THE BOSTON EARLY MUSIC FESTIVAL
The Boston Early Music Festival has become a premiere event in the musical life of Boston. Held a dozen times since 1981, the event draws some of the major early music ensembles worldwide. The festival is well-attended and features music that is both unique and eye-opening. The festival is being held this year June 12-17 in Boston and June 22-24 in the Berkshires. Spectrum Music will have a booth at the Boston Festival, showcasing some of this great music to peruse and order for your upcoming season. We will be located in the exhibition area in booth 49 and 50.One of the ensembles performing this year is the award-winning recording sextet Ensemble Clément Janequin. Formed in Paris in 1978 and directed by Dominique Visse, their program includes some Parisian Chansons by the master of this form, Clément Jannequin. The festival describes the program as, "An enchanting concert exploring the association of birdsong, love and music in the imaginations of Renaissance poets and composers." In recognition of this event, the Summer Newsletter focuses on the Program or Parisian Chanson and the composer Jannequin.
Clément Jannequin ~ Master of the Program or Parisian Chanson
By Marie Stultz, Contributing EditorThe Program or Parisian Chanson has been a fascinating musical form for musicologists and singers to study and sing. Most of these pieces deal with specific subjects such as love, war, insects or birds. Renaissance composers who wrote in the program chanson format used a minimalist style of composition, using the voice and nonsense syllables or repeated words to create a vocal illusion called text painting. With the program chanson, composers took text versification to new heights by using words and the voice to create a musical illusion with tonal effects of incomparable aptitude. These composers were actually precursors of the 20th century minimalist movement, taking the voice to a new level of musical agility. The Parisian composer Clément Jannequin was a master of the technique of vocal repetition. In his music he captured the essence of the ability of repeated notes and repetitive motives on French words to create uncanny atmospheres and illusions.
DEFINITION OF THE FRENCH CHANSON
The "chanson" translates literally into English as "song." The term appeared early in the middle ages as part of a large body of music for solo voices. The chanson can be defined as a lyrical song set to French words. The term refers both to poetry and to the various musical forms, including the Ballade, the Rondeau and the Virelai. The chanson began in the late middle ages as a monophonic song and continued to flourish as popular songs for two or more voices throughout the Renaissance. In the 15th and 16th centuries, the form gained in popularity and polyphonic complexity. The chanson became so popular that they could be heard on the streets, in cafes and in the ever-popular music hall. The amateur musician flourished and loved to sing this music that described life.A BRIEF HISTORY OF THE CHANSON
The French chanson began as solo songs sung by the troubadours and trouveres throughout the courts of Europe, appearing as early as the 13th century. The form gained in musical prominence and complexity in the 14th century under the masterful French composer Guillaume de Machaut (1300-1377). A prominent figure of the French Ars Nova, his outpouring was larger than any other composer of the 14th century. His songs all display a great range of style and musical gesture, with many set to long sequential poems monophonic in nature. Many were dominated by treble voices, with the text appearing in the middle or upper voice. The lower partwriting acts as an accompaniment and is ideal to be performed as a solo song with instruments.The composers following Machaut composed in more complex styles -- particularly those composers in Avignon and the courts of southern France and northern Spain. Manneristic in nature, the ballade form dominated as the composers used more expansive texts.
In 1400, the Ballade again figured prominently in the music of Guillaume Dufay (ca 1400-1474) and Gilles Binchois (ca 1400-1460). These two great composers' body of work led to the establishment of what is known as the Burgundian chanson. Dufay spent most of his time in Italy, where he began to favor the Rondeau form that often spoke of chivalric love. Many of the other composers in the 15th century came from Northern France and the low-countries. They include such great composers as Josquin Desprez (1440-1521) and Jacob Obrecht (1450-1505), who introduced the technique of imitative counterpoint shared equally between the voice parts.
The chanson is the French version of the Italian Madrigal. Filled with brilliant polyphony of a lyrical nature, the form came into prominence in the late middle ages and continued to dominate the professional and amateur musical scene throughout most of Europe until the end of the sixteenth century.
A SHORT BIOGRAPHY OF CLEMENT JANNEQUIN
Clément Jannequin was born in Chatellerault in 1485 and died in Paris in 1558. During his lifetime as a composer, he created some masterful music in both the sacred and secular categories. His crowning achievement came in the form of his 250 Chansons. After a short appointment at Auch Cathedra, where he conducted the choirboys for one year (1531), he moved onto Angers Cathedral where he served as maitre de chapelle from 1534-1539. There is reason to believe he lived there until 1549. Jannequin then moved to Paris, where he had the highest creative period of his life. A prolific composer besides his chanson outpouring, he also wrote 150 psalms, some masses and a motet. Along with Claudin de Sermisy (1490-1562), these two composers were considered the finest writers of the program chanson of all the French composers. Jannequin's music is filled with onomatopoeic effects featuring fanfares, birdsongs, and street cries imitating the bustling Parisian streets. His music often contains static harmonies, relying on intricate rhythms for the required effects.
PROGRAM CHANSONS
Birds, Love, Storms and Nature Conceived With BrillianceAu joli jeu du pousse avant ( A Jolly Game of Pressing)
Typical of the French chanson, this bawdy rendition contains musical terms which are full of fun. Typical of Jannequin's style, it builds in power as the man insists on a flirtation only to be frustrated by a coy refusal. The fact that he carries on this flirtation while walking abroad does not seem to deter him. Jannequin uses the element of repeated French words and nonsense words to create the battle of a refusal. The use of repeated phrase shapes sung more softly adds to the coy nature of the entire composition. Repeated notes between the alto and bass parts, while the sopranos and tenors sing imitative phrases in reverse direction, contributes to the comic relief of this first encounter. The piece concludes with the young man shouting during his advance, "When she refused, I should have let her go, but I held her closely, and smiling sweetly tried to kiss her. What a fuss she makes, wriggling around. 'Let yourself go; come on'!" From King's Singers European Renaissance Vol. 2, Hal Leonard, 08743237Il s'em va tard (A Storm Has Brewed)
Set to a text by an anonymous French poet, this piece relies on a quick tempo to paint the text. More static in nature, the words have been set homophonically, with the exception of some brief counterpoint at the piece's conclusion. A-B-B in form, the storm of jealousy rages as the young lover's feelings must be proven. The use of nonsense syllables is not present in this chanson; rather, its vocal effect lies in the quick tempo, and in an artistic interpretation of the text. Dynamics play a large role in declaiming a more static harmonic compositional style. Pub. Broude BrothersLe chant des oixeaus (The Chanting Birds)
This famous chanson represents one of the more popular types of the program chanson: the subject of love expressed by bird song. Cuckoo birdsong was an especially popular element for creating tonal atmospheres. Set to a text by the composer, the element of speed and the declamation of the text are critical to the overall programmatic effect. The use of imitative counterpoint between the voice parts is also a critical element in this work. Jannequin uses the French nonsense syllables "Ex fa ri ra ri non ra ri non fa ri ra ri ron fre-re jo-li" with brilliant effect to create the vocal illusion of birds singing in the spring. These repeated sections illuminate the verses that speak of love, God, going to mass and spring. This is a raucous setting that literally paints the picture of a young couple in bed, called to mass by the "little starling of Paris." The three verses are all framed by changing nonsense syllables that grow in power and determination -- as if the young couple are screaming at those wretched birds who interrupted their quiet, amorous interlude. From Oxford Book of French Chansons, Oxford, 343539X
Le Rossignol: En écoiutant (The Nightingale: The Encounter)
Nonsense syllables and the use of French words in imitation are constant components throughout Jannequin's compositional style. This piece is no exception, with brilliant imitative writing between the voice parts. The sequential motives and repeated notes add to the entire concept of minimalism, and are a hallmark of this great composer's music. Speed and stylistic singing are critical aspects in preparing and performing a piece like this one. This particular chanson deals with the outspoken bird directly, as if it had a voice all its own that cannot be ignored. Composed with brilliantly conceived crossing voice parts, another feature of Jannequin's style, this song's ability to capture the sound of these birds is truly remarkable. Pub. Bourne, 405156Si le Coucou en ce Mois (When the Cuckoo in the Month of May)
This chanson is more contrapuntal in nature, relying on long elegant phrase shapes to imitate the sounds of this annoying bird. Filled with imitative counterpoint in the soprano and tenor lines, the alto and bass parts are often composed in canon. The poem discusses how the birds offer discord to a lovely month when lovers are often seeking pleasure. The florid conclusion offers the sounds of these birds on phrases that must be sung with great musical accuracy at a tempo of challenging quickness. This chanson's artistic gesture relies on the repeated French words and the use of the word "Coucou" to imitate this warbling storm. Pub. Bourne, 404996
New Releases ~ Sacred Ave Maria, by John Rutter (b.1945), Latin text, Oxford, 335663-5, SATB, soprano & organ. Composed for a dying friend, Rutter's setting of this popular text is humble, tranquil and chant-like in its musical gesture. Set in 5/8 meter, the original chant sequence is sung by various voice parts throughout the entire anthem. The motive is set canonically and also homophonically with simple chords composed mostly in thirds as vocal accompaniment. This accessible anthem is tranquilly set and had a private performance two days before Lydia Smallwood's death. It is the perfect choice for Lent or for a special funeral or memorial service. Difficulty rating 3-4. $1.70
Ave Verum Corpus, by W.A. Mozart (1756-1791), Latin/English text, Thorpe (Presser) 392-03082, SATB, strings & organ. This is a beautiful edition of this famous anthem by Mozart. It is filled with performance and historic information that is both insightful and reflective of Mozart's final months. This edition for keyboard and strings is based on Mozart's original manuscript found in the Osterreichische Nationalbibliothek in Vienna. The photographs included in the edition are fascinating. This is a welcome edition of this great classic. Difficulty rating 3. $1.60
I Am a Little Church, by Libby Larsen (b. 1950), English text, Oxford, 386888-5, SATB & organ. Set to a text by e.e. cummings, this piece is filled with humor. The text versification is brilliantly done in typical Larsen style. Filled with complex harmonies and many accidentals, the piece requires an accomplished choir. It is composed homophonically with some challenging counterpoint. The extremes in dynamics add to the piece's interpretive qualities. Cummings' poetry is not easy to realize, but this clever setting composed for the Central Christian Church in San Antonio, Texas, is a great success and would be perfect for Pentecostal Sunday. Difficulty rating 4. $2.00
In Paradisum (from Requiem, op. 48), by Gabriel Fauré (1845-1924), Latin/English text, Thorpe (Presser) 392-03083, SATB & piano (or organ, or harp, strings & organ). This beautiful edition of the last movement of this great work is based on the final and third revision completed by Fauré in 1900. The piano accompaniment was reduced and prepared from the full score by close friend and composer Jean Roger-Ducasse, at the request of Fauré. Score and parts are available from the publisher. This piece is perfect to program during a Lenten evensong or a Maundy Thursday Service. It is wonderful to have this movement available separately. Difficulty rating 3. $1.90
Hear my prayer O God (first setting), by Adrian Batten (1591-1637), English text, Church Music Society (Oxford), 390090-4, SAATB & organ. A contemporary of Gibbons, Weelkes and Tomkins, Batten was highly popular in his day. The text versification of this piece is slightly awkward, but the harmonies, set in f minor, are beautiful. Edited by David Evans for the Church Music Society, this piece is a wonderful introduction to this little known English composer. The anthem has been transposed up a minor third which makes it more accessible. Difficulty rating 4. $2.00
Kad'sheinu B'mitzvotecha, by Ben Steinberg (b. 1930), Hebrew text, Transcontinental (Hal Leonard), 00191545, SATB, cantor & organ. This fine piece, taken from the Sabbath liturgy, has a hypnotic quality abut it. The piece opens with a brief organ introduction, with the voices entering quietly in unison octaves. It quickly moves into some powerful homophonic partwriting. The more ornate cantor part requires a fine alto or baritone with a lyric quality to the voice. Composed antiphonally between the cantor and choir, this is effective service music. The edition includes a pronunciation guide and translation. Difficulty rating 4. $2.00
Kum Ba Ya (Come By Here from Suite for Chorus), op. 69, No.1, by Kirke Mechem, English text, G. Schirmer (Hal Leonard), 50486225, SATB a cappella. The first movement of a four-movement work, this is an original setting of a traditional spiritual text that has been sung around campfires for years. Minimalist in its musical structure and filled with articulation marks and changing dynamics, the piece requires an accomplished choir to be presented artistically. Difficulty rating 4-5. $1.80
Motetto, by Samuel Barber (1910-1981), English text, G. Schirmer (Hal Leonard), 50486083, SATB double chorus a cappella. This is an early choral work by this great American composer. Eight minutes in length, this three-movement work for double chorus is filled with rich harmonies and lyrical phrase shapes. Composed in 1930, it was originally a four-movement work that was never published in Barber's lifetime. This fine edition by Harold Rosenbaum is a wonderful addition to the Barber published catalogue and gives us a rare glimpse into this 20-year-old's compositional promise. The edition is based on a manuscript found in the Library of Congress. Difficulty rating 4-5. $2.95
Os Justi, by Joseph Leopold Eybler (1765-1846), Latin text, Hinshaw, HMC2110, SATB & keyboard (2 oboes, 2 trumpets in C, timpani and string quintet). Composed in 1805, this fine edition by Martin Banner is based on an autographed score found at the Schottenstift in Vienna. The piece is composed homophonically with some counterpoint. It begins with dark chords in the key of c minor. The anthem quickly modulates to C Major with a tempo marking of Allegro con spirito. The text versification in this section is much clearer, as the choir sings expansive chords of simplicity and great beauty. The concluding "Alleluia" is joyous and uplifting. Difficulty rating 3. $2.05
Prelude, by Ola Gjeilo (b. 1978), Latin text, Walton (Hal Leonard), 08501649, SATB (divisi) a cappella. Set in 12/8, this religious piece was actually designed to be a concert opener. Part of the Jo-Michael Scheibe Choral Series, the anthem by this fine Norwegian composer is set in F# Major and is filled with fluid counterpoint, in contrast to sustained pitches of great beauty. ABA in form, it begins joyously, with the middle section more contemplative in nature. Difficulty rating 4-5. $1.90
Spell of Creation, by Ruth Watson Henderson, English text, Lorenz, 15/2320R, SATB (divisi), children's choir & piano. Filled with ringing harmonies on lyrical counterpoint, this piece seems to glisten with a luminous sound. Henderson's musical voice is clear and passionate in tone and gesture in interpretation of a text by Kathleen Raine (1908-2003). This is a single movement of a larger work entitled The Magic of God's World; the other movements are "Barter" (15/2175R), "Dream Song" (15/2176R) and "Leisure" (15/2177R), all published separately. Difficulty rating 3-4. $1.95Veni, Sancte Spiritus, by Kenneth Neufeld, Latin text, Kensington (Hal Leonard), 08747154, SATB/SATB a cappella. Filled with accidentals that create ringing harmonies of skin raising beauty, this chant-like setting is glorious. The harmonic shifts are both bold and startling. The anthem opens on unison alto voices with an occasional two-part split. The sopranos quickly join, adding a ringing clarity to the harmonic structure. The four-part double choir writing is equally spectacular, switching from homophonic sections to elegant counterpoint on changing meters. This piece is not for the faint of heart but is spectacular and well worth the effort. It would be an excellent choice for high school honors choirs where large forces are available. The piece ends in a fury of tonal color on a double forte with many splits in the vocal parts. Set to a 13th C. Latin text, it was the winner in 2004 of the Juan Bautista Comes Choral Competition, held in Segorbe, Spain. A fine translation by Stephan Langton, Archbishop of Canterbury, is included in the edition. Difficulty rating 4-5. $1.95
Verbum Caro Factum Est (The Word Was Made Flesh), by Hans Leo Hassler (1564-1612), Latin text, Hal Leonard, 08596775, SSATTB a cappella. This sonorous motet opens antiphonally, with the women singing in a ringing homophonic trio that is quickly answered by the men singing the same notes an octave lower. The harmonies of this anthem are staggeringly beautiful, displaying the fine music craftsmanship of the late Renaissance composer. This edition, edited by John Leavitt, is a must for church choirs and choral societies. The piece will ring on solo voices or a large ensemble. The antiphonal sections would be extremely effective on solo voices with the full choir entering at the tutti sections. The final "et veritatis" should be sung with great power. This piece is ideal when sung in a large cathedral setting. Difficulty rating 3-4. $1.70
The White Dove, by Derek Healey, English text, ECS, 6314, SATB, two soprano solos & organ. Filled with elegant suspensions, this piece is a setting of a poem by the composer. It refers to the descent of some white doves that fly into the baptism of Jesus by St. John the Baptist. This is an elegant, soaring work composed in G Major. The composer suggests the two soprano soloists have similar voices with a ringing tone quality. This is an elegant work filled with phrase shapes of great beauty. It can be sung at Baptism or for general use. It is appropriate for both church or concert hall. Difficulty rating 3-4. $2.15
You Are My God, by Bob Chilcott (b. 1955), English text, Oxford, 335640-6, SATB & organ. Composed for Aids victims in Scotland, this anthem is set to a touching text by David Adam (b. 1936). The anthem begins and ends simply and quietly. The opening is sung by unison women's voices on a haunting melody in the key of G Major. The middle section is filled with powerful harmonies of great beauty in g minor. The closing section returns to G Major with choral partwriting often in thirds and fourths in the harmonies. The piece closes in quiet dignity with a pure G Major chord in first inversion. Difficulty rating 3-4. $1.70
EXTENDED WORKS
A Little Jazz Mass, by Bob Chilcott (b. 1955), English text, Oxford, 335617-1, SATB & piano (opt. bass & drum set). This jazz mass was originally written for upper voices for the Crescent City Music Festival. It was composed in 2004 for Cheryl Dupont and the New Orleans Children's Chorus. This twelve-minute work in five movements adjusts beautifully to mixed voices. Filled with jazz rhythms and harmonies, this mass would be an interesting alternative to the standard mass setting. Bass and drum parts are available from the publisher. The piano part can be played as written or improvised to fit the style of jazz heard in New Orleans. Difficulty rating 4. $9.95Edinburgh Mass, by Gabriel Jackson, Latin text, Oxford, 335619-8, SATB (divisi) a cappella. This thirteen-minute work is composed in four movements: Kyrie, Gloria, Sanctus/Benedictus and Agnus Dei. It is filled with challenging rhythms, changing meter signatures and some complex harmonies. It requires an accomplished choir. The work was commissioned by St. Mary's Episcopal Cathedral in Edinburgh, Scotland and received its premiere on St. Cecilia's Day in 2001. There is no piano reduction of the vocal parts, so the conductor and rehearsal accompanist will have to use the open score. Difficulty rating 5. $7.95
Motetten un Chorarien (Motets and Arias for Choirs), compiled & edited by Johann Adam Hiller, German text, Carus, 2.041/10, SATB a cappella. This is a fine collection of 18th century German motets. The six motets in the collection include the following composers; Carl Heinrich Graun (1703/04-1759), Theodor Christian Reinhold (1682-1755), Gottfried Augus Homilius (1714-1785), Johann Heinrich Rolle (1716-1785), Christian Michael Wolf(f) (1709-1789) and Johann Adam Hiller (1728-1804). Included in the edition are program notes and historical information translated from the German into English by Uwe Wolf. The collection is the best representation of the motet form of central Germany. Difficulty rating 3-4. $15.95
Winchester Te Deum, by John Rutter (b. 1945), English text, Oxford, 335689-4, SATB & organ or organ with brass or orchestra. This 7-8 minute work was composed for the Winchester Cathedral for the installation of the Reverend James Atwell as Dean on March 25th, 2006. The piece is a joyful setting of this traditional text. Much of it is composed in unison and octaves. Set in 3/8, this festive piece is a wonderful addition to the Rutter catalog. Filled with some challenging rhythms and harmonies, the piece will be great fun to sing as is most of Rutter's music. The closing Alleluias imitate the ringing of celebratory bells. This is a beautiful, festive new work. Difficulty rating 4. $6.50
TREBLE VOICES~SACRED
Agnus dei (from Messe Basse), by Gabriel Fauré (1845-1924), Latin/English text, MorningStar Music, 50-6403, SS(A) & organ (or piano). The final movement of the fine short mass for treble voices, this piece is perfect to program during Lent. Because this movement is so brilliantly written, younger, less experienced choirs can sing it in two parts, advancing to three parts when the singers become more vocally advanced. The edition includes a teaching plan, performance suggestions, historic sources and a Latin pronunciation guide. Difficulty rating 3. $1.50Credo in C, by Antonio Mazzoni (1717-1785), Latin text, Hinshaw, HMC2109, SA & keyboard or 2 violins, cello & bass. This fine edition by Martin Banner is based on a hand-written manuscript found in the Civico Museo Bibliografico Musicale in Bologna, Italy. The four-movement work is filled with elegant counterpoint and lyrical melodic writing. Although this composer is better known for his operas, this lovely piece is a welcome addition to the treble voice literature. String parts are available from the publisher and sold separately. Difficulty rating 4. $2.05.
Peter, Go Ring-A Dem Bells, arr. Jeffery L. Ames, English text, Walton (Hal Leonard), 08501626, SA, piano & handbells. This four-minute arrangement of this great spiritual requires accomplished ringers. Edited by Dr. Lynne Gackle, the arrangement was commissioned by and written for the Professional Development for Music Educators Grant for the Hillsborough County Public Schools in Florida. The vocal writing is straightforwardl, written with syncopated rhythms and simple harmonies. Much of the piece is in unison with harmonies often written in thirds. Difficulty rating 3. $2.25
Sir Brother Sun, by David L. Brunner, English text, Boosey (Hal Leonard), 48019446, SA & piano or orchestra. Set to a beautiful text by Saint Francis of Assisi, this five- minute work was commissioned by Timothy Sharp and the Miami Children's Chorus. Alternating between unison and canonic partwriting are lyrical sections of homophonic writing with beautiful harmonies that express the powerful text. The effective key changes that rise from B Flat Major to the final key of D Major add to the brightness of this celebration of earth and light. The piece concludes in shining brilliance with harmonies that will ring on treble voices. Difficulty rating 3. $1.80
Suscepit Israel (from Magnificat), by J.S. Bach (1685-1750), Latin text, Hinshaw, HMC2132, SSA & keyboard. This famous trio from Bach's great Magnificat is perfect to program with the accomplished treble ensemble. Originally sung by solo trio, this is a perfect example of how solo Baroque music will work brilliantly on treble voices with advanced capability. The piece is filled with wonderful counterpoint and will develop a young choir's sense of line and breath support. Difficulty rating 3-4. $1.50
Vestigia (Footprints), by Eleanor Daley (b. 1955), English text, Hinshaw, HMC2134, SSAA & piano. Eleanor Daley writes brilliant music and this piece is no exception. Set to a text by Bliss Carman (1861-1929), this piece was commissioned by The Toronto Children's Choir in celebration of the composer's 50th birthday. The piece had its premiere in May of 2005, with editor Jean Ashworth Bartle conducting. Filled with challenging harmonies and rhythms, the piece requires an advanced treble ensemble. The musical gesture of lyrical counterpoint and mystical harmonies interpret the text beautifully. This piece simply rings on well-trained treble voices. Difficulty rating 4. $1.70
We See God's Glory All Around Us, by Hal H. Hopson, English text, MorningStar, 50-5100, Unison, keyboard & opt. handbells. This simple but effective anthem is part of a revitalized and new series from this publisher called Innocent Sounds Treble Chorus Series. The melody and text are by the composer. Dedicated to the Calvin Choir at Westminster Presbyterian Church in Dayton, Ohio, the melody reflects Hopson's interest in folk music and hymnody. A perfect choice for the beginning choir, the piece is good for working the mid-range of a young choir's tone and focus. The handbell part is not difficult and covers two octaves composed on simple quarter notes. Difficulty rating 2. $1.50
New Releases ~ Secular Fair Phyllis I Saw, by John Farmer (c1570-c1605), English text, Gentry (Hal Leonard), 08747103, SAATB a cappella. This is an interesting edition by William Belan. It is based on an edition found in the collection of the Huntington Library's rare books in San Marino, CA. The voice parts were originally written out separately rather than notated with all four parts. Belan has put the four voice parts out separately for each section to read and includes a full voice version at the end, with the piano part in reduction for teaching purposes. Included in the edition of this famous madrigal is background on the composer, source of the edition and performance suggestions. Difficulty rating 3. $1.95
I Am Not Yours, by Z. Randall Stroope, English text, Walton (Hal Leonard), 08501618, SSATBB a cappella. Composed to an intimate poem by Sara Teasdale (1884-1933), this rich, lyrical setting is filled with radiant harmonies on long phrase shapes of great beauty. Stroope is an accomplished composer and this piece reflects his advanced compositional skill. Set in B Major, the music radiates the beauty and deep intimacy of a great love. The vocal ranges in this piece are quite extreme, requiring a mature, experienced choir that can sing these ranges with great tonal color and beauty. The music soars off the page with elegant text painting. Difficulty rating 4-5. $2.25
Into the Hour of New Life, by Robert Kyr (b. 1952), English text, ECS, 6099, SSAATBB a cappella. Set to a poem by the composer, this piece commemorates September 11 with massive a cappella chords and long phrase shapes. Extremes in dynamics are the hallmark of the piece in terms of interpretation and expression. The piece concludes with a chorale, a hymn entitled "A Prayer in Stillness," and a Chorale entitled "In Reverence." The piece concludes quietly at a triple piano as if going into the dust. This is a very unusual and challenging piece that requires an accomplished soprano soloist with a warm, clear voice. Difficulty rating 5. $3.90
Remembered Love (Omiizuru koi), by Jackson Hill, Japanese text, Hal Leonard, 08746902, SATBBB a cappella. Filled with minimalist phrase shapes on both long and short musical gestures, this very unusual setting was composed for the King's Singers. Set to a text that is paraphrased from two poems written in the 7th century by Hitomaro, the piece uses techniques from the ancient Japanese music tradition in which the text was used as abstract sounds. The use of pentatonic harmonies, vocal slides, portamentos and ornaments that capture the Buddhist chant of ancient times all add to the authenticity of this music. There is no pronunciation guide included in the edition, but the Japanese is written out in understandable syllables. Difficulty rating 4-5. $2.50
Strike the Cymbal (from Mirjams Siegesgesang), by Franz Schubert (1797-1828), English/German words, Alfred, 27145, SATB & piano. This edition by Patrick M. Liebergen has a wonderful translation that is both joyous and celebratory of the music making process. The opening solo can be sung by soprano, tenor or small ensemble. The partwriting alternates between homophonic and contrapuntal writing that builds the choir's intonation as you work on sight singing skills. There are three solo sections, giving you the opportunity to use more than one soloist. This edition is based on a publication by Breitkopf and Härtel that was produced in the late 19th century. The entire composition has been lowered a major second from the original. A German pronunciation guide is included in the edition. Difficulty rating 3. $1.75
The Silver Swan, by Orlando Gibbons (1583-1625), English text, Gentry (Hal Leonard), JG2368, SAATB a cappella. This famous English madrigal composed by Orlando Gibbons is beautifully edited by William Belan. Like the Farmer madrigal reviewed above, each voice part is published separately with the entire madrigal in five parts included with piano reduction at the end of the publication. The edition includes extensive program notes, biographical information and performance suggestions. This edition is excellent for building a choir's music reading capabilities. Difficulty rating 3. $1.95
To Everything There Is a Season, by Ruth Watson Henderson, English text, Lorenz, 15/2321R, SATB divisi, piano and flute or oboe. Set to a text from Ecclesiastes 3:1-8, the subject matter makes it appropriate in either a religious or secular setting. This fine work was commissioned by the Ottawa Regional Youth Choir as part of their 20th anniversary celebration and is about four and a half minutes in length. The setting is filled with interpretive phrase shapes that express the text in a very sensitive and artistic manner. Filled with changing meters and key signatures, the imitative phrases must be sung with care and sensitivity. Difficulty rating 4. $2.75
Danny Boy, arr. Nancy Grundahl, English text, Hal Leonard, 08746933, SSA & piano or harp. This is a sensitive setting of this famous tune. If at all possible, it should be performed with harp accompaniment. There are some challenging intervals and long sweeping phrase shapes that must be sung with great sensitivity. The lyrical counterpoint between the voice parts adds to the beauty of this lovely setting. The piece opens with the melody presented in unison, which can be sung by the full ensemble or by a soloist. The divisi in the alto part requires a strong section of accomplished singers with a warm, rich sound. The gentle conclusion should be sung with sensitivity and vocal control. This is a wonderful addition to the folk repertoire for treble voices and is edited by Henry Leck. Difficulty rating 3-4. $1.70
Five Fat Fleas, by Ruth Watson Henderson, English text, Hinshaw, HMC2044, SSA/SSA & piano. This is a humorous setting of a poem by Dennis Lee. Composed for six choirs at the In Harmony Choral Festival on May 22-23 in 2003 with Barbara Tagg conducting, young singers will have a great time preparing this wonderful piece. In her performance notes Henderson makes the following observations, "Each group or choir represents a different animal or insect in the poem and sings a verse alone to its own melody, then combines with all the other groups to sing the refrain in two parts, telling how the creatures fly away until there are none. There are progressively fewer animals and insects in each successive verse, so whistling and clapping can be substituted for the words as the numbers go down." This is a wonderful piece to program at a festival or in an honors choir environment. Difficulty rating 3-4. $2.40
Ouvre ton Coeur (Open Your Heart), by Georges Bizet (1838-1875), French text, Walton (Hal Leonard), 08501625, SSA & piano. This obscure art song is beautifully and cleverly arranged for treble voices. The compositional writing is reminiscent of Carmen, Bizet's most famous opera. The piano part is composed to sound like a strumming guitar. This edition has been transposed from b minor to a minor and edited by Dr. Lynne Gackle. The piece opens with an extensive unison statement that could be sung by the full chorus or by a soloist. The middle and closing sections are filled with lilting phrase shapes and colorful harmonies. This is a wonderful find and a great addition to the treble voice repertory. The edition contains extensive biographical information, program notes and a fine IPA pronunciation guide. Difficulty rating 4. $2.25
Siadaj Na Wóz (Sit on the Cart), from Three Polish Folk Songs for Treble Voices, by Stanislaw Wiechowicz, Polish/English, Lorenz, 15/2344R, SSA a cappella. This is a wonderful folksong about fishes dancing in the water. It is filled with clever nonsense syllables and effective partwriting, and choirs will have great fun with it. The alto part has repeated low G's which will require a great deal of warmth and richness of tone. The edition by Richard Zielinski has extensive notes and a clear and detailed pronunciation guide. The folksong includes a translated poem by Slowa Ludowe (Slask). Difficulty rating 3-4. $1.95
Som W Stawie Rybecki (Fish in the Pond), from Three Polish Folk Songs for Treble Voices, by Stanislaw Wiechowicz, Polish/English, Lorenz, 15/2318R, SSA a cappella. This charming a cappella setting of this folksong about riding on a cart "for the horse is ready to go" will be great fun to sing. Numerous tempo changes add to the artistic effect of this father and daughter adventure. The edition by Richard Zielinski has extensive notes and a clear and detailed pronunciation guide. The folksong includes a translated poem by Slowa Ludowe (Slask). Difficulty rating 3. $1.95Stuku Puku (Knock, Knock), from Three Polish Folk Songs for Treble Voices, by Stanislaw Wiechowicz, Polish/English, Lorenz, 15/2345R, SSA a cappella. Imitative and simple harmonies dominate this final piece in a set of Three Folksongs from Poland. The charm in this piece is clearly evident in a song about a couple constantly knocking on the floor with their "broom and injured leg." This piece uses a lot of nonsense syllables to help create the knocking on the various thresholds throughout the house. The final gale of laughter on a double forte divisi chord brings this fine set of three folksongs edited by Janet Galvin to their proper conclusion. The edition by Richard Zielinski has extensive notes and a clear and detailed pronunciation guide. The folksong includes a translated poem by Janina Porazinska. Difficulty rating 3. $1.95
White Waves on the Water, by Bob Chilcott, English text, Oxford, 335688-0, SSA double choir, flute & piano. This haunting setting of a text by Joseph M. Plunkett (1887-1916) finds this composer going back to deeper harmonic roots. The flute part sparkles like light over water as the voices sing in simple thirds with some major and minor seconds in the voice parts. Changing meters effectively move the text forward, as the piece vocally describes the waves making a special music that can only be heard in a dream as "a daughter rose from a dream." The piece requires an accomplished flutist who can play with gentle beauty in all ranges of the instrument. Difficulty rating 4. $2.00
Difficulty Ratings Guide: All selections reviewed in The Choral Room are given a difficulty rating to help you select the music most appropriate for your singers. 1 - easy; 2 - accessible; 3 - medium difficulty;4 - advanced difficulty; 5 - extreme difficulty