The Importance of Professional Growth ~ Attending Concerts and Creating Dialogue
By Marie Stultz, Contributing Editor
As musicians, many of us hold down numerous jobs and are constantly in a panic to get everything done, particularly in a busy music season like this one. When we are so busy chasing our own music issues, it is hard to find the time to rejuvenate ourselves with the very thing that brings others so much pleasure - hearing music that is not our own. Below are some suggestions for professional growth and personal renewal.
Attend a Concert
Sometimes the most benign suggestion can become the best musical resource for professional renewal. We all have musical friends and they are all working as hard as we are. Even as busy as we are, take the time to go to a concerts of friends and colleagues. Going to other concerts supports friends and also offers a great opportunity to glean new repertoire. It also affords the opportunity to evaluate the musical performance and learn some new techniques or determine some aspects of the performance you would never do. Positive evaluation of a performance can be extremely helpful.An artist may be on the program that you have not heard before. By introducing yourself after the concert, you may connect with a new artist to introduce to your audience. In the past two years of concert going I have had several such opportunities. After going to a brilliant jazz concert at the Andover Town Hall, I hired that professional jazz ensemble for a crossover jazz and classic choral concert with my children's chorus. The Boston Pops Jazz Ensemble is headed by none other than famous drummer Fred Budda. What an opportunity for some unique programming. Another day, while attending a concert of the Andover Chamber Music Society, I heard a fabulous soprano that literally knocked my socks off. I suddenly realized I had a score in the drawer for flute, voice and harp that I had composed over 15 years ago that would fit this ensemble.
Last year I attended The Boston Lyric Opera's presentation of The Little Prince in which I had a student singing. Lyric's set was cleverly done, giving me an idea for a portable set for my own opera company. This holiday season, I went to a choral performance of a Boston based chorus I highly respect, The Boston Cecilia. They performed a work I had only heard about by Hugo Distler entitled The Christmas Story (Die Weihnachtsgeschichte). I called the director Donald Teeters to get some details about the performance and this gave me the opportunity to have some dialogue with him about the work and its preparation. I learned that there are only two publications of this great work, one in German from Baerenreiter and an English version from Concordia, which is the edition Cecilia used for its performance. Cecilia chose the English edition so that the audience could better understand the piece while maximizing the learning curve. In discussing the score, I learned that the piece was very difficult. It was composed relentlessly high for the soprano section and was difficult to prepare in a rehearsal environment. The voices easily became tired. As Don said, "Much easier to perform than to rehearse!" What a useful piece of information for all of us to hear when considering doing a piece like this.
Only one of the concerts I have listed was a performance of choral music. It is important that we hear all kinds and types of music at different levels of professionalism. The concerts listed above were of the highest caliber and totally motivating and inspiring.
Find Time to Discuss Scores You are about to Perform with other Conductors
This is such a critical point in professional renewal. If you don't take the time to discuss how to interpret or prepare a score conducted by another colleagues' ensemble, you have missed a critical moment to expand your knowledge while having some lively dialogue. For example, my conversation with Teeters gleaned something about the Distler Christmas Cantata that proved invaluable. Find that time for lunch or arrange a meeting to talk with a conductor you respect that has prepared a score you plan on doing next season. The value here may be obvious, but so important in developing your professional growth. Conversations about score preparation and interpretation are always helpful, especially in anticipating any pitfalls in the score. Special information about the composer or the circumstances of the commission expands your knowledge of the score and may lead to an entirely different interpretation. With established music, discussion about editions is also very useful, as well as getting suggestions for other pieces to program with the work you are discussing.Dialogue beyond Mutual Respect and Friendship
Actively talking with colleagues, finding out what they are doing on a regular basis can quickly expand your horizons. Through this type of dialogue you find out who they have heard lately. You are always looking for new artists, instrumentalists, etc. Your network must ever be expanding. When I was preparing Amahl and the Night Visitors for this season with the Young Opera Company of New England, I had trouble finding professional kings of a high caliber that could meet our calendar. Instead of panicking, I developed a network of people that could help us. I ended up with more names and singers than we needed. Now I have an enormous pool to draw from for next year's performance. We called The Boston Singers' Resource and listed our needs on their website, as well as an established opera company on the Cape that gave us leads on fine singers they had employed. The first singer I hired, the director from Opera-2-Go, Thomas Oesterling, gave us a lead to Jonathan Whittlesey who was absolutely wonderful. A suggestion from Oesterling also led to a fine oboist.Ask colleagues what new scores they have discovered.
You're always looking for that new piece of music. With all the music being published today, recommendations from other professionals of successful pieces can save time. Besides fellow conductors, newsletters such as this one can be a great resource. If you are local to Spectrum Music, all the pieces that are reviewed can be found in a separate notebook in the choral room.
In fact, the entire choral library at Spectrum is a great music resource. It has been developed for your use and assistance in finding just the right score.Networking cannot be emphasized enough. The more people you hear and meet, the more resources you have at your fingertips. Go enjoy that next concert or have that dialogue with another colleague. It is important to take some quality musical time for yourself!
New Releases ~ Sacred Ave Maria, by Anton Bruckner (1824-1896), Latin text, GIA Publications, G-6221, SSATTBB, a cappella. This elegant setting of the famous text is breathtaking. Composed homophonically with some simple counterpoint, the suspensions and harmonies add to the power of this fine text setting. Although there is divisi in the voice parts, a small balanced ensemble could perform this to great success. This small motet was composed in 1861. It was first published in 1887. This publication is edited by Richard Proulx. The anthem demonstrates Bruckner's advanced compositional style. Difficulty rating 4. $1.20
Consider the Lilies, by Emma Lou Diemer, English text, MorningStar, 50-6062, SATB (divisi) & organ. Commissioned by Dr. Constance Speake and St. Peter Community Church in Northbrook, Illinois, this major anthem in A Major is set to verses from Matthew 6. The piece is filled with spacious chords of great beauty. The piece opens with the women on a unison melody that is elegant and is immediately imitated by the men also in unison. Typical of Diemer's style, this wonderful anthem is filled with elegant harmonies that take surprising but satisfying turns. The homophonic partwriting is quite accessible. This piece has multiple uses in the church year and perfect for any celebratory service where a quiet, reflective moment is needed. Difficulty rating 3. $1.75
God Loves All His Many People, arr. Alice Parker, English text, GIA Publications, G-5695, SSATB & piano. Composed in Calypso-Gospel style, this Ishiluba Melody (Zaire) is set to a Lubunda Mukurgu text with a revised translation by Anna Juhnke that first appeared in the Mennonite World Conference in 1990. The piece, commissioned by the Chancel Choir of the Second Congregational Church in Greenfield, Massachusetts, is quite straightforward. Filled with offbeat rhythms, everyone will enjoy singing this song in honor of friendship that can be used throughout the church year. Difficulty rating 3. $1.40
Starry Night, by Sir David Willcocks, English/Latin text, Oxford, 343272-2, SATB (divisi/choir 1 and 2) & organ. This lovely original carol was commissioned by Stephen Cleobury and premiered at King's College, England on Christmas Eve in 2004. This carol is composed to a sensitive text by Willcocks' daughter Anne Willcocks. Each Christmas Cleobury invites a friend of the College to write a new carol for the Nation. Willcocks, who was just turning 85, was asked along with Judith Bingham to write a carol for the college's annual lessons and carols. The piece opens with a simple organ solo that is quickly joined by a treble soloist that sings the simple, elegant melody. The "Alleluia" section for double choir is filled with elegant beauty and sung a cappella. Bass and tenor solos follow with the melody statement composed on effective key changes, with the choir repeating each melodic statement on simple harmonies. A fourth verse ensues with the entire choir singing the charming melody. The piece concludes with double choir singing the final Latin text with the treble soloist hovering the final "alleluias" over the quiet close. This is a beautiful carol but does require an accomplished choir with adequate forces. It is perfect for a large cathedral and would be excellent programmed for carol evensong. Difficulty rating 4. $1.80
The Call, by Z. Randall Stroope, English text, MorningStar, 50-6515, SATB & organ. This simple setting of a famous George Herbert (1593-1633) poem was commissioned by the Heart of the Valley Children's Choir in Corvallis, Oregon. The mixed edition of the anthem was prepared by the composer for the First Presbyterian Church in Fort Walton Beach, Florida. Expressive in its gesture, the simple harmonies and rhythms make it an accessible anthem for churches with small choral forces. The key changes are done with great effect and add to the expressiveness of the text. Difficulty rating 3. $1.50
Transeamus usque Bethlehem (Let Us Go to Bethlehem), by Joseph Ignaz Schnabel (1767-1831), Latin text, GIA Publications, G-6147, SATB & organ (opt. orchestra). This charming motet filled with shepherds and angels forms a southern German-style quodlibet, with the orchestra offering a simple pastoral accompaniment. It is filled with simple solo sections that represent the Christmas players, with the "Gloria" sections representing the angels set in simple thirds. The piece is filled with joy and is quite accessible in a busy season. Program notes are included in the edition by Richard Proulx, with instrumental parts available from the publisher. Difficulty rating 3. $1.50
Venite exultemus Domino (Come, ring out joy to the Lord), by Jan Pieterszoon Sweelinck (1562-1621), Latin text, GIA Publications, G-5930, SSATB & piano. This fine motet was first published in 1619 in a collection of 37 motets entitled Cantiones Sacrae cum Basso Continuo ad Organum. Beautifully edited by James Jordan, the piece is filled with elegant counterpoint on joyous harmonies. The piece is not difficult but requires a larger force of women than men. Performance notes are included in the edition. Difficulty rating 3-4. $1.50
A Young Nun Singing, by Libby Larsen, English text, Oxford, 386855-5, SSA a cappella. Libby Larsen is known for composing challenging music for all voices and this unaccompanied piece for trebles is no exception. Composed in four movements, the texts of the first three were written between the thirteenth and late-sixteenth century, and the last poem was written in the early 1900's. The poems, written by cloistered nuns, are filled with protest, good humor and images of young women forced to face their fate. Larsen is well known for her ability to write music with excellent text versification that has been on many occasions compared to that of Benjamin Britten. These pieces are a real challenge and most appropriate for an artistically sophisticated women's chorus if they are to be totally effective. The rhythmic, harmonic and artistic demands are great. This is serious, expressive music. Program notes are included in the edition. Difficulty rating 5. $4.00
Alma mater Dei/Alleluia, by Paul Chihara, Latin text, Peters, 68056, SSSAAA a cappella. Filled with clever imitation and expanding harmonies, this piece is quite brilliantly conceived. The first part Alma Mater Dei is set in three parts with the Alleluia composed for double choir that borrows themes and motives from each of the total of six parts. Almost minimalist in conception, the piece diverges into expressive phrases that are filled with rhythmic and harmonic surprises. Composed in 2003, this almost nine minute work offers the accomplished treble ensemble some spectacular moments. Composed for the Los Angeles Chamber Singers, it is wonderful to see this kind of challenging and creative music in print. The piece will be extremely effective on women's voices in both the college and community setting. It is not recommended for the advanced treble adolescent ensemble unless they are of great capability. Difficulty rating 5. $2.95
Blow Ye the Trumpet, by Kirke Mechem, English text, Hal Leonard (G. Schirmer), 50485735, SSAA & piano (organ or orchestra opt.). This is a very straightforward setting of these early American words from the hymnal and adapted by the composer. Because Mechem could not find the original melody, he has created his own simple tune set in early American style that is quite effective. Dedicated to the Wellesley College Choir, this movement from his opera John Brown is appropriate for any advanced treble ensemble. The harmonies are set mostly in thirds and often doubled between the parts. The score indications and changing meters make this simple tune into something quite artistic and moving. Difficulty rating 4. $1.95
Christmas Lullaby for a New-Born Child, by Imant Raminsh, English text, Hal Leonard (Boosey), 48018903, SSAA, viola & piano. Set to a provocative text by African-American poet Yvonne Gregory, this is not your typical Christmas carol. As Rao points out in her program notes, "In reality the message of the text far transcends the usual symbolism and imagery of Christmas and embraces the great universal questions facing humanity." Set to a question and answer format, the piece is set in 6/8 in four verses with the third verse in 9/8. Typical of Raminsh compositional style, the piece is filled with challenging rhythms and harmonies. The viola part is critical because it functions as an obbligato link to the melody. The piece was commissioned by the Portland Symphonic Girlchoir and is a real challenge to sing. Difficulty rating 5. $1.70
Nunc gaudet Maria, arr. Robert A.M. Ross, English/Latin text, Oxford, 386874-1, SSAA, harp & drum. This is a fine arrangement of the 15th century melody translated into English by Lesley Hopwood Meyer. Filled with open harmonies that ring on treble voices, this piece is excellent to use as an opening to a concert. It could easily be used as a processional, making for a different performance approach to this chant-like piece. The simple drum part played as the piece closes, can easily be played by a member of the choir. Difficulty rating 3. $1.40
MEN'S VOICES ~ SACRED
O Magnum Mysterium, by F.R.C. Clarke, Latin text, Oxford, 386892-X, TTBB a cappella. Filled with dark harmonies on changing meters, the numerous accidentals in this fine motet will offer some challenges. Shifting harmonies on lovely counterpoint that is contrasted with challenging homophonic sections make this piece a must for the accomplished men's chorus. Filled with great beauty and artistic power, the piece is effective both in a religious setting or concert hall. It would be most effective with a chorus of larger forces, adding power to the challenging harmonies. Difficulty rating 5. $1.60O vos omnes, by Giovanni Pierluigi da Palestrina, Latin text, Oxford, 386571-8, TTBB a cappella. This is a reprint from 1965 of this great motet by one of Italy's more powerful composers. The source for the MS is from Lamentations published in Rome in 1588. Set to Lamentations 1, verse 12, this short motet is so typical of Palestrina's compositional style. A member of the Roman School of composition, his powerful writing for a cappella voices is legendary. This piece is no exception. Difficulty rating 3. $1.40
SAB VOICES ~ SACRED
Who Is This That Comes From Far, arr. James Hopkins, English text, ECS Publishing, 6180, SAB & organ. This arrangement that uses the tune Bozrah and text by American composer William "Willie" Walker is quite unusual. The tune and words are from Walker's Southern Harmony published in 1851. This collection has become an enormous resource of early music tunes for contemporary composers. The anthem uses an alternate text by Lavette C. Teague as well as the original Walker, allowing the inclusion of three verses. There are hints of early American partwriting in this arrangement but also some contemporary harmonies unique to Hopkins himself. It is a fine arrangement and introduces choirs to this great music of our historic past. The piece is also available for unison voices mixed chorus or solo voice and organ, catalog no. 6179. Difficulty rating 3. $1.75TREBLE & SATB VOICES ~ SACRED
Two Visionary Songs, by Imant Raminsh, English texts, both published separately.
The Energies of Love, No. 1, Hal Leonard (Boosey), 48018975, SA/SATB & piano. Commissioned by the Halifax Camerata Singers, Jeffrey Joudrey, this piece is a real challenge with complicated rhythms and harmonies with numerous accidentals. The piece requires both an accomplished treble ensemble and SATB chorus. The first movement is set to a text by Pierre Teilhard de Chardin (1881-1955) taken from The Evolution of Chastity by Telhard de Chardin from the book Les directions de l'avenir. This is another major work from this fine Canadian composer. It begins mysteriously in the dark key of f# minor, but continues to evolve through various keys to what Raminsh calls the piece's target key of C Major. This is a very dramatic and powerful piece of music but not for the faint hearted. Difficulty rating 5. $1.70There Will I Stay With You, Whirling, No. 2, Hal Leonard (Boosey), 48018976, SA/SATB & piano. Commissioned by the Halifax Camerata Singers, Jeffrey Joudrey, this piece is filled with rhythms that switch from 7/8 to 8/8 at a break neck tempo of 180 to the eighth note. This dance-like anthem is set to a text by Mechthild of Magdeburg (ca. 1212-1282). This piece is dominated by dance-like rhythms that are quite challenging. Again, this is another dramatic piece from this fine composer, but again both ensembles must be accomplished. The editor recommends that both pieces be sung together even though they are published separately. Difficulty rating 5. $1.70
New Releases ~ Secular Basin Street Blues, by Spencer Williams (arr. Moses Hogan), English text, Hal Leonard, 08740660, SATB & Piano. This wonderful arrangement is filled with syncopated rhythms and blues harmonies that are tremendously imaginative as well as effective. The solo should be assigned to a very accomplished singer who can produce trumpet-like sounds on wide and complex pitches and rhythms in blues style. This is an imaginative piece about the Mississippi River as it leads to New Orleans where Basin Street rocks with sound. Difficulty rating 4. $1.70
Moonlight's Watermelon, by Richard Hundley, English text, Hal Leonard (Boosey) 48019101, SATB & piano. Commissioned by the Whitman College Chamber Singers, this piece was originally a solo song set to an unusual text by Jose Garcia Villa. The solo version was part of the composer's Octaves and Sweet Sounds, a group of songs set to contemporary poets. The poem is very abstract as is this choral adaptation. That being said, the piece is wonderful for building a choir's artistry as they learn to express this unusual text that seems almost fragmented. There is a lot of unison writing between the parts, which makes the piece accessible. The text versification of the anthem is quite clever and will be great fun to sing. Difficulty rating 4. $1.95O Mistress Mine, by Andrew Carter, English text, Oxford, 343269-2, SATB a cappella. Composed for the Leith Hill Musical Festival in celebration of its centenary in 2005, this is a robust, yet playful interpretation of this famous Shakespeare text. Set on changing meters, the piece has challenging rhythms and harmonies. In terms of the text versification, Carter takes the words seriously as he composes music that literally describes the words. He also goes back on the text and makes numerous repetitions to describe the meaning. This piece is great fun to sing with many artistic challenges. Performed correctly, this will develop an advanced choir's artistry and interpretive capabilities. Difficulty rating 4. $1.60
O Mistress Mine, by Sir David Willcocks, English text, Oxford, 343270-6, SATB a cappella. Willcocks' interpretation of the poem, also composed for the Leith Hill Musical Festival, is more question and answer in its musical structure. Set in the key of F Major, the harmonies are more homophonic in design. Filled with beautiful harmonies on simple rhythms, it is ideal for the accomplished high school choir. Set in ¾ meter throughout, the piece has a charming playfulness about it without it sounding contrived. Difficulty rating 3-4. $1.40
The Isle is Full of Noises, by Bob Chilcott, English text, Oxford, 335542-6, SAATB (divisi) a cappella. Set to a short text from Shakespeare's The Tempest, Chilcott has chosen a minimalist approach to this dance-like setting. "Be not be not be" is used over and over in counterpoint between the various voice parts as one single part carries the melody. The piece builds to a powerful point at the words "hurt not," then goes back to the minimalist piano section that occurred at the opening. It builds in power in the middle section and then returns to the minimalist gestures that sound both playful and charming. The accomplished high school and college choirs will love this piece and perform it with great artistry when carefully following the composer's score markings. Difficulty rating 4. $1.80
You and Me, by Bob Chilcott, English text, Oxford, 343319-2, SATB a cappella. Filled with lustrous harmonies, this suite of two pieces seems very introspective. "Brightness," set to a text by Denis Glover (1912-1980) and "The Good Side of Me," set to a text by Elizabeth Jennings (1926-2001) are poignantly composed. Changing meters of some complexity dominate both movements. Composed for Choros Amici, Sainsbury's Choir of the Year 2000, they are filled with beautiful harmonies and fine text painting. These pieces would be an excellent choice for festival or honor's choir. They are demanding artistically and will leave an enormous impression on both singer and audience. Difficulty rating 5. $1.80
Beauty in a Moment, by Elizabeth Ziman, English text, Hal Leonard (Boosey), 48018898, SA & piano. This lovely piece, set to a poem by the composer, was commissioned by the Young People's Chorus of New York City and premiered on April 27, 2003. The poem looks through the eyes of a child and deals with curiosity, optimism, and a child's ability to delight in beauty before it vanishes. The delicate melody colors the text in graceful beauty. The piece is filled with changing meters and rhythmic phrases that will help develop a chorus' skills and artistry. Difficulty rating 3-4. $1.70
Birch Tree, arr. Stanislav Gribkov, Russian/English text, Hal Leonard, 08744977, SSAA (divisi) a cappella. This is a challenging arrangement of a famous Russian folk tune. The arranger has cleverly used canon on four voices to create unique harmonies filled with minor seconds. Edited by Henry Leck, the piece has been carefully edited phonetically to help with the Russian diction and an extensive IPA chart has been developed. On tour in Russia, the Indianapolis Children's Chorus sang this piece in Russian with the St. Petersburg Radio Television Choir. It is an exciting arrangement but is also an excellent vehicle for introducing singers to this great music and this fine folksong that has been sung around the world. Difficulty rating 4. $1.60
Crossing the Bar, by Gwyneth Walker, English text, ECS Publishing, 6377, SSAA & chamber orchestra or piano. Set to a poem by Alfred, Lord Tennyson (1809-1892) this piece is filled with images of the sea. The text is set quite simply on an effective melody. The piece moves from simplicity to more activity as the ocean becomes more powerful as "I put out to sea." The bell section is hushed and mysterious with beautiful text painting. The final section is brilliantly written with four-part harmony over the ocean motive in the accompaniment. Difficulty rating 3-4. $2.05Geordie (or How the Lady Ann Saved Her Man), arr. Stephen Hatfield, English text, Hal Leonard (Boosey), 48018825, SSAA a cappella. This is a great piece for teaching singers to tell a story through music. A Scottish Ballad, the piece opens with history and legend. This story of Geordie and Lady Anne's saving of him is quite charming. The partwriting is quite low for the sopranos, therefore will have to be worked carefully to build a natural chest voice that is unstrained. In general, the tessitura lies mostly in the middle-and-chest range for all voice parts. Diction will be paramount to force the voice on the air. Hatfield also suggests that the performance should have a feeling of the pounding of horses' hoofs. The sopranos finally rise into the upper tessitura well into this dramatic setting. Singers will enjoy telling this delightful story. The piece is in that genre of Britten's "Ballad of Little Musgrave and Lady Barnard" for men's voices. It would be great fun to see these two pieces programmed together. Difficulty rating 4. $1.95
Kadiq, by Francisco J. Núnez, English text, Hal Leonard (Boosey) 48005173, SSA, SA (or soloists) & piano. This is a very special piece in that it deals with the issues confronting our world and the children in it. Núnez explains in his program note, "I came across a wonderfully light, yet important 19th century anonymous poem called Two Little Kittens depicting a fight between two cats over a mouse. I was drawn to the idea of ending the poem with the famous Latin canon Dona nobis Pacem and found a book of ancient Hebrew songs, which surprisingly contained a melody for Dona Nobis with Hebrew text. It all came together when I learned the Arabic translation of two words: brother (Kadiq) and peace (saalam). The music is organized around telling the story. The youth chorus (SSA) tells the story while the children's chorus (SA) takes on the role of the kittens tumbling around. The piece is filled with difficult harmonies on changing meters, but is cleverly composed to tell the story. The piece closes with the Latin and Hebrew rendition of the famous canon that is powerfully set in five parts. A real winner when you have a chorus of large forces. This piece would also be excellent for use with honors choirs or festival events. Difficulty rating 4-5. $1.75
Three Moravian Duets, by Antonín Dvorák (1841-1904), Czech/English text, Hal Leonard, 08744995, SA & piano. These three charming duets originally written for solo voices and piano in 1876 will work brilliantly on treble voices. Taken from a group of 13 duets, they can be sung by treble voices or for mixed voices in the Leos Janácek arrangement, a fellow Czech composer from Moravia. The three pieces translate to the following: 1. "If there were a very sharpened sickle," "Slavíkovsky farms near my village," "Toward a field quickly flew a dove." All three are extremely charming with contrasting moods and musical gesture. Editor Henry Leck offers a phonetic guide to the Czech with an English translation by Joe Svecs. What a wonderful opportunity to introduce your choir to the great music of Dvorak and Czech diction. They are beautifully edited with performance notes. Difficulty rating 3. $1.95
Extended Work for Treble Voices
Birdsong, by Daniel Brewbaker, English text, all published separately and dedicated to Ned Rorem as part of his 80th birthday celebration. The dedication is appropriate. These pieces are as beautiful and effective as the Ramish Songs of the Lights. All three were commissioned and premiered by the Brooklyn Youth Chorus, Dianne Berkun, Founder and Music Director. These pieces will immediately enter the permanent repertory of the 21st century!O Purple Finch, No. 1, Hal Leonard (Boosey), 48018876, SA & piano. This hauntingly beautiful piece is set to a text by e.e. cummings. The expanse of the phrase shapes and the eerie harmonies imitates the sounds of the bird that tries to fly and wishes summer not to die. The image writing in this composition will allow the voices to soar with great beauty of tone. There are some challenging rhythms but the writing is so brilliant in both the voice parts and the accompaniment that an accomplished choir will immediately take to it and perform it with great artistry. Difficulty rating 4. $1.70
Humble One, No. 2, Hal Leonard (Boosey), 48018874, SA & piano. How Brewbaker can compose such haunting beauty out of a text that seems so disjointed is hard to comprehend. Through voice alliteration sense is made out of this wonderful poetry of e.e. cummings. The piece, like the poetry just spins off the page. The melodic lines have great beauty as they soar into the "world to sing." Difficulty rating 4. $1.70
Now, No. 3, Hal Leonard (Boosey), 48018875, SA & piano. Harmonically denser than the other two movements, this final movement to an e.e. cummings poem of clear meaning is almost demanding in its gesture for the birds always to sing. Filled with text painting of great beauty, we truly believe that "he sings till everywhere is here." What a dramatic image to close this wonderful cycle. The changing meters and rhythms in the phrases just add to the poignancy and surety of the plea. Difficulty rating 4. $1.95
MEN'S VOICES ~ SECULAR
Avenging and Bright, arr. David Mooney, English text, ECS Publishing, 6321, TTBB (divisi) a cappella. Set by Thomas Moore (1779-1852) to an old Irish air entitled Crugan a Venee in 1811, this is a charming tale of a "famous Irish tragic story of the betrayal of Deirdre and the sons of Usna by the king of Ulster." This fabulous arrangement for men's voices is done with charm and power. The story is told brilliantly with wonderful text painting with short phrases that move the melody forward. Each section gets the folk melody at some point in the arrangement while the other parts offer a declamatory accompaniment that emphasizes and shadows the story. This is a great piece for men's chorus and a must for the accomplished men's ensemble. There is some divisi in the tenor and baritone part, but this could be done effectively with a small ensemble. Difficulty rating 4. $2.05