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MENDELSSOHN'S DUETS AS A REPERTOIRE RESOURCE FOR TREBLE VOICES
MARKING THE 2OOTH ANNIVERSARY OF HIS BIRTH
By Marie Stultz, Contributing EditorThis edition of the newsletter acknowledges another major anniversary, the birth of the great German composer Felix Mendelssohn (1809-1847). We know a great deal about his oratorios, orchestral music, and major religious works -- but less about his solo music, particularly his secular duets. As a treble voice specialist, I have programmed a number of his imaginative yet little known duets as choral music for years. Like editions of oratorios, these duets are a tremendous resource for the music educator. In terms of difficulty, they are perfect for the accomplished intermediate choir, middle school chorus, or community treble ensemble.
These duets are found in two opus numbers. Opus 63 includes six original duets and opus 77 includes three original duets and three folksong arrangements. What follows is a description and background of the more appropriate pieces to be used with treble-voiced ensembles
A DUET FROM OPUS 77
Abendlied (Evening Hymn), German/English text, National Music Publishers, NMP-211, is a charming arrangement of a beautiful folksong about evening and dreaming. The duet is the second in a set of three folksongs by the composer. It is an excellent way to expose the young singer to German diction at the tempo of Andante Tranquillo. The long phrases -- lying in the mid-range of the voice for the altos, and the mid-to-upper range for the sopranos -- will develop your singers' voices. The harmonies are rich and sonorous. The piece is a wonderful consideration for closing a concert, or as an encore, with the "time for sleeping and dreaming to begin." Some of the intervals between the two parts are challenging, with the tuning between them critical to the overall artistic impression. The use of focused, gentle tone color sung perfectly in tune is critical if the night-time mood is to be established. Humming or singing on "oo" will build a dark, rich tone quality.Appropriate for the intermediate or advanced ensemble, this piece also works for children of mixed abilities, with the older children taking a leadership role. Programming this obscure duet exposes the young singer to rare music by this great German composer. It builds a choir's artistry much as the solo art song develops the interpretive skills of the amateur or experienced singer. Programming German art songs and duets of the Romantic period offers a rich training ground for everyone.
Abendlied is set to a text by Heinrich Heine and should be sung in the original German language. The English translation by Theodore Baker will sound awkward and should be used for translation, rather than poetic purposes. Composed in 1836, and the only duet published separately, it was published in Berlin after Mendelssohn's death in 1848. Brief editorial notes are included in this German/English edition.
Another edition of this duet is published by Thorpe Publishing and distributed by Theodore Presser (392-03001). This edition includes extensive background on the composer, poet, and the period in which the duet was arranged. It includes materials to help in building an excellent teaching tool.
FOUR DUETS FROM OPUS 63
Ich Wollt' Meine Lieb (I Would That My Love), German/English text, National Music Publishers, NMP-146, is a wonderful love duet that is composed homophonically. The German diction creates a beautiful, ringing quality that is both warm and rich in tone. Composed in the key of E Major with harmonies in thirds, it is excellent for building a choir's intonation skills. The tone painting will advance the choir's artistry while building their German diction skills. The piece is also the perfect selection to introduce singers to one of the world's great German Romantic poets, Heinrich Heine. This text describing a lover's night-time dream makes this duet another ideal concert closer. Composed in a mature style, the duet requires sophisticated thinking and interpretation.Ich Wollt' Meine Lieb is ideal to place in a group of three Mendelssohn duets, or in a selection of contrasting art songs by various Romantic German composers. Heine was a favorite poet of Mendelssohn's, evoking elegant text painting. Be sure to select works of a contrasting nature to program with this music. This duet is ideal for the advanced ensemble wanting to explore unusual and evocative pieces of the Romantic period. It is ideal to program with women's voices at a festival, or with the more advanced treble ensemble. This piece was composed in December of 1836 and is the first of six duets published in 1845, two years before Mendelssohn's death. The English translation of this edition is by Theodore Baker.
Gruss (Greeting), German/English text, National Music Publishers, NMP-211, opens with the important poetic line that translates to "I greet you a thousand times and a thousand times again." What an image to convey to your singers and their audiences in these times of worldwide tension. This great duet is filled with elegant legato lines on melodies and harmonies that ring on the treble voice. Composed homophonically, the canonic divergences are breathtaking. Strophic in structure, there are two statements of A in the first two verses. The B section, in the third verse, is much more dramatic, in that it interprets the text of love lost. The piece returns to the closing A section which brings the entire work to a dramatic close. Large leaps in the melodic structure and accidentals work on the choir's musical accuracy. The German text is set brilliantly to build a ringing headtone in the advanced ensemble. The extended phrase shapes build the legato line of the choir on controlled air.
I have conducted this piece before governors, cardinals, and college presidents. It is the perfect piece to program as a concert opener. It works really well in a festival or honors choir situation. Dealing with nature and the vastness of love, this greeting will make a strong impact on your audience. Although written for solo voices, this piece is brilliant on young choral voices. Ideal for the advanced treble ensemble or women's chorus, it is the perfect introduction to the lieder form, training the singers to sing in the original German language. The English text is well done, but should be used as a translation, rather than as an alternative language in performance.
Gruss is the third in this opus number and is set to a poem by J. Von Eichendorff, with an English translation by the editor, Robert Carl. It is tremendously successful in a choral environment. The duet was composed in 1836 and published with the other five duets in 1845.
Herbstlied (Autumn Song), German/English text, National Music Publishers, NMP-145, is ideal for building fine part singing in a minor key. This hauntingly beautiful duet is perfect for a fall program, when you want to build your choir's ability to sing in thirds diverging into more challenging harmonies. While the thirds are easier to learn, the middle statements between the verses are more through-composed, adding to the duet's challenge. The long phrase shapes demand real artistry in their interpretation. The piece requires a clear, pure tone of warmth, suggesting the autumn sky and leaves slowly drifting off the trees. The choir will truly learn the meaning of tone painting in this breathtaking piece filled with surprises and moments of great beauty.
Herbstlied is appropriate for the more advanced treble ensemble -- including a woman's chorus, an honors choir, or for a festival. It is the perfect piece to perform in the fall or for a Thanksgiving program. It would be wonderful programmed between Gruss and Maiglöckchen und die Blümelein, making a charming set of three sharply-contrasting pieces that could be performed any time of the year. With Herbstlied in f# minor, framed by the other two pieces in E Flat Major and G Major, this set would make for an unusual key relationship. Mendelssohn composed this duet in 1844 to a text by Klingmann. The English translation is by Theodore Baker.
Maiglöcken und die Blümelein (The Maybell and the Flowers), German/English text, National Music Publishers, NMP-193, is written in a variable strophic form, with a sparkling quality to both the part writing and accompaniment, something unusual in Mendelssohn's choral art songs. It is a wonderful introduction to more sophisticated Romantic music. The dynamics, articulation marks, and German text all make this piece a valuable tool for building artistic performance skills and well-articulated diction. Tuning the octaves, unisons, and altered enharmonic intervals between the two parts will go a long way toward realizing a warm, clear tone quality. The sections between the mostly strophic verses add artistic interest and interpretive challenges that will build musicality. It is a real gem for extending headtone singing in two-parts, but care must be taken to present accurate German pronunciation guidelines.
This charming narrative about the flowers that dance in the garden is great fun to sing. While most of the harmonies are written in thirds, there are some intervallic challenges. The unison writing in the middle section should be sung with a warm, robust sound; while the B section, composed in canon, should be sung with a great deal of drama. Learning to sing the story -- about the flowers' fragrance disappearing as Jack Frost nips the buds to prepare them for winter -- is critical to the artistic gesture. This piece is ideal for large forces of mixed ability, or for the festival or honors choir. A lovely duet, it is the ideal vehicle for introducing children to the secular music of this great German Romantic composer.
Originally written for two women's voices, this duet uses an anonymous German text translated by Reiner Kochhäuser. Mendelssohn's songs are the most neglected of all his music, probably because they follow the strophic song tradition of the Berlin School, which often seems to lack excitement due to constant repetitions. Not so here; Mendelssohn's use of the variable strophic form adds interest and charm to this striking duet from op. 63. Composed in 1844, it is the last in a set of six duets all composed at different times in his career.
Most of these beautiful duets were written for the composer's friends and sung on their many outings together. Bring the joy of learning and singing these duets into your choir's choral music experience as we celebrate Mendelssohn's 200th birthday.
New Releases ~ Sacred *Cantate Domino, by Hans Leo Hassler ((1564-1612), English text, Walton Music (Hal Leonard), HL08501704, SSATB a cappella. One of three settings by Hassler of this popular text, this setting demonstrates the composer's advanced Renaissance polyphonic style. Using materials from the SATB version, this remarkable setting displays his superior madrigal compositional style. Set to a Latin text based on Psalm 96, the opening contrapuntal phrase shapes are full of great beauty and contrast. The middle section is composed homophonically, with crossing voice parts. The last and longest section is filled with imitative counterpoint that rings off the page. This edition is beautifully edited by David Giardiniere. Difficulty rating 3-4. $2.05
God's World, by Ruth Watson Henderson, English text, Lorenz, 15/2588R, SATB (divisi) & piano. Set to a text by Edna St. Vincent Millay (1892-1950), this anthem is the fifth movement of a larger six-movement work, The Magic of God's World, all published separately by Lorenz. This movement is filled with elegant text painting on ringing harmonies. Set in the key of b flat minor, the brief change to B Major lends a sense of drama characteristic of Henderson's compositional style. Difficulty rating 3-4. $2.25
*Hodie Christus Natus Est (Today Christ is Born), by Jan Pieters Sweelinck (1562-1621), Latin text, Hal Leonard, 08596784, SSATB a cappella. This very clean edition by Matthew Michaels of this brilliant Christmas motet is filled with joyous melodic lines composed on alternating contrapuntal and homophonic part writing. Composed in 6/4 and 4/4 meter, this anthem will stir both audiences and singers alike. Perfect to include on a Christmas program or sung on Christmas Eve, this piece will work a choir's musical accuracy. This carol arrangement would work beautifully with the accomplished children's choir singing the first soprano part, the children's voices adding to the tonal radiance of this great Christmas motet. Difficulty rating 3-4. $1.70
I thank You God for most this amazing day, by Eric Whitacre, English text, Walton Music (Hal Leonard), HL08501708, SATB (divisi) a cappella. Set to a text by e.e. cummings, this edition is a revision of a setting composed in 1999. Whitacre later wrote a second, more difficult edition of the work. Once published and recorded by an excellent choir, the composer realized it was "ridiculously difficult." This edition is a revision of the early, easier edition. Chant-like in character, it is filled with glimmering harmonies. The anthem opens and closes meditatively and has a soulful quality. This piece calls for an accomplished choir. Difficulty rating 4. $2.45
*Lux aeterna (Let Eternal Light), by Robert Kyr, Latin text, ECS, 7179, SSATBB a cappella. This fine anthem was written after the death of a friend. It is filled with mystical, sorrowful, and poignant harmonies. As the short anthem unfolds, it becomes more celebratory in tone. Composed homophonically, the long phrase shapes are dramatically set. It closes on "ah" that is meant to sound like the mysterious, distant tolling of bells. Difficulty rating 4. $2.15
*Magnificat (from the Dorian Service), by Thomas Tallis (1505-1585), English text, Lorenz, 15/2580R, SATB a cappella. Typical of the early Anglican style of writing, this setting of the evening service is economically written. Although composed in E Dorian, the editor recommends singing the piece in F Dorian to accommodate the modern SATB ensemble. Edited by Charles L. Alwes, the editor has included bar lines that match the text versification; therefore, this edition is filled with changing meters which historically would not be present. Although written for a cappella voices, an organ part that doubles the voices can be used. This masterful work demonstrates the composer's elegant counterpoint style. Difficulty rating 3-4. $1.95
*Magnificat in G, by Giacomo Puccini (1712-1781), Latin text, Hinshaw, HMC2154, SATB & keyboard (opt. string ensemble). This fine edition by Martin Banner is another wonderful discovery composed by the great great grandfather of the famous opera composer of the same name. (The most famous fifth generation Giacomo Puccini followed a line of composers of primarily sacred music.) This edition is based on a manuscript held at the Istituto Musical "L. Boccherini" in Luca, which holds the majority of the family's original manuscripts. The piece is filled with wonderful counterpoint and elegant melodic lines. All editorial decisions are placed in parenthesis, preserving the authenticity of the edition. Difficulty rating 4. $1.90
O Nata Lux de Lumine (O Light born of Light), by Thomas Tallis (1505-1585), Latin text, Alliance, AP-10031, SATBB a cappella. This elegant motet beautifully edited by the great French composition teacher, Nadia Boulanger is a great find. Tallis witnessed four monarchs' reigns and four changes in religious faith from Catholic to Protestant and back again -- a situation that impacted his conservative compositional style. This is a fine example of religious music during the two Catholic periods, while the Tallis Magnificat reviewed above is an example of his music during England's Protestant period. Either in Latin or in English, Tallis has a remarkable skill for text versification, composing many of his compositions without bar lines. Difficulty rating 3. $1.50
Stay with Me, Lord, by Will Todd, English text, Boosey (Hal Leonard), HL48020616, SATB & piano. Set to an adapted text by Ben Dunwell after Padre Pio, this anthem is filled with fluid melodic gestures on expressive phrase shapes. Todd, like many of his English colleagues, understands text versification and uses poetic text painting to great effect. The anthem is filled with surprising unisons and octave relationships between the voice parts. This is the perfect anthem to program during a Lenten evensong. The touching text, substantive melodic materials, and surprising harmonies will move everyone. Because of the unisons and octaves between the parts, this piece has some challenging moments, but is accessible for the accomplished adult ensemble. Difficulty rating 4. $1.80
Super cuncta, by Henry Mollicone, Latin text, ECS, 6995, soprano and bass soloists, SATB (divisi), and optional chimes or handbells a cappella. This anthem is filled with chant-like properties of uncanny melodic and harmonic construction. Set to a 12th Century Latin text by Hildebert de Lavarin, the anthem has constantly changing but effective meter changes that make the text versification very powerful. The piece builds step by step to a spine-tingling conclusion on a double forte. Difficulty rating 4-5. $1.85
Timor et Tremor, by Gyorgy Orbán, Latin text, Hinshaw, HMC2210, SATB (divisi) a cappella. This dramatic anthem is filled with changing meters and dynamics. The text painting is terribly sensual, using wide vocal ranges to add to the power of the poetic gesture. Set to an ancient liturgical text, the words "Fear and trembling" take on a whole new meaning in the hands of this great choral composer. He presents harmonies which beautifully contrast power and simplicity. Difficulty rating 4. $1.80
Tebye poyem (from The Liturgy of St. John Chrysotom, "To Thee We Sing"), by Piotr Ilyitch Tchaikovsky ((1840-1893), Russian/English text, ECS, 7032, SATB a cappella. This is a reissue and correction of an edition by well-known Russian scholar Anthony Antolini. Including extensive program notes, pronunciation guide and background information, the English translation is provided by the editor. An IPA of the Russian is provided at the top of the edition, with the Russian and English below, allowing the choir to more easily manage the Russian text. This accessible anthem is the perfect introduction to Russian diction and the sacred liturgical music by this great composer. Difficulty rating 3. $1.85
EXTENDED WORKS ~ SATB VOICES
Songs to the Lord of Peace, by Gwyneth Walker, English text, ECS, Evening Prayer, 6971, I Have Called You, 6972, Be My Defender, 6973, There Is a Way to Glory, 6974, SATB (divisi) & piano. The texts are by Thomas Merton (1915-1968), who wrote these poems in 1966 in support of the Civil Rights Movement. Each anthem is filled with straightforward rhythms on changing meters. They are organized to demonstrate the growth and power of thought. The Evening Prayer is sung quietly with each movement growing in intensity to the powerful There is a Way to Glory. This is another fine extended work from this popular Vermont composer. Difficulty rating 3-4. $2.65~$2.15~$2.65~$2.65*Three Mystical Hymns, by David Conte, English text, ECS, By Night When Others Soundly Slept, 6978, Infinity (a cappella), 6979, In Heaven Soaring, 6980, SATB & keyboard. Conte is a deep thinker who carefully selects his texts as inspiration for his creative muse. According to Conte, "Three Mystical Hymns is based on two early New England poets, Anne Bradstreet (1612-1672) and Edward Taylor (1642-1792). Both writers had a markedly mystical, even metaphysical character in their poems. The first hymn is set in a moderate triple meter in e flat minor, and suggests both the reverence and the mystery of prayers offered in the dark of night. The second one brightens to E flat Major. The text of this hymn is taken from a long poem and speaks of wonder in the face of God's powers of creation. This one is composed in a more elaborate motet style. The third hymn, set in the stately key of C major, describes the joy of riding to Heaven in 'God's coach'." These hymns can be performed separately but are best performed as a group. They are the perfect selection in a concert celebrating early New England. Difficulty rating 3-4. $1.85~$1.85~$2.15
TREBLE VOICES~SACRED
*The Angel, by Sergei Rachmaninoff (1873-1943), Russian/English text, Musica Russica Ra 6Ch-6, SA (divisi) & piano. Set to a moving text by Mikhail Lemontov (translated by Mark Herman and Ronnie Apter), this is the sixth in a set of six for treble voices, op. 15. Set in E Major, a wonderful key for trebles, the harmonies of this moving anthem is set mostly in thirds. The piece is filled with changing meters on surprising harmonies with numerous accidentals. Since there is no translation in this edition, you will need help from a native speaker, in order to sing the text in Russian. All six pieces were composed in 1895-96 while Rachmaninoff was still living in Russia. Difficulty rating 3-4. $1.80Ein Kamocha, by Allan Naplan, Hebrew text, Transcontinental (Hal Leonard) HL00191610, SA & keyboard. Composed to a Liturgical text, the piece has long phrase shapes that are structured on crossing voice parts. Naplan was a professional singer for many years, and his music demonstrates his knowledge of the voice. Showing great promise since his youth in Marblehead, Massachusetts, Naplan's music is now sung and recorded worldwide. He is a contemporary composer everyone should know. The florid, lilting phrases will ring on treble voices. It is composed in A Flat major and will require a choir that can sing the many a flat2 with ease. A pronunciation guide is included in the edition. Difficulty rating 3. $2.25
Jubilate Deo, by Michael Praetorius, Latin text, Boosey (Hal Leonard), 48019861, 6 part treble, flute, horn, percussion, cello & opt. harp or piano. This is an unconventional setting of a familiar and often sung canon. Arranged by Betty Bertaux, the piece uses triangle, maracas, cabasa, djembre, claves, and jingle bells. It was composed for the children's chorus of Maryland and is a piece that singers of all ages can sing with great success. The instrumental parts are published separately and can be ordered from the publisher. This unique edition is accessible, creative, and great fun to sing. Difficulty rating 3. $1.80
Take Me to the Water, arr. Rollo Dilworth, English text, Hal Leonard, 08749827, SSAA & piano. Arranged for the Jacksonville Children's Chorus, this gospel style anthem has a lot of original music but includes musical quotations from Down by the Riverside and Wade in the Water. The piece opens with a call and response between three parts that is original to the composer. Filled with off-beat rhythms, the middle section introduces Down by the Riverside which merges into an arrangement of Wade in the Water. The piece closes with the combination of both pieces in a magical overlay. This piece would be an ideal festival choice for an accomplished treble ensemble or honors ensemble. Difficulty rating 3-4. $1.70
MEN'S VOICES ~ SACRED
Laudate Dominum (Psalm 117), by Dan Davison, Latin text, Walton (Hal Leonard), HL08501714, TB & keyboard. This is a wonderfully spirited piece composed in g minor. The use of imitation between the parts and accessible harmonies on lilting contrapuntal lines make this an anthem suitable for singers of all ages. The closing "Alleluia" is composed on a divisi in both parts on a g minor chord in first inversion. Difficulty rating 3. $1.90*Ubi Caritas, by Ola Gjeilo, Latin text, Walton (Hal Leonard), HL08501701, TTBB (divisi) a cappella. Originally composed for SATB voices in 2001, this popular piece had its North American premiere at the ACDA convention In Miami in 2007. Subsequently, the piece was arranged for SSAA voices, and now TTBB voices, in the appropriate key for the various voice parts. This exceptional piece rivals the Duruflé setting. It is filled with elegant harmonies on chant-like rhythms. One of Gjeilo's most performed pieces, this transcription for men's voices is tremendously effective. Difficulty rating 4. $2.05
Walk Together, Children!, arr. Ken Berg, English text, Walton (Hal Leonard), HL08501718, SAB, solo, percussion & keyboard. Composed for a middle school honors chorus in Florida, this is a fine addition to Berg's spiritual repertoire. The piece is composed in C Major and uses the question and answer format. The arrangement requires an accomplished soloist or small group of singers who can lead the way toward an artistic performance. Many of the harmonies are composed in thirds, making it an accessible anthem. The use of repeated rhythmic gestures and musical materials help with the learning curve. Difficulty rating 3-4. $2.05
New Releases ~ Secular Ashes of Soldiers, by Byron Adams, English text, ECS, 7016, SATB, SATB soli, a cappella. Set to a text taken from Leaves of Grass by Walt Whitman, this contemporary motet is filled with moments of compassion and great beauty. The piece begins with a solo singing a plainchant melody that is tender, pleading, and passionate. The piece alternates between sections of polyphony and fauxbourdon, and is an unusual piece in both structure and harmonic vitality. Dominated by long, expansive phrase shapes, this fine piece was commissioned by the Boston-based ensemble, Secession, as part of their 10th anniversary celebration. It is the perfect plea for an end to war. Difficulty rating 4. $2.65
*The Call of Spring, by Edwin Fissinger (1920-1990), English text, Pavane (Hal Leonard), HL08301872, SATB a cappella. Fissinger's music is always bold with expression, and this short piece, composed in e minor, is no exception. Filled with brilliant text painting, the harmonies are forthright and extremely effective. Set to a poem by Robert J. Richardson, the piece is composed homophonically on some challenging rhythms with changing meters. The edition includes many articulation marks that must be carefully followed to create a powerful artistic impression. Difficulty rating 4. $2.10
Der Abend (The Evening), by Johannes Brahms, German text, Lorenz, 15/2584R, SATB & piano. This mythological text by Friedrich Schiller (1750-1805) is brilliantly set and is very reminiscent of his Four Songs. This piece is the second movement from Three Quartets with Pianoforte, op. 64. The text painting is so Brahms, with the ornamental piano part underscoring the homophonic voice parts. Surprising harmonies that are rich and descriptive of the text are prevalent throughout this wonderful piece. Edited by Drew Collins, a translation, pronunciation guide, program notes, and editorial remarks are included in this fine edition. Difficulty rating 3-4.$2.25
Emerald Green Grass, arr. Rollo Fisher, Chinese text, Walton (Hal Leonard), HL08501720, SSATBB a cappella. This uncanny Chinese melody, originally entitled Mu Ge, was first encountered by the arranger in a choral exchange with Chinese conductors in 2007. The poem's translation speaks of the "simple pleasures of life" as only the Chinese can describe life in simple folk song. This arrangement is composed in e minor and cascades off the page. Filled with ornamental beauty, the melodic lines that move from voice to voice only enhance the charm of this special folk melody. Difficulty rating 3-4. $1.90
It Couldn't Be Done, by Eleanor Daley, English text, Hinshaw, HMC2213, SATB (divisi) a cappella. This madrigal-like contemporary setting of an amusing text by Edgar Guest (1881-1959) is playful and fun-loving. Daley uses nonsense syllables to musically unfold this funny story in clever fashion. The changing meters and melodic structure support the humorous text. The piece is loaded with graceful charm, making it a great crowd pleaser. Use it at the close of a concert or as an encore. Creativity in compositional technique is so clear in this spontaneous work that will leave everyone laughing. Daley is one of our major American choral composers and she continues to amaze. Difficulty rating 4. $1.80Look to the Day, by John Rutter, English text, Hinshaw, HMC2219, SATB & piano or organ. This popular English composer has written another fine but accessible anthem. Written for the Cancer Research Center in England, this title and music reflect a plea for a new day. Rutter lost his son in a tragic traffic accident in Cambridge a few years ago, and this piece seems to reflect the pain and recovery in the text and music. The independent piano line supports the voices, which begin with the sopranos on the melody. The key changes are effective as the music and text build to hope in a tragic time. The combination of music and the idea of spring's renewal is so effective. As the key changes progress upward into light, the prayerful plea for life everlasting becomes musically clear. The piece alternates between unison and partsinging of great beauty. It concludes in awe-inspiring silence as "we look to the day" just one day at a time. Difficulty rating 3. $1.80
Music Comes, by Ruth Watson Henderson, English text, Lorenz, 15/2597R, SATB, flute, oboe & piano. This fine piece set to a text by John Freeman (1880-1929) celebrates the beauty and uniqueness of music. Commissioned by the Syracuse Children's Chorus, Barbara Tagg director, it was originally written for treble voices (Lorenz 15/2331R). The flute and oboe parts are relatively simple and could be played by an accomplished student. Composed homophonically, the instrumental parts weave in and out of the vocal harmonies with elegant counterpoint on long phrase shapes. Henderson is known for her text painting; here words like "sing" take on a renewed melodic and harmonic meaning. The piano part supports the vocal writing. The piece closes on a dramatic G Major chord sung and played double forte. Difficulty rating 3-4. $2.50
Va Pensiero, by Giuseppe Verdi, Italian/English text, Hinshaw, HMC2202, SATB & piano. Patrick M. Liebergen editied this edition of the beloved melody by Verdi from the opera Nabucco. The source of the edition is from Le opere di Giuseppe Verdi (The Works of Giuseppe Verdi) published by Ricordi of Milan. Composed mostly in unison, this folk-like melody is an easy piece to teach; and the chorus has elements of a community sing-a-long. The edition includes a pronunciation guide with Italian teaching tips by the editor. This is one of Verdi's most famous and popular melodies. In discussing this publication with Patrick Liebergen, he mentioned to me that when Verdi's funeral cortege passed through the streets of Milan, people on the street broke into this wonderful melody spontaneously. Today, when this great chorus is sung in an opera performance in Italy, members of the audience join in. Composed on lyrical phrase shapes, the chorus is mostly homophonic in harmonic structure. Difficulty rating 3. $1.90
EXTENDED WORK
Silly Ditties, by Norman Luboff (1917-1987), English text, Walton (Hal Leonard, HL08501710, SATTBB, piano 4-hands & clarinet. These four charming songs are perfect to add a light moment to a concert. Composed for the Norman Luboff Choir, they were often sung at the end of their concerts. The various movements can be performed as a set of four songs or sung individually. These clever pieces were sung a cappella in the Luboff era; but Dan Davison has adapted them here with a four-hand piano and clarinet accompaniment. When performing all of them, they last only 3:00 minutes total. These nonsense songs have the titles, Two Heads, Something Lovely, A Fool, and Tally Ho. The texts are taken from sayings and sign boards, with the last piece set to a poem by Oscar Wilde. Difficulty rating 3-4. $2.05Faith Is the Bird That Feels the Light, by Elizabeth Alexander, English text, Seafarer Press, SEA-068-00, SSA, alto soloist, & piano. Set to a poem by Rabindranath Tagore, who was born in Calcutta in 1861, this piece is taken from the larger work, Fireflies, a collection 256 epigrams. The voice parts imitate the flight of birds in the air, and the rhythms between the voice parts help the melodic material spiral. The text painting is elegant and poignant. The piece is a challenge but well worth the time. Difficulty rating 4. $1.75
*Field of Violets, Valerie Showers Crescenz, English text, Hinshaw, HMC2199, SSA & piano (opt flute or other c instrument and guitar.) The piece is dedicated to the composer's son Michael who died in Vietman in 1968, and was later awarded the Congressional Medal of Honor for bravery. Anyone who has lost a loved one in war will identify with this music and the heart-wrenching text, also written by the composer. The flute part makes poignant use of both Reveille and Taps as the poem tells of letters that stopped coming and of a wedding that will never happen. This is a powerful piece that could easily be programmed for a special church service or concert honoring our service men and women. Difficulty rating 3. $1.90
Los Bibilicos (The Nightingales), arr. Paula Foley Tillen, Spanish text, Treble Clef Music, TC-255, SSA, mezzo-soprano solo, clarinet, & piano. This Judeo-Spanish folk song is beautifully set, with a clarinet part whose adroit runs imitate the voice parts. The florid melodic lines form a love song about nightingales and a dove saving a lost heart - beautifully creating a Spanish atmosphere. The mezzo-soprano soloist should have a warm, rich tone quality. A pronunciation guide and translation are part of the edition. Difficulty rating 3-4. $2.25
Serenade: The tremulous gold of star, arr. Jeffrey Bishop, English text, Brichtmark Music, BRM-7, unison & piano or harpsichord. This is a unique publication set to a text by Edith Sitwell. An original melody has been composed over the Prelude in C Major, No. 1 from The Well Tempered Clavier, Part 1. The melody contains long graceful phrase shapes that will ring on young treble voices, making it a fine introduction to Bach. Difficulty rating 2. $1.00
When I Am an Old Woman, I Shall Wear Purple, by Ruth Watson Henderson, English text, Lorenz, 15/2594R, SSAA & piano. Only Henderson, in her most charming way, would take on this enigmatic poem by Jenny Johnson, written in 1932. Henderson has great fun with this piece, moving from unisons to split chords that beautifully describe the text. Filled with great key changes, the rhythms add to the humor of the text. The piano part is composed separately from the voice parts and requires an accomplished pianist. Difficulty rating 3. $1.95
EXTENDED WORK AND COLLECTION
NYC Play Ground, by Kevin James, English text, Boosey (Hal Leonard), 48019859, SSAA, trumpet/coronet, percussion, piano, & CD. This fine work is an outgrowth of the composer's work with the Portraits Project Mentorship program. The texts derive from winning entries in the first city-wide poetry contest - supported by the Meet The Composer Program and the Police Athletic League -- where 150 NYC children worked with five of New York's finest slam poets in poetry workshops. Four texts were chosen for this work: 1) Wondering, poem by Eboni Grant, age 9; 2) Gunshots, poem by Chaz Royster, age 12; 3) My Weird Life, poem by Jarrett Beck, age 12; 4) I am, poem by Jenny Sanchez, age 12. Harmonically and melodically, this extended work is constructed to describe a New York playground full of children who are shouting snatches of conversation back and forth to each other. The movements use complex rhythms on phrase shapes with challenging harmonies and intervallic materials. The piano part requires an accomplished player, and the CD (containing the children's voices) must be carefully cued. The piece received its world premiere in 2003 by Francisco Nunez's Young People's Chorus of New York. Difficulty rating 5. $2.50*Three Canzonets, by Claudio Monteverdi (1567-1643), Italian text, Brichtmark Music, BRM-18, SSA a cappella. These short pieces are taken from Canzonette a tre voci (1584), edited by Jameson Marvin for the Radcliffe Choral Society. Io mi vivea (I Always Lived) is composed strophically in two verses and is homophonic in character. Si come crescon (As Flowers Grow) is also strophic in two verses with simple counterpoint. Hor care canzonette (Now Dear Canzonets) is light in nature. Also set strophically in two verses, this is a graceful, lilting piece. Monteverdi has a special place in musical history, moving composition from modal to key structured harmonies. He is considered the father of contemporary notation. These pieces are a fine representation of Monteverdi's early period and demonstrate the move toward brilliant text painting so prominent in his later works. Program notes and translations are included in the edition. Difficulty rating 3. $2.00
* New releases marked with an asterisk (*) are especially recommended.Difficulty Ratings Guide: All selections reviewed in The Choral Room are given a difficulty rating to help you select the music most appropriate for your singers. 1 - easy; 2 - accessible; 3 - medium difficulty;4 - advanced difficulty; 5 - extreme difficulty