- New Releases - Sacred
- Sacred - SATB
Sacred - Treble
Sacred - Men- New Releases - Secular
Secular - SATB
Secular - Treble- Secular - Men
BACH FAVORITES ~ SETTING THE RECORD STRAIGHT
By Marie Stultz, Contributing Editor
In the last newsletter, we discussed setting the record straight with the music of John Jacob Niles, clearing up the misconception about what melodies and texts were original to him and what were collected and arranged by him. If controversy can develop over someone who has lived in our lifetime, it is clearly understandable how music that is centuries old can get misattributed to someone like J.S. Bach or Felix Mendelssohn.
One of the most famous melodies attributed to J.S. Bach is the tune Bist du bei mir and is included in one of the two Anna Magdalena Bach Notebooks. These books were filled with popular music of the time including some of Bach's more significant keyboard pieces such as some of his partitas, menuets and polonaises. Other composers included in the books are C.Ph.E. Bach, Francois Couperin, and Christian Petzold to name a few. The famous melody attributed to Bach for centuries and catalogued as BWV 508, Bist du bei mir is actually believed to have been written by a popular contemporary of J.S. Bach's, Gottfried Heinrich Stölzel (1690-1749), according to the G. Henle Verlag edition of 1983 by Ernst-Günter Heinemann.
Stölzel was a highly regarded German composer and theorist. His music teachers ranged from his father to Johann Kuhnau, and he was drawn to opera early in his career. This interest in opera put him in touch with the local opera house and the collegium musicum founded by Telemann. He became copyist and student of Melchoir Hoffman and actually some of his earliest works were first performed under his teacher's name. He was considered to be one of the finest composers of his time and was actually elevated to a position in the compositional hierarchy above J.S. Bach himself by Mizler. Bach was so enamored with Stölzel's music that he included his Partita in G minor in Das Clavier-Büchlein vor Wilhelm Friedeman Bach. There is some indication that Bach performed a lot of Stölzel's vocal music. Little of his music was published in his lifetime and shortly after his death his music fell into obscurity until Arnold Schering prepared an edition of his Concerto Grosso in D for quadruple orchestra. A full list of his pieces can be found in The New Grove Dictionary of Music. Hopefully, setting this record straight will increase interest in this obscure composer's music.
In researching the Bach Cantata #15 duet "Ich jeuchtze, ich lache," I have discovered that although attributed to J.S.Bach for centuries, the entire cantata was actually composed by a relative who studied with him in Weimar. "Laughing and Shouting for Joy" is taken from Cantata # 15 Denn de Wirst Meine Seele Nicht in der Holle Lassen. Although often attributed to Johann Sebastian Bach, Grove's lists this cantata in Bach's works as spurious and attributes the cantata to Johann Lorenz Bach (1695-1773). J.L. Bach studied with Johann Sebastian Bach in Wimar from1715-1717 and the cantata was probably composed and performed at that time, hence the confusion as to the original composer. In the Hänssler publication entitled The Texts to Johann Sebastian Bach's Church Cantatas, this particular cantata is not listed, meaning that this enormous research team from Germany concurs with Grove's. Johann Lorenz Bach is number 38 on the Bach family tree and one of two sons of Johann Valentin Bach (1669-1720), listed as 21 on the family tree. (J.S. Bach is number 24.) The cantata is assigned to Easter Sunday in terms of the liturgical church year.
As one prepares editions of these two pieces attributed to Bach, it is worth remembering that both pieces are fine examples of Baroque compositional style. Bach would not have included them for study or performance unless he admired them tremendously.
New Releases ~ Sacred All My Trials, arr. Bob Chilcott, English text, Oxford, 343329-X, SATB & piano. A reprint from the Oxford Spirituals for Choirs, this fine arrangement is now available separately. The piece is filled with warm, tight harmonies with a simple soprano solo that functions as a descant. Set in 4/4 meter, the off beat rhythms and divisi in the voice parts add to the challenge. Difficulty rating 4. $1.60
Alleluia from "Uns ist ein Kind geboren," by Johann Kuhnau (1660-1722), English/German text, Alfred, 23439, SATB & keyboard. In keeping with setting the record straight, this "Alleluia" taken from the cantata Uns ist Kind geboren, BWV 142 was originally attributed to Bach. Through years of scholarship, this joyful movement and the entire cantata is now attributed to German composer and organist Johann Kuhnau. The entire cantata does not have the intricacies of other sacred music by Bach, but scholars believe that Bach had transcribed this cantata as part of building a better understanding of compositional technique. Background on the piece and a pronunciation guide accompany the edition, well-edited by Patrick Liebergen. Difficulty rating 3. $1.65
Arise, Shine!, by Paul D. Weber, English text, Augsburg, 0-8006-77366, SATB (divisi) a cappella. This piece was composed after the death of the composer's daughter and is set to Isaiah 60:1-3 taken from the New Revised Standard Version of the Bible. The piece won the 2003 Raabe Prize of the Association of Lutheran Church Musicians. It is filled with tight harmonies and numerous key changes of changing meters. The interval of a fifth between d and a is effectively used to describe the rising star. This is a substantial anthem with some harmonic challenges. Difficulty rating 4. $1.90
Come, Holy Ghost, by William Ferris (1937-2000), English text, Paraclete, PPM00512, SATB & organ. This haunting setting to a text by Edward Caswall (1814-1878) was composed in the fall of 1992. Filled with simple but effective harmonies over a florid organ part, the piece is constructed with surprising key and meter changes. The phrase fabric is sparse in contrast to four-part harmonic sections of great beauty. The simple unison gestures between the various vocal parts are extremely effective. Difficulty rating 4. $2.80
Give Thanks to the Lord, by Joel Martinson, English text, Paraclete, PPM00509, SATB & organ. This six-minute anthem was composed in the winter of 2003 in Dallas, Texas. Filled with simple harmonies, this festive anthem was composed for a mixed choir of moderate capability. The challenge in the piece comes in the organ part, which requires an accomplished player. The composition is dominated by changing meters and off-beat rhythms in the accompaniment. The text comes from numerous sources in the Bible and the Book of Common Prayer. The anthem is perfect for a church celebration, festival or evensong. Difficulty rating 3. $3.00
Exaudi, Domine (from "In Domino speravit cor meum"), by Ambroz Copi, Latin text, Astrum, M-709014-31-6, SAATBB a cappella. This is a brilliant, fanfare-like setting of this traditional Latin text. Complex rhythms and interesting counterpoint dominate this stunning but challenging piece. Composed by a young Slovene composer born in 1973, the piece demonstrates a thorough understanding of the voice and fine choral writing. The chant-like counterpoint is filled with great power and textual gesture of great beauty. This is the third movement of a larger work entitled In Domino speravit cor meum, composed in 2004. Because of the divisi in the choral parts, the piece requires an accomplished, larger choir to achieve full artistic impact. This is another winning anthem from this fine Slovenian Press. A piano reduction of the voice parts is not included in the edition, requiring the accompanist to read open score. Difficulty rating 4-5. $1.90
O lux beáta Caélitum (from "In Domino speravit cor meum"), by Ambroz Copi, Latin text, Astrum, M-709014-39-2, SATB (divisi) a cappella. This mystical piece is the fourth movement of a the larger work In Domino speravit cor meum. Ethereal in is phrase gesture, the counterpoint between the voices is tremendously effective. The chant used as the basis of the composition is included in the publication. Each of the five movements in this work is published separately. They are a fabulous addition to the Eastern European repertoire. A piano reduction is included in this movement. Difficulty rating 4. $1.60
The Covenant Motets, by Daniel Pinkham, English text, ECS, 5885, SATB & organ. These six motets are absolutely stunning in both gesture and in text painting. The shifts in harmonies are sometimes bone chilling in their beauty. Pinkham, in the latest compositional period of his life has found a voice that is truly astounding and fertile. The texts are drawn from the Letters of Saint Paul. The pieces were commissioned by the Church of the Covenant in Cleveland, Ohio, where Todd Wilson is organist and director of music. The accompanied motets require an accomplished organist and can be performed separately or as a group. The colors and timbres of the compositional writing are brilliant with changing meters and intervalic challenges and harmonic shifts. Composed in 2001, the entire set takes 12 minutes to perform. Difficulty rating 4-5. $3.70
The Earth Is the Lord's, by Alan Smith, English text, Lorenz, 10/3225R, SATB, organ & brass quintet. Set to a text from Psalm 24, this piece for brass, chorus and organ is filled with changing meters and tricky rhythmic writing in the instrumental parts. The accompaniment is composed independently of the voice parts that have both rhythmic and intervalic challenges. This effective piece won honorable mention in the 2004 Vanguard Premieres Choral Composition Contest. The full score and brass parts are available from the publisher (30/2004R). Difficulty rating 4. $1.95
Wie der Hirsch schreit (As the Hart Longs), by Felix Mendelssohn, German/English text, Lorenz, 10/3223R, SATB & piano. Composed in 1837, this setting of Psalm 42 is part of larger seven-movement work that Mendelssohn revised twice in his lifetime. This five-minute movement is the only movement that can stand alone as a concert piece. Mendelssohn actually considered the entire piece, composed for soprano soloist, solo male quartet, SATB chorus, orchestra and organ as "my best sacred piece." It is truly beautiful. Edited and translated by Scott MacPherson, this fine edition is a wonderful addition to the Mendelssohn repertoire. Difficulty rating 3. $1.95
A Baptism Hymn, by Nicholas White, English text, Oxford, 386859-8, Unison, soprano descant & keyboard. Composed for unison SATB chorus and soprano descant, this elegant piece will be wonderful on treble voices in two parts as well. Nicholas White is a very gifted British composer who has worked in the US since 1989. This simple setting is extremely effective. It has a dear quality about it that captures this important moment in the lives of families. This is excellent service music and should be in every choir's library for such important events as a Christening. Difficulty rating 3. $1.60
Ave Maria, by J.S. Bach (Charles Gounod), Latin text, Hinshaw, HMC2002, Unison & piano. This popular piece that is known worldwide was adapted by Charles Gounod from J.S. Bach's Prelude Number One in C Major from The Well-Tempered Clavier in 1859 and is stunning on unison treble voices of great purity. This fine edition by Jean Ashworth Bartle was created for the Tuscany International Children's Festival in 2004. Difficulty rating 3. $1.40
Ave Maria, by David V. Montoya, English text, Santa Barbara, SBMP 581, SSAA a cappella. Filled with pregnant harmonies of great beauty and surprise, this is a wonderful setting of this famous text. The piece is filled with minor seconds, and changing meters and elegant counterpoint dominate this challenging setting. The piece is excellent for concert or festival, although it requires an accomplished choir that can sing contemporary harmonies with ease and good intonation. It is ideal for a women's chorus. Difficulty rating 4. $1.55
Benigne fac Domine, by Antonio Sacchini (1730-1786), Latin text, Hinshaw, HMC2006, SSA & keyboard (opt. orchestra). This five-minute piece is the final movement of a larger, extended work by Sacchini entitled Miserere, composed in 1772. It was originally written for three-part women's chorus and strings for the famous Conservatory of the Ospedaletto (made famous by Vivaldi) during his tenure as music director. Sacchini was known for his operas and the dramatic nature of his music comes through clearly in this single movement. Beautifully edited by Martin Banner this edition is based off an MS found in the music library of Biblioteca Civica Angelo Mai in Bergamo, Italy. Difficulty rating 3-4. $1.95
Little David, Play on Your Harp, arr. Ken Berg, English text, Hal Leonard, 08744979, Unison & piano. This arrangement of this famous spiritual is filled with syncopated rhythms in both the piano and voice parts. Part of the Henry Leck Choral Series, Creating Artistry, this short and simple arrangement is quite accessible. Difficulty rating 3. $1.60
The Angel Gabriel, by Bob Chilcott, English text, Oxford, 343325-7, SS (divisi) & piano. This simple carol was commissioned by George Watson's College for the reopening of the College's Music School. Set to a famous text by Sabine Baring-Gould (1834-1924), the melody is set in chant-like phrases that stay in the mid-range of the voice. Composed mostly in unison, the partwriting in the final section is very accessible using canonic techniques, simple partwriting, and descant. Difficulty rating 3. $1.60
MEN'S VOICES ~ SACRED
Ave Dulcissima Maria, by Morten Lauridsen, Latin text, Peer Music, 62127-119, TTBB a cappella. Filled with simple chant and minimalist type phrases meant to sound like early polyphony, this piece's power lies in its changing dynamics and meter signatures. The finger cymbals used on the opening and closing antiphon are the reminder to call people to prayer. The piece was commissioned by the Harvard Glee Club Foundation and is a wonderful addition to the sacred repertory for men. Striking in harmonic and rhythmic gesture, the piece is mesmerizing. Difficulty rating 4-5. $2.25Little Mass for Men's Voices, by David V. Montoya, Latin text, Santa Barbara Music, SBMP 576, TTBB & countertenor (or boy soprano) solo a cappella. This is an excellent short mass for men's voices. Filled with close harmonies, tone clusters and fine meditative moments, the long and short phrase fragments filled with note repetitions have an uncanny effect. Composed in three movements, this Kyrie, Sanctus and Agnus Dei are beautifully written and very unusual. The piece is perfect for concert or as service music. Difficulty rating 4. $2.05
The Morning Trumpet, arr. Mark Wilberg, English text, Oxford, 386828-8, TTBB a cappella. This charming tune taken from The Sacred Harp of 1844 was composed by B.F. White (1800-1879). Arranged for the Brigham Young University Men's Chorus where Wilberg is associate director, the simple partwriting is filled with ostinato phrases that accompany the melody which moves from section to section. The shift from F Major to e flat minor is very effective. Difficulty rating 3-4. $1.60
Three Nineteenth-Century Hymns, arr. Don Michael Dicie, English text, Oxford, each published separately: My Faith Looks Up to Thee (Lowell Mason), 386881-4, The Church in the Wildwood (William S. Pitts), 386882-2, Marching to Zion (Robert Lowry), 386883-0, TTBB & piano. These hymn settings are simply set for men's voices. Much of the harmonic writing is in thirds with ground bass. Much of the music is in unison with straightforward partwriting that could be handled by large or small forces. They actually would work quite nicely on solo voices. Difficulty rating 3. $1.60 each
New Releases ~ Secular American Trio, op. 70, by Kirke Mechem, English text, Hal Leonard (G. Schirmer), 50485734, SATB a cappella. Kirke Mechem is a lyrical composer, and these pieces continue the trend. The text versification of these pieces set to poems - Robert Frost's Fire and Ice, Edwin Arlington Robinson's Richard Cory and E.E. Cummings's Sweet Spring Is Your - are brilliantly set. This is not easily said, in that great poets have a rhythm and gesture all their own, making their words a challenge to set. Commissioned in 2003 by Old First Concerts in San Francisco, three choirs participated in the world premiere of this fine piece. Difficulty rating 4-5. $1.95
Crossing the Bar, by Valerie Showers Crescenz, English text, Oxford, 386867-9, SATB & piano. Filled with harmonic atmospheres of great beauty, this piece is perfect for the accomplished high school or college choir. Set to a sea text by Alfred Tennyson, the beautiful melody is composed over a wave-like accompaniment that adds to the poetic effect. Composed in 6/8 meter, the duplet rhythms will be a challenge to master but are quite effective. Difficulty rating 3-4. $1.95
I Raise a Monument to Thee (Postavljam ti spomenik), by Pavle Merkù (b. 1927), Slovenian/English text, Astrum, M-709014-13-2, SSAATTBB a cappella. This is a very difficult piece and very contemporary. For conductors who want to advance the skills of their singers, this is a piece to consider and take seriously. There are some powerful moments in this complex piece. It is set to a text by Slovenian poet Srecko Kosovel (1904-1926) with English translation by Keith L. Moore. This great work, written in 2000, is filled with complex intervals, harmonies and changing meters. It requires an extremely accomplished choir that can rise to this type of musical challenge. Difficulty rating 5+. $2.20
She Moved Through the Fair, arr. David Mooney, English text, ECS, 6226, SATB (divisi) & soprano solo a cappella. This is another fine arrangement of an Irish folksong in an ever-growing series published be ECS. Tight harmonies and atmospheric harmonies accompany this song of love. Difficulty rating 3-4. $1.75
Two Mendelssohn Part Songs (from Sechs Lieder im Freien zu singen), by Felix Mendelssohn, German/English text, Lorenz, 15/2046R, SATB a cappella. These choral partsongs were composed between 1832 and 1836. Although known for his large oratorios and sacred music, Mendelssohn did write five sets of secular part songs for mixed chorus. Three sets were labeled, "To be sung in the open air," meaning he wrote them as songs to enjoy in informal singing gatherings. That being said, these two songs are absolutely charming. Im Walde (In the Forest), op. 41, No. 1 is set to a text by August Graf von Platen. Jagdlied (Hunting Song), op. 59, No. 6 is set to a text by Joseph von Eichendorff. These two pastoral settings are beautifully edited by Scott MacPherson and though not directly intended for the concert stage, they are ideal for a spring concert. Mendelssohn's secular music is powerful and charming, well thought out, with a fine understanding of the voice. These two pieces are truly wonderful and ideal to offer to singers who may only know his sacred music. Difficulty rating 3-4. $2.50Two Poems by Federico Garcia Lorca (Dos poemas de Federico Garcia Lorca), by Corrado Margutti, Spanish/English text, Astrum, M-709014-58-3, SATB (divisi) a cappella. Born in Turin in 1974, Margutti is an accomplished composer, conductor and singer. He has won numerous compositional awards in his short career. These two Lorca settings are not for the faint of heart. Limonar/Lemon Grove is filled with complex harmonies filled with major and minor seconds of great difficulty. Berceuse al espejo dormido/Berceuse to the Sleeping Mirror is more lyric in its musical gesture but is also a challenge. Both pieces require an accomplished ensemble. Difficulty rating 5. $1.95
Fülemüle (The Nightingale), by György Orbán, Hungarian/English text, Hinshaw, HMC2043, SSAA a cappella. This is a fabulous minimalist-like piece set to a fantastic text by Weöres Sándor (1913-1989) that is surrealistic in that it refers to the sweet tones of the nightingale and the witch-like bat and mouse that rove through the night. Orbán creates the atmospheres of the night in such a clever way, as he develops each creature's personality through tonal color on repetitious phrase shapes. The piece is ideal for building the choir's ability to sing even phrase gestures in the mid-range of the voice. Difficulty rating 4-5. $1.50
Le Sourire (The Smile), by Camille Saint-Säens, French text, Lorenz, 15/1821R, SSA & piano. This is the third in a set of Trois choeurs pour 3 Voix de Femmes, op. 151, brilliantly edited by Janet Galván. (The other pieces have been reviewed in preceding newsletters "Chanson des Aiguilles" 15/1473R and "Salut au Chevalier Printemps" 15/1649R.) All three pieces were believed to be composed in 1917. This piece is filled with sonorous harmonies of unbelievable beauty on changing key signatures. The edition contains a pronunciation guide and English translation of the poem by Jean Mirval. This challenging piece is four and a half minutes in length but well worth the effort. The piece is only appropriate with the most advanced treble ensemble including women's chorus. Difficulty rating 4. $2.25
The Bird's Lullaby, by Marilyn Broughton, English text, Hinshaw, HMC2037, SA & piano. This is a stunning setting of this charming text by Pauline Johnson. The sensitivity of the melodic lines and harmonies will ring on young treble voices. The poem was first published in 1912 and alludes to the "gentle swaying of the cedar branches as the birds are lulled to sleep." The homophonic writing is charming and dear in its gesture. This is the perfect piece for school chorus. Edited by Jean Ashworth Bartle, this three-minute piece is a real winner. Difficulty rating 3. $1.50
The Milky Way (from The Dreamers), by David Conte, English text, ECS, 5966, SA & piano. This is a beautiful piece that will build on a younger choir's headtone while singing music by one of America's most prominent choral and opera composers. Taken from Conte's "The Dreamers" set to a libretto by Philip Littell, this charming piece is filled with effective harmonies on skillful text versification. It is an excellent choice for building a younger choir's partsinging technique. This choral interlude had its world premiere on July 27th, 1996, at the Sabastiani Theater by the Sonoma City Opera. The piece is ideal for the middle school chorus. Difficulty rating 3. $1.45
The Purr-ima Donna, by Randall Thompson, English text, Presser (Thorpe), 392-03081, Unison & piano. This amusing piece for treble voices and piano is set to a charming text by Emma Rounds. It was composed in the summer of 1927 during Thompson's tenure at Wellesley. That same summer he also wrote his Two Childhood Songs (Presser, 392-03011) which are equally as charming. All three pieces are perfect for the beginning choir or elementary school chorus. Set in 3/8 meter, the piece will develop the choir's rhythmic skills and artistic interpretation. Difficulty rating 3. $1.50
Where Are You Little Star? (Gdye Tï, Zvyozdochka?), by Modest Mussorgsky (1839-1881), Russian text, Lorenz, 15/2053R, SA, soprano solo & piano. Filled with atmospheres about the night and the stars, this short piece is beautifully edited by Janet Galván. The edition includes a thorough pronunciation guide and translation that shows great scholarship. It was arranged by Jonathan Osakis for the Ithaca Children's Chorus and their conductor Galván. The piece offers an excellent introduction to Russian diction and the music of this great composer who was part of the "Mighty Five." Program notes are included in the publication. Difficulty rating 3-4. $1.75
MEN'S VOICES ~ SECULAR
The Lass With the Delicate Air, by Michael Arne (1740-1786), English text, Santa Barbara Music, SBMP 574, TB & piano. This arrangement by D. Shawn Berry is adapted from a solo song and is quite effective. Most of the harmonies are taken from the accompaniment and the homophonic sections are composed mostly in thirds. This is a terrific piece to program with a middle school boy's chorus. Difficulty rating 3. $1.55