renowned poet Federico García Lorca (1898-1936), the piece includes some evocative Spanish rhythms and harmonies over an accompaniment that has a lot of minimalist characteristics. Chilcott is a master at creating tonal colors and moods appropriate to the text and its environs, these pieces are no exception. Children of varying capabilities will have great fun creating the charm and mastery of these great poems by one of the 20th century's great Spanish poets. Difficulty rating 4. $2.75
Der Wassermann (The Waterman), by Robert Schumann, German/Czech text, Alliance Publications, AP-1356, SSAA a cappella. This is an interesting edition of this German Romantic composer's choral art song normally edited in German and English. Edited by Milan Uherek, this publication is presented in a German/ Czech edition that has ties to both European countries. Composed homophonically, this is another wonderful Romantic piece for the accomplished treble chorus. Background, translation and a diction guide are part of the edition. Difficulty rating 4. $1.50
The King (Kralj), by Damijan Mocnik, English text, Astrum, AS 35.010, SSAA a cappella. Spectacular shifts and brilliant tone painting dominate this fabulous piece for treble voices. Composed to a text by Saua Simona Taufer with English text by Irma Mocnik, the tonal descriptions that expand the text just add to the piece's radiance and awe-struck splendor.This unusual piece will ring on women's voices. Background on the composer is included in the edition. Difficulty rating 5. $1.60
Walzer der Freude, by Johann Strauss, German/English text, Hal Leonard, 08743794, SSA & piano. This popular waltz by the great Waltz King Johann Strauss will be an audience favorite. Arranged by Gerald Wirth, former conductor of the Vienna Boy's Choir, the English words are by Elke Wirth. This orchestral adaptation will make a great choral encore, or would be suitable in a program of lighter music. Audiences have been entertained with choral adaptations of Strauss's waltzes for trebles for years. The piece is part of the Henry Leck's Creating Artistry Series. Difficulty rating 3-4. $1.50
SAB VOICES ~ SECULARNow the Heart Sings, by Bob Chilcott, English text, Oxford, 343311-7, SSA/SAABB a cappella. This challenging piece was composed for the Hampshire County Children's and Youth Choirs for their 10th anniversary. The premiere was held at Winchester Cathedral, March 2, 2002. Set to a text by A.D. Hope (b.1907), this extensive work requires careful preparation. Vocal doublings between the two choirs and unison singing in octaves between the parts all help in the accessibility and the learning of this fine piece that requires advanced artistry in order to achieve an effective performance. Repetitive motivic material that must sound timeless is juxtaposed over the second choir part with more challenging harmonies and divisi in the voice parts. This is a composition that would best work with large forces or in a festival situation where the choirs have been carefully assigned to secure balance and choral accuracy. Difficulty rating 5. $1.75
MEN'S VOICES ~ SECULAR
A Song from Resia (A Dance from Resia Valley, Italy), arr. Alojz Srebotnjak, English/Resian (Slovenian) dialect, Astrum, AS 33.018/11, TTBB a cappella. This fabulous arrangement of an Italian dance will be great fun to sing. The meter signatures alternate between 3/4 and 2/4 as the lower voices create the pounding of the shoes on the floor with nonsense syllables while the upper voices sing the melody. Filled with repetitive material, this lively piece will simply take the house down. Information about this unknown composer, translation of the text, and a pronunciation guide of the Resian language is included in the publication. This is a real winner for choirs that want to offer their audiences a flavor of Eastern Europe. Also available in SATB (33.018) and SSA 33.018/13 Difficulty rating 3. $1.60You Can Hear (Pa se slis), arr. Karol Pahor (1896-1974), Slovenian/English text, Astrum, AS 35.015, TB/TTBB a cappella. This simple, one page arrangement of this poignant Slovenian folksong is effectively arranged. The choir is split into two choirs, with the larger forces singing the nonsense syllables that create the sound of bells. The smaller ensemble (which could be sung by two soloists) sings the beautiful tune over effective, authentic harmonies that seem to create the simplicity and beauty of the country. The edition contains both a Slovenian and English version. Background on the composer is included in the edition. Difficulty rating 3. $1.60