Programming American Music / New Works and Commissions~Part I
Marie Stultz, Contributing EditorPlanning a program of American music of a more serious nature is something near and dear to my heart. If the American choral art form is to remain safe and healthy, it is important to program quality music written by fine living composers on a regular basis. The first part of this two-part series on American music is the commissioning of new works. As simple as this subject sounds, this is an extremely tricky exercise unless you know exactly what kind of piece you want for your choir. Your vision must become the choir's vision, or the commission could become less satisfying and sometimes even a disaster. I'm going to begin this article by talking about three commissions of extended works by major composers for treble voices that were supported by the National Endowment for the Arts and Humanities.
MAJOR COMMISSION FOR TREBLE VOICES SUPPORTED BY NEA
The American Boy Choir, Jim Litton conductor, The Phoenix Boy Choir, Harvey Schmidt conductor, and the Glyn Ellen Children's Choir, Doreen Rao conductor, united in the early 1990's with a proposal to the NEA for major commissions from three of Americans most prominent and successful composers - Daniel Pinkham, Ned Rorem and Vincent Persichetti. Two of the three works, those by Pinkham and Rorem, were tremendously successful and considered to be significant extended works composed for treble voices in the 20th century. The commission from Persichetti failed because all three choirs felt they could not perform it with artistic success. The American Boy Choir performed a portion of it at a later date with some success. Jim Litton explained it was beautiful but very hard for young voices to sing. The other two commissioning choirs, to my knowledge, were never able to perform the piece. The two successful commissions from Pinkham and Rorem are published, sung extensively, and have been recorded. This outcome is in no way a reflection on the quality of all three major pieces or the composers; it just simply demonstrates the pitfalls that can happen when wonderful musicians and composers work together with good intentions. Brief descriptions of the two works that were successful and have entered the major repertory are described below.
Angels are Everywhere, by Daniel Pinkham, English text, ECS, 4235, SSA & piano. This is one of Pinkham's most accessible works since his brilliant Christmas Cantata for SATB voices and brass. The text is cleverly written by the composer and set with charm and wit. The Treble Chorus of New England sang it live on WGBH with the composer in the studio with great success and has recorded it on CD, as has the Phoenix Boy Choir. Good for general use, it is also appropriate for a Christmas concert. Each movement can stand on its own, but ideally should be performed as a complete work. Pinkham has written many fine pieces and extended works for treble voices. This is my personal favorite. Difficulty rating 4. $4.85
What is Pink?, by Ned Rorem, English text, Boosey, M051325207, SSA & piano. This is a fabulous piece that uses texts from various poets. "The Pavane for the Nursery" is composed in unison and wonderful for building head tone. "The Mysterious Cat" really allows the young singer to work on score interpretation while learning to sing the text. All of the movements are truly charming. The first movement is the trickier because it is difficult for young voices to sing it perfectly in tune. It has occurred to me on numerous cases that it should have been written in a higher key. I first heard it at an ACDA National Convention with a women's chorus of high capability with Rorem in the audience. I was immediately engaged and was committed to doing it with my treble choir. It is appropriate for either women's chorus or youthful singers of high capability. Difficulty rating 4. $7.25
Two fine performances of both commissions occurred when the Treble Chorus performed with the Toronto Children's Chorus in exchange concerts in Toronto and later in Boston. Both concerts were memorable, convincing me that both works should become a part of the major repertory for treble voices. They should enter a category as celebratory as A Ceremony of Carols by Benjamin Britten and Salvator Mundi by William Mathias, two of England's most distinguished composers.
THREE SUCCESSFUL COMMISSIONS FROM THE TREBLE CHORUS OF NEW ENGLAND
The Treble Chorus has been very fortunate in all three commission experiences. The first occurred in 1990 and was supported by the Massachusetts Council for the Arts and Humanities (now the Massachusetts Cultural Council) in conjunction with The Indian Hill Symphony Orchestra.Beauty and the Beast, by Libby Larsen, ECS, facsimile score, treble chorus (divisi), orchestra, male and female narrators, & mime. This 25-minute work had a beautiful premiere but has not seen many performances since. This is highly disappointing, for it is perfect for a young audience concert with local, regional, or major symphony orchestras. I wish Larsen would revisit the score and make it officially available to the public. It is filled with shimmering chords in the treble voices and brilliant orchestral writing. Set to a libretto by Larsen and Ellen Lane, I believe it was the dark conclusion of this piece that may have caused it to be less successful than some of Larsen's other works. Larsen now publishes exclusively with Oxford University Press and is generating an enormous body of fabulous music that has been compared to Britten. We as conductors should try to encourage her to revise this score and make it available to the public. Difficulty rating 4.
Whiskers and Rhymes, by Scott Wheeler, English text, Scott Wheeler Music, facsimile score, treble chorus, piano four hands (or strings and piano) and percussion. Set to texts by Arnold Lobel and Jack Prelutsky this remarkable piece is our most successful commission of an extended work. Composed in five movements, 17 minutes in length, this humorous, magical score is one of my favorite contemporary pieces for treble voices. The Treble Chorus performed it in England twice (including St. Martin-in-the-Field) to standing ovations. We subsequently performed this piece the last two seasons three times, including a performance with Sir David Willcocks at the New England Youth Choir Festival. The commission was supported by a generous grant from the North Reading Arts Council. After researching and setting some of Lobel's poems, Wheeler writes, "In exploring texts for the Treble Chorus of New England, I looked into more of Lobel's work, including his illustrations. One of the books he illustrated was by Jack Prelutsky, entitled Nightmares--Poems to Trouble Your Sleep. From this book I drew 'The Bogeyman' and 'The Troll,' setting up an alternation of nursery rhymes and 'nightmares' in the five movements." This is a terrific piece that opens with the joyful words "Sing, sing, what shall we sing, a song to delight your ears!" As a commission, this was a dream come true. More serious choirs should be programming this amazing piece. Difficulty rating 4. For hire from the composer (scott_wheeler@emerson.edu)
Singing Questions, by Alice Parker, English text, MorningStar Music Publishers, 50-9928, SA & piano with opt. cello. This was a tremendously successful commission, supported by a private donation. A piece of about three minutes in length, a review and description can be found under secular music for treble voices in this newsletter. I am grateful to Alice for allowing me to include it in The Treble Chorus of New England Choral Series.
SOME OBSERVATIONS ABOUT COMMISSIONING
1. It is extremely important to select the right composer(s) for your choir. Choose someone whose music you know and have enjoyed singing in the past.
2. Once the money is in place and the composer has agreed to the subject matter and the length of the composition, talk about the commission thoroughly. Keep your expectations up front and the commission intent clearly in your mind. You want a piece that is going to be satisfying for you and the choir, with a successful conclusion for the creator.
3. Give the composer as much information as possible about your ensemble, the repertoire, and yourself; this will help bring about a successful conclusion for all the artists. In the case of Libby Larsen, we talked numerous times on the phone about tessitura, the choristers' vocal capability, the subject matter, etc. Our conversations resulted in a much different approach to her writing for treble voices as she created her piece.
4. Ideally, the composer should have a working knowledge of your ensemble, preferably in live concert or on recording. In the case of Alice Parker and Scott Wheeler, both had heard the choir on numerous occasions and were able to write pieces that were tremendously successful and connected because they knew the choir's capabilities first-hand.
5. Be involved in the selection of text and subject matter. Decide whether it should be sacred or secular or written for an established occasion. "Singing Questions" was the perfect text for our 25th anniversary, composed to a poem Parker had thought about for a prolonged period of time. "Whiskers and Rhymes" is simply loaded with humor and wonderful musical challenge. Wheeler started the piece as Christmas presents to his family and later merged it into the Treble Chorus commission. Both are top drawer pieces that have personal ties to the composers' lives. As a result, I believe these works will have a long and successful musical life.
6. Try not to restrict the composers in the creative process. Let them take the lead. Once they have been informed about the ensemble and what kind and length of piece you would like, leave them to create.
7. Be sure to perform the new work more than once. This gives your ensemble time to grow and expand in its interpretive capabilities and makes the singers feel the learning curve has been worthwhile. Multiple performances also offer greater exposure for the composer. In addition, the audience will have a better understanding of the composer's intent with repeated performances. With the Larsen fairy tale, we had only one performance; with Wheeler and Parker we had multiple performances, making the experience so much more satisfying and committed for everyone. What an important lesson to learn when you are championing a new work.
8. Get capable players to accompany your ensemble. This is so critical with a new work. If it is going to take on a life of its own, it needs the absolute best initial performance you can possibly give it.
9. Give yourself plenty of time to teach the piece. New works are always hard to "pull off" and the performers need as much living time with these new sounds.
I hope many of you will commission new works that are worthy of your ensemble. Making a conscientious effort to contribute to serious American music is an extremely important element of your job. In the next quarterly issue, this feature will deal with the programming of serious American music, both contemporary and historic. In the meantime, we'd love to hear your thoughts and experiences on successful commissions you might have had - how the first performance worked and what you learned from the experience. (E-mail us at choralroom@spectrum-music.com.) Worthy new music by quality American composers, whether published or not, should be brought to other professionals' attention. New works written for specific ensembles keep all of us challenged and thinking, building our choral art history.
New Releases ~ Sacred SATB Voices~ Sacred
Adoramus te, Christe, by Quirino Gasparini (1721-1778), Latin text, ECS, 5954, SATB, organ, & basso continuo. A piece originally attributed to W.A. Mozart, this edition replaces number ECS #1649. A dark setting of this text appropriate for lent, this short anthem is filled with suspensions on simple counterpoint. Unusual shifts in harmony add to the chromatic challenge. It is hard to imagine this piece was first attributed to Mozart. It has been carefully realized and edited by the publisher. Difficulty rating 3. $1.35
Angel vopiyashe (The Angel Cried Aloud), by P. Makarov, Slavonic/English text, ECS, 5749, SSATB a cappella. Little is known about this composer, with musicologists not knowing the date of his birth or death. Written for the Russian Orthodox Church, the edition by Anthony Antolini contains a thorough pronunciation guide and background information. Written homophonically, the piece is constructed with verse and refrain on the ninth ode of the Easter hymn, which is normally sung during the Divine Liturgy. The piece opens with brilliant fanfare-like sections sung by the women scored in three parts. The men enter in the second section in what the editor identifies as the refrain. This edition is based off a published score found in Moscow in 1890 by P. Jurgenson. Difficulty rating 3-4. $1.95
Azamer bishvokhin (A Shabbat zemer), arr. Joshua Jacobson, Hebrew/English text, ECS, 5742, SATB divisi & piano. This score has been brilliantly prepared by Zamir Chorale of Boston conductor and Northeastern University choral department chair, Joshua Jacobson. A nine-minute work, the edition contains a comprehensive translation, historical background, and pronunciation guide. The text makes numerous references to Jewish mysticism. The melody is attributed to Rabbi Nahman of Bratslav (1722-1811) and set to a powerful text written by Rabbi Isaac Luria (1534-1572). The piece opens with the men singing the simple yet haunting melody whose text celebrates the union between the singers and the Sabbath. Written with stark harmonies on mostly homophonic phrase shapes, the piece is constructed over a florid piano part. Difficulty rating 4. $3.50
Cert'nly Lawd, arr. Moses Hogan, English text, Hal Leonard, 08743356, SATB a cappella. Typical of Hogan's style, the arrangement is filled with off-beat rhythms. This setting was commissioned by the University of Wisconsin-Madison Concert Choir and is ideal for an accomplished high school or college choir. It is constructed antiphonally with a joyous solo that is answered by the choir. Because of the extensive divisi sections, the piece is best sung by a large choir with an accomplished soloist. Difficulty rating 4. $1.50
Christ the Lord Is Risen Again!, by Sir David Willcocks, English text, Oxford, 350497-9, SATB & organ (or brass, percussion, & organ). This festive, grand setting of a translated text by Catherine Winkworth requires an accomplished choir. Filled with challenging rhythms and harmonies on changing key signatures, the piece is fabulous and large in gesture. The anthem requires an accomplished organist. Commissioned for the 250th anniversary of the founding of St. Paul's Episcopal Church in Augusta, Georgia, it really requires a cathedral environment to capture the power of the setting. Parts are available from the publisher on hire. Difficulty rating 4. $1.80
Emmaus, by William Billings (1746-1800), English text, Cecilian Singers, 10198, SATB a cappella. This edition actually contains Billings' setting of "When Jesus wept" in a four part setting as well as in canon. Edited by James C. Myers, the publication also includes "Thus Saith the High and Lofty One." It is ideal for the small choir or when programming American music of our historic past. Difficulty rating 2. $1.25
Five Choral Stanzas, arr. David Cherwien, English text, MorningStar, 50-6506, SATB a cappella. These pieces are actually intended for congregation with the choir singing in a supportive role as both explore the hymn as dialogue. Simply written, the edition includes a variety of tunes such as "Oh, for a Thousand Tongues to Sing" and "Shall We Gather at the River." Performance suggestions are included in the edition. Difficulty rating 2. $1.90
For the Beauty of the Earth, arr. Dale Wood, English text, Lorenz, CGA950, SATB, children's choir with congregation & organ. There are many settings of this popular hymn, but this edition is special in that it allows both adult and youth choirs to sing together as they lead the congregation. The piece opens with the children singing in unison. Simple descants and warm harmonies dominate the arrangement. It offers a different twist to a favorite tune. Difficulty rating 2. $1.50
Hold On!, arr. Moses Hogan, English text, Hal Leonard, 08703351, SATB (divisi) a cappella. This complicated setting is not for the faint of heart as it is filled with many divisi sections which support a chamber or solo ensemble.Tricky rhythms and counterpoint will offer the accomplished college choir or choral society a real challenge. Difficulty rating 4-5. $1.50
Joy is come!, arr. Andrew Carter, English text, Oxford, 350506-1, SATB divisi a cappella. Based on a German tune from 1360, the anthem opens with the soprano section singing the joyful tune. Written strophically, the fourth section of the piece is filled with broad harmonies and brilliant counterpoint. Difficulty rating 3. $1.35
Juravit Dominus, by Johann Michael Haydn, Latin text, National, CH-148, SATB & keyboard. This extended work was composed by Franz Joseph Haydn's younger brother. He was court composer and later cathedral organist in the Salzburg court for more than forty years. This edition by Dale Miller includes music background and translation of the Latin text from Psalm 110:4. Fully orchestrated with parts available from the publisher, the piece is filled with elegant counterpoint over a florid accompaniment. Difficulty rating 4. $1.70
Live in Love, by Dorothy J. Papadakos, African/English text, Oxford, 386569-6, SATB, piano (optional), & African drums. This English, Zulu, Xhosa text is drawn from Ephesians 5:1-2. It is a wonderful mixture of texts accompanied by optional piano or a cappella when using improvised drums played by 2 to 3 percussionists. Choral minimalist phrases accompany the moving English text. The piece is filled with meter changes and score instructions and articulation marks that add to the power of the setting. A pronunciation guide and performance suggestions are included in this interesting and very eclectic anthem. Difficulty rating 4. $2.25
Lobgesang, by Henryk Mikolaj Górecki, German text, Boosey, M-060-11357-4, SATB & glockenspiel. Set to a text by the composer, this nine-minute work is large in its gesture. Written homophonically, it is filled with numerous repeats that allow the work to be more accessible. The anthem had its premiere on August 13, 2000 in Mainz. Large, expansive harmonies make this a powerful music statement. The sopranos are often in divisi. Difficulty rating 4. $2.50
Magi viderunt stellam, by Tomas Luis da Victoria, Latin text, Cecilian Singers, 02299, SATB a cappella. Edited by James Myers, this edition contains a translation of the Latin text. Typical of Victoria's compositional style, it is filled with expansive counterpoint on elegant phrase shapes. The final "alleluias" sung at allegro are bone tingling on phrase shapes written in the lower tessitura of the voice. Difficulty rating 4. $1.25
Magnificat and Nunc Dimittis, by Sir David Willcocks, Latin text, Oxford, 351692-6, SATB & organ. Filled with chant-like phrases, the piece opens with a simple organ statement which is answered by baritone soloist. The a cappella choral sections are alternated with a florid organ part. The Magnificat ends with powerful amens sung double forte. The Nunc Dimittis opens again with simple organ that is answered by baritone solo. The choral parts are written with some ascending counterpoint phrases that alternate with homophonic sections all sung a cappella. It concludes with haunting amens sung softly. To be effective, the piece requires large forces or an accomplished church choir. Difficulty rating 4-5. $3.50
Odekha (Thank You, Lord), by Salamone Rossi (c. 1570-1630), Hebrew/English text, ECS, 5743, SSATTB a cappella. Edited by Joshua Jacobson, this piece has been carefully researched. The edition contains extensive background on the composer, a pronunciation guide, and a literal translation of the text. Expansive chords and lovely counterpoint dominate this setting of four verses of Psalm 118, which is chanted as part of the joyous "Hallel" on festive days. This powerful motet is a must for the accomplished ensemble and is truly a rare find. Hats off to the editor for bringing this piece to public notice. Difficulty rating 4. $3.50
Stand By Me, arr. Moses Hogan, English text, Hal Leonard, 08743328, SATB a cappella. A simple setting of a piece written by Charles Albert Tindley, it is an ideal way to introduce your choir to this fine arranger. Written homophonically, there are some divisi in the parts and some rhythms will have to be carefully practiced. Difficulty rating 3-4. $1.50
Sweet Prospect, by Bob Chilcott, English text, Oxford, 343303-6, SATB & organ. Bright harmonies and changing rhythms dominate this setting of a text by Samuel Stennett (1727-95). Commissioned in 2001 by the Vaulkhard Choral Trust for the Choir Schools' Association, it just seems to shimmer off the page. The rhythmic gestures and large leaps in the melody require an accomplished choir with excellent intonation. The text is filled with glorious images and the music with beautiful text painting. Difficulty rating 4. $1.95
Two Benedicitions, by Sir David Willcocks, English text, Oxford, 353493-2, SATB a cappella. These two short Benedictions are wonderful examples of how service music should be written. They are both eloquent and powerful in their harmonic gesture. Beautiful counterpoint dominates both texts taken from "The Book of Common Prayer." The first setting "The Peace of God" is quiet and more meditative. The second setting "O God, Who Hast Prepared" is more powerful and joyful. Difficulty rating 3. $1.30Treble Voices ~ Sacred
Breathe, by Fred Thomas Patella, English text, Boosey, M-051-47427-1, SSAAA a cappella. Taken from "Seven Vocal Fanfares," this challenging piece was written for the Crypt at Christ Church Cathedral in Dublin, Ireland. Written for one of the great medieval cathedrals, it requires a special choir and performance environment for the anthem to be effective. Beginning with fragmented phrase shapes, the fanfare builds in harmonic power. Difficulty rating 4. $1.25
Dust, by Fred Thomas Patella, English text, Boosey, M-051-47426-4, SSAAA a cappella. Taken from "Seven Vocal Fanfares" this movement poses a different vocal challenge. Also written for the Crypt at Christ Church Cathedral in Dublin, Ireland, these fanfares were all written for the fine Girls' Choir based at the cathedral. Known throughout Europe for its unusual timbre and ethereal sound, this setting of a text from Genesis contains short phrases that must be carefully sung so that it shimmers with sound. The many rests between the unique phrases of counterpoint add to the piece's unusual statement about death. Difficulty rating 4. $1.25
Eternal, by Fred Thomas Patella, English text, Boosey, M-051-47425-7, SSAAA a cappella. Taken from "Seven Vocal Fanfares" this movement poses an equal vocal challenge. Also written for the Crypt at Christ Church Cathedral in Dublin, Ireland, this fanfare is set to a text by the composer. Again, as with the others, this requires a highly skilled choir with a pristine tone quality that allows the tone to almost ascend into heaven. The counterpoint and intervals of the various phrases will be a real challenge. Difficulty rating 5. $1.25
Laudate Pueri Dominum, by Michael Haydn (1737-1806) Latin/English text, Hal Leonard, 08596737, SSA & piano. Beautifully edited by Henry Leck, this "graduale" was written for the feast of the Holy Innocents' Day on December 28th. The brother of Franz Joseph Haydn, this extended work is a wonderful addition to the treble repertory. Performance notes are included in the edition. The accomplished treble choir will have great fun preparing this fine piece. Difficulty rating 3. $1.95
Lily of the Valley, arr. Moses Hogan, English text, Hal Leonard, 08743330, SSAA a cappella. This straightforward, homophonically set arrangement is wonderful for women's chorus, but the tessitura lies too low for most children's choirs. The second altos must sing a low E#. The second section of the piece is filled with counterpoint with many divisi sections that require an accomplished choir. Afro-American, stylistic singing is critical to the overall artistic impression. The piece was commissioned by the Women's Concert Chorale at the University of Wisconsin. Difficulty rating 4. $1.50
Of the Father's Love Begotten, arr. Don Michael Dicie, English text, Oxford, 386543-2, SA & baritone solo a cappella. Based on an 11th-century Sanctus trope, Divinum Mysterium, this simple contrapuntal setting is very accessible. The three-part section is filled with elegant counterpoint as the two-part trebles sing over the baritone soloist. Difficulty rating 2. $1.50
Patrick, by Fred Thomas Patella, English text, Boosey, M-051-47424-0, SSAAA a cappella. Taken from "Seven Vocal Fanfares," this movement is filled with repetitious minimalist phrases. Chant-like and filled with tone clusters, on crossing voice parts, it was also written for the Crypt at Christ Church Cathedral in Dublin, Ireland. Once learned this piece will simply take the house down. Difficulty rating 4. $2.25
SAB Voices ~ Sacred
Salve Regina, by Charles Callahan, Latin text, MorningStar, 50-6034, mixed or equal voices & organ. Callahan is able to take the simplest melodic gesture and make it into something breathtakingly beautiful. This piece is no exception. The choirs with small forces will love the homophonic part writing which will make the more amateur choir sound sensational. Changing meters and simple organ part on dramatic dynamics add to the pieces effectiveness. Difficulty rating 3. $1.75
Vere languores nostros, by Antonio Lotti, Latin text, Cecilian Singers, 06195, SAT/SAB (a cappella). This double motet will be effective with equal choruses or with a small ensemble on choir two. Soloists could be placed antiphonally from the choir to add to the powerful effect of the counterpoint. Rhythmically simple, the part writing is quite moving. Difficulty rating 3-4. $1.35
Men's Voices ~ Sacred
Rise an' Shine, arr. Moses Hogan, English text, Hal Leonard, 08743331, TTBB (divisi) a cappella. Written for the Singing Statesmen at the University of Wisconsin, the arrangement begins simply with soft contrapuntal "ah's" that expands into a beautiful homophonic section in clear four parts. The middle section has numerous divisi in the parts with some antiphonal writing that is extremely effective. Once the powerful middle section ends with clear harmonies and simple rhythms, the piece concludes with accented phrases that celebrate "for de year of Juberlee." This piece will ring on the accomplished men's choir. Difficulty rating 3-4. $1.50
New Releases ~ Secular SATB Voices ~ Secular
May Sky, by Libby Larsen, Japanese text, Oxford, 386622-6, SSAATTBB a cappella. This unusual piece is filled with sounds and wonderful creative tone and text painting. Commissioned for the Okubo Mixed Chorus for the 2002 World Choral Symposium, this piece uses texts from various Japanese poets. Larsen is considered to be one of the finest composers living today for her ability to match great verse to music that is intelligent and expressive. Many critics have compared her to English composer Benjamin Britten in her ability to set a text. This unusual piece is very difficult and a major and significant contribution to American 21st century repertoire. Difficulty level 5. $3.50
Peace on Earth, by Steven Sametz, English text, Oxford, 386537-8, SSAATTBB & small group of sopranos a cappella. Set to a text by E. Granger-Happ entitled "Two Deer," this piece was commissioned for the Millennium Project in Westport, Connecticut for the Staples High School Choir. The small group of sopranos expand and shadow the text first sung by the SATB choir. Extremely quiet and dramatic in gesture, it is sensitively set. The divisi middle section for all parts is hovered over gently by the chamber ensemble. Changing meters and challenging harmonies dominate the music fabric. The chamber ensemble must be an accomplished group of singers that can sing divisi with the upper section able to sing a high A at double piano. Difficulty level 4. $1.50
The Rub of Love (A Celebration of Love), by Augusta Read Thomas, English text, Hal Leonard, 50484157, SSSAAATTTBBB a cappella. This twelve part madrigal was commissioned by the professional ensemble Chanticleer. The piece really requires professional singers to be effective. Set to an anonymous Greek text, the piece has been recorded on CD by Chanticleer and won a Grammy Award. This piece enters the same repertory realm as the Vaughan Williams "Serenade." The rhythms and musical gestures to interpret the text are extremely difficult. It is perfect for the professional choral society or solo ensemble in conservatory or music schools that have very accomplished singers. Difficulty rating 5. $1.95
The Singing Heart, by Bob Chilcott, English text, Oxford, 343307-9, SATB (divisi) & handbells. This piece starts out with three-part handbells with the indication by the composer that they be rung with stately joy. The off-beat rhythms make this a challenging piece for the ringers. Set to text and music by the composer, it seems to dream of another time and place. Written in 2000, I still see the image of Chilcott as a member of the Kings College Singers, jumping through the air as he enjoys life and singing in his international role. This piece expresses his connection with life, the stage, and joy he feels as a performer and singer. Set to a text which makes everyone feel comfortable, it is a well constructed piece. Difficulty level 4. $2.25
Treble Voices ~ Secular
Y Deryn Pur (The Gentle Dove), arr. Jayne Davies, English text (Welsh dialect/English text), Theodore Presser, 392-01131, SSAA, solo voice, & piano. Arranged to a Welsh text attributed to Dayfydd Nicolas, an 18th century poet, the piece has been translated into English by Rhian Davies. Florid phrase shapes in the voices and piano accompany this beautiful tune. The soprano lies in the mid tessitura of the voice with an occasional high G, thus is probably best suited for a mezzo voice. The off-beat rhythms and appogituras will be great fun to sing. If using the Welsh lyric, a dialect consultant will have to be found because the edition does not include a pronunciation guide. The accompaniment requires an accomplished pianist. Difficulty level 4. $3.50
Y March Glas (The Grey Horse), arr. Jayne Davies, English text (Welsh dialect/English text), Theodore Presser, 392-01132, SSAA & piano. This "tally ho" folk song is cleverly set as the singers in four strophic verses describe what a horseman would need to go on a hunt. Repetitious nonsense syllables as they describe the hunt will be great fun to sing. A traditional South Cardiganshire song, the English version is prepared by Rhian Davies. The piece is filled with changing meters and many articulation marks which will help the choir learn to carefully interpret a score. The piece is expensive but a real winner and a terrific crowd pleaser once learned. It really should be programmed with the more accomplished treble choir. Difficulty level 4. $4.75
Singing Questions, by Alice Parker, English text, MorningStar, 50-9928, SA & piano with opt. cello. The Treble Chorus of New England commissioned this piece as part of its 25th anniversary in 2000. However, the premiere took place on May 26, 2001, with the composer conducting, at the Rogers Center for the Arts on the Merrimack College campus in North Andover, MA. The realization of this piece must be carefully thought through. The calypso rhythms that are so dramatically developed in the piano part support an elegant melodic line that must be sung with long lines and a warm tone quality. The piece needs an overall impression of thoughtful playfulness. It is excellent for school or church and the text is universal in its thoughts about the cosmic elements of music and music's origins. The text is written by the composer. Difficulty level 3-4. $1.75
SAB Voices ~ Secular
Your Face, by Bob Chilcott, English text, Oxford, 343299-4, SAB & piano. Set to an anonymous 17th century text with additional lyrics by the composer, this happy piece was commissioned by Birmingham Music Service for City of Birmingham Young Voices. It cleverly describes young love in musical gestures that are both charming and humorous. At the conclusion the part writing between the men and women's sections is just delightful. Another winner for high school or an ensemble of small forces from this fine composer. Difficulty level 3. $1.75
Men's Voices ~ Secular
Choose Something Like a Star, by Randall Thompson, English text, ECS, 5985, TTBB & piano. This fabulous piece was originally written for SATB voices. Thompson subsequently did an edition for SSAA voices. This TTBB arrangement by Stephen Smith is a wonderful addition to men's chorus repertory. Originally orchestrated as part of "Frostiana~Seven Country Songs," this edition can only be performed with piano. The text by Robert Frost is brilliantly set. A real challenge, singers have adored this piece since it was composed in 1959. The text painting and stunning harmonies are tremendously inspiring. Difficulty level 4-5. $2.40
Everyone Sang, by Joel Martinson, English text, Oxford, 386399-5, TTBB & piano. Commissioned by the Alamo City Men's Chorale in San Antonio, Texas, the piece requires an accomplished pianist. Set to a text by Siegfried Sassoon, the piece is filled with eighth note rhythms that are contrapuntally set. Beautiful text setting and wonderful harmonies make this an effective piece for men's chorus. Difficulty rating 4. $2.75
Of Rage and Remembrance, by John Corigliano, English text, Hal Leonard, 50483371, TTBB divisi, boy soprano, mezzo-soprano, chimes, & piano (or 8 cello, 4 bass, & timpani. This 17 minute piece poses some major challenges for the conductor, orchestra, and singers alike. The composer has gone so far as to suggest a stage plan as part of the edition. Commissioned by the Seattle Men's Chorus and the San Francisco Gay Men's Chorus through funds for the Meet the Composer Reader's Digest Commissioning Program, it is based on the third movement of Cogigliano's Symphony No. 1. It is set to a text by William M. Hoffman. The text makes reference to male partners that have passed from us. Changing meters, complicated rhythms, and large divisi in the voice parts (12 parts) make the piece quite difficult. It is only recommended for the more advanced male ensemble. Difficulty rating 5. $2.95