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COMMISSIONING AND PREPARING NEW MUSIC
THE JOYS AND PITFALLS OF PREPARING EXTENDED NEW WORKS
By Marie Stultz, Contributing Editor
Commissioning a new work can be the most gratifying experience you can have with your performing organization. Just the process of learning new music and preparing the score for an artistic performance holds great challenge, as the music builds and stretches your ensemble's musical capabilities. Getting to know the composer and learning about that individual's creative process are equally enlightening. This article will explore the preparation of large new works, outlining a road map for success. These observations are made after recently preparing the hour-long opera, The Legend of Sleepy Hollow, by Dr. Mark Volker, with the Young Opera Company of New England.
SELECTING THE RIGHT COMPOSER
This may seem obvious, but many music professionals often choose the wrong composer. There are very different genres of music being written today. You need to determine what musical gesture is best for your organization. Answer the following questions when choosing a composer:Is the composer's music terse or more lyrical in nature?
The type of musical gesture is critical in choosing a composer. With young voices like the opera company, musical challenge was extremely important; but the music needed to be melodic as well. Mark Volker brilliantly achieved all of the critical elements with this commission. The key to his success: he knew the organization intimately, since he served as a teacher at our summer academy.What kind of musical gesture would your ensemble prefer?
Some ensembles appreciate enormous musical challenges. Boston Cecilia, with Scott Wheeler as composer-in-residence, has premiered very difficult music with great confidence and artistry. Some organizations enjoy preparing challenging new scores, while others find these scores daunting. Select a composer who can offer artistic challenge that is within your organization's reach.Does the composer have a regional or international career?
This is an extremely important question. As a conductor, I have been involved in numerous world premieres that are appropriately challenging for the young singer. Musical gesture and the story line were critical elements in preparing such pieces as Whiskers and Rhymes by Scott Wheeler or Angels are Everywhere by Daniel Pinkham. The subject matter and musical humor had a great deal to do with the success of the performances. Both of these composers were local and readily accessible in realizing the music. With Be Simple Little Children by Bob Chilcott, the musical gesture was not clearly understood until we got to the Crescent City Festival in New Orleans, where the piece was premiered under the composer's baton. When commissioning for the first time, it is probably better to select a local composer whom you can consult on a regular basis.Does this composer create imaginative music?
Many of us have heard music that we know will never last. The ideal is to select a composer with a good track record who brings great imagination to his compositions. With The Legend of Sleepy Hollow, we had all the ingredients in the music to create an imaginative and sometimes bone-chilling performance. Volker had composed choral music for the opera company for the first two years of its existence.Giving this young, inventive composer an opportunity to write an hour-long dramatic work was the perfect chance to expand the artistic growth of the company. Everyone -- performers and audience members alike-- considers this opera based on a famous American legend to have true lasting power.
Are other works by this composer within your ensemble's grasp?
It is important to learn an established work by the composer before proposing a commission. The greater the choir's knowledge of the composer's musical gesture, the better the performance.Does the composer have a working knowledge of compositional rules?
All four composers I have mentioned in this article display a tremendous grasp of choral composition and compositional rules. Such expertise is a critical element in successful commissions. Text versification, reasonable interval challenges, a sense of the larger picture, and a thematic element are all critical to compositional success. Some elements you don't want to see when reviewing a composer's work:
Parallel octaves or fifths (These must be intentional, not accidental.)
Awkward counterpoint
Word or syllable misplacement
Awkward key changes
Poor use of vocal range
Rhythmic challenges that are unreasonable
Lack of melodic and harmonic interest
Is the composer someone you know?
If you personally know the composer, it will often guarantee a good working relationship.
When commissioning a composer you have never met, it is recommended that you have lengthy phone conversations or have a face-to-face meeting. Beauty and the Beast, by Libby Larsen, was totally revised after a number of phone conversations. She simply didn't understand the range of the child's voice. After our conversation, she totally reshaped the melodic lines. With a first commission, it is recommended you work with someone you know.DETERMINE THE SUBJECT AND LENGTH OF THE COMMISSION
This is extremely important in the commission process and needs to be mutually agreed upon before the compositional process begins. While the piece's parameters may change as the work progresses. clear guidelines will certainly help in creating a work that is satisfying to everyone. The criteria for Sleepy Hollow:
[1] The chorus should be prominent in the opera's musical gesture.
[2] Solo roles should be limited in length to accommodate young voices.
[3] The opera would be approximately one hour.
[4] The music and dramatic action should be appropriate to the period.
[5] The libretto should reflect this great legend by Washington Irving.
[6] Steeped in American history, the opera must appeal to all ages.As a result of careful preparation, the opera had elements that appealed to everyone. Filled with ghostly images and eerie melodies, the premiere performance met with great success a week before Halloween.
THE REHEARSALS AND PREPARATION OF THE SCORE
It is important to get a complete score as soon as possible. Some composers are more efficient than others. That being said, changes are going to occur -- perhaps up to the time of the performance. Some important things to think about when preparing the score:
1] Make sure all scores are collated and bound.2] The rehearsal accompanists/ensemble must have ample time to prepare.
3] Study and mark your score before the first rehearsal.
4] Identify pitfalls in the score and make a weekly study list for everyone.
5] Teach the beginning and ending of the score first.
6] Work the first to the middle and from the back to the middle of the score, early in the teaching process.
7] Sing through the entire score within the first two to three weeks.
8] Solos should be rehearsed in private sessions.
9] Determine musical linkage through all the movements by identifying similar motivic elements. This will speed the learning process.
10] Emphasis on diction and rhythm will be psychologically helpful to the singers.
11] Singers should have a pencil, marking changes in the score and performance expectations.
12] Make time to discuss awkward passages or mistakes with the composer. This is critical to fostering a spirit of collaboration.
CHANGES AND PERFORMANCE EXPECTATIONS
It is important to help everyone understand that there are going to be changes, including changes in solo assignments, etc. At times composers will decide to eliminate some music. Learning and preparing a world premiere is an ongoing process and requires great patience on the part of everyone. Elements to strive for in successful rehearsals:Careful listening
We need to expect our singers to be quiet at all rehearsals, but this element becomes even more important when preparing a world premiere. The sorting-out among the conductor, composer, and production team can be much more effective if everyone is focused on the performance. Listening and quick, accurate musical responses take on new meaning with a world premiere.
An upbeat atmosphere
Panic amidst the performers can happen. You, as the conductor, need to diffuse those feelings. You need to become a cheerleader to quell people's nerves, respecting their honest efforts to sing the right notes. It is a given that mistakes will happen in the first performance. When possible, plan two or more performances to improve the chances for note and interpretive accuracy.
Composer Intervention
The composer must intervene in terms of shaping the music, building on his/her original conception. Some composers interrupt more than others. It is important to talk through the more critical areas of the score in advance, making those interruptions limited.Music contrasts
Determining special moments in a music performance is a given, but with world premieres these areas of the score are even more critical. There is a tendency to be satisfied with just getting through the music, which results in over singing. Avoid the tendency to be satisfied with only the notes and rhythm. Instead, dig into the richness of the new score. Demand refined interpretation of the phrase shapes and the composer's road map, if you're aiming for a truly successful performance.With Sleepy Hollow, collaboration was the "name of the game." Marcus DeLoach, as director, was a powerful communicator, bringing great theatrical ingenuity garnered from his professional experiences in opera. The Volkers, DeLoach, and I worked together as colleagues, resulting in a climate conducive to a powerful performance. The back stage organization was superb; therefore, I was able to assume the role of a conductor who could direct the special moments in the score.
New Releases ~ Sacred Cherubic Hymn (from The Liturgy of St. John Chrysostom), by PiotrIlyitch Tchaikovsky (1840-1894), Russian/English text, ECS, 6782, SATB (divisi) a cappella. The first performance and publication of this work met with great controversy. Many critics felt it was a religious work by a secular composer holding no regard for liturgical composition standards, which were greatly influenced by Palestrina and the Roman school of the Renaissance. Tchaikovsky despaired that his efforts to advance the compositional style of church music in Russia were unsuccessful. The "Cherubic Hymn" is one of the most popular texts in the Orthodox tradition. Set in two parts divided by a single "Amen," the piece opens quietly with serene adulation. After a simple "Amen", the anthem breaks into a joyous mode that continues to the conclusion. This is a wonderful edition by Anthony Antolini, with extensive background on the composer, pronunciation guide and program notes. Difficulty rating 3-4. $2.15
Good News, The Chariot's Comin', arr. Moses Hogan, English text, Daybreak (Hal Leonard), 08748959, SATB (divisi) and piano. This adaptation by Rollo Dilworth is in keeping with the original musical gesture so apparent in Hogan's arrangements. Filled with challenging off-beat rhythms and question-and-answer sections, this wonderful arrangement will have the audience on their feet. It is extremely important that the piece be performed in gospel style. Difficulty rating 4. $1.70
High Word of God, Eternal Light (Verbum supernum, prodiens), arr. David Willcocks, English/Latin text, Oxford, 336068-6, SATB (divisi) and organ ( or a cappella). This is an ethereal setting of this great 10th century sarum chant. Translated from Latin into English by J.M. Neale, the last verse is taken from the New Oxford Book of Carols edited by Hugh Keyte and Andrew Parrott. The piece is filled with elegant harmonies so prevalent in Willcocks' great carol arrangements. The organ can be used ad lib on the final verse of the anthem. With this in mind, the first four verses should sound more chant-like in nature. The muse of this composer, conductor, and organist, now in his late 80's, is still very much alive. Difficulty rating 3-4. $1.80
Jesus on the Mainline, arr. Moses Hogan, English text, Hal Leonard, 08748485, SATB, solo and piano. This arrangement, recorded by Dukes of Dixieland, uses the soloist and the choir in a question-and-answer structure. The choir parts are composed homophonically on offbeat rhythms. There are many intentional phrase and word repetitions, which must be sung in sharp contrasts each time. These repeated phrases are part of the overall compositional structure and must not sound monotonous. This piece must be sung with a great deal of style and joy. This gospel swing is composed in a quick 168 to the quarter in 4/4 time. Difficulty rating 3-4. $1.80
Lord, Thou Hast Been Our Refuge, by John Rutter, English text, Oxford, 336274-1, SATB, trumpet and organ. Set to verses from Psalm 90, Rutter realizes this powerful text with tremendous effect. The piece opens with solo trumpet playing a stellar part with frequent tempo and meter changes. The choir begins with harmonies that are both mysterious and bone-chilling in color. The text versification at a double piano only adds to the mystery. This extraordinary work builds in power and musical thrust. This is some of Rutter's finest choral writing, concluding with breathtaking harmonies composed in eight parts. This fine new work was world-premiered at St. Paul's Cathedral on March 7, 2008, for the 700th anniversary of the Worshipful Company of Barbers, who commissioned the work. Difficulty rating 4. $2.75
Morning Has Broken, by Bob Chilcott, English text, Oxford, 336272-7, SATB and organ (opt. congregation). Set to the famous poem by Eleanor Farjeon (1881-1965), most of this setting is original to Chilcott. The original Gaelic melody entitled "Bunessan" isn't sung until late in the piece's conception, and can include the congregation. The original music is filled with challenging rhythms and harmonies. Changing meter signatures add to the piece's difficulty. This original music is used as a descant over the statement of the popular melody. The anthem concludes on octave C's in solemn quiet. Difficulty rating 3-4. $1.80
Salve Regina, by Robert Lucas Pearsall (1795-1856), Latin text, Oxford, 395015-3, SATB a cappella. This edition by Richard Lyne is based on an 1806 publication prepared by Röder of Leipzig. The editor has had to modify some of the dynamics to better fit the text. This is one of a series of restorations of Pearsall's work. This sensitive Salve Regina is composed mostly in thirds with some gentle, effective counterpoint. The half note is the pulse source, allowing the singing of long, lyrical phrase shapes of great beauty. A feeling of length and stretch is critical to the interpretation of this setting. Difficulty rating 3. $1.95
EXTENDED WORKS~SATB VOICES
Cantate Dominum, by Joseph Swider (b. 1930), Latin text, Gentry (Hal Leonard), JG2384, SATB (divisi), a cappella. This setting of popular Latin texts uses rhythmic kernels composed on contrapuntal phrase shapes, in contrast to phrases that are legato and lyrical in nature. Swider, a Polish composer, uses three short sacred texts and weaves them into a masterful setting. The piece has a dance-like quality about it that should be sung with a light, playful quality. The long phrase shapes on "Alleluia" and "Agnus dei" should be sung with lyrical beauty. This is a wonderful composition -- perfect for church or concert environment. Difficulty rating 4. $6.95
The World Beloved, A Bluegrass Mass, by Carol Barnett, English text, Boosey (Hal Leonard), 48019834, SATB (divisi) and Blue Grass Band or piano. This unusual mass uses the traditional Latin text interspersed with original words by Marisha Chamberlain. It alternates between bluegrass sounds and traditional harmonies. Barnett comments on the commission by the VocalEssence Ensemble Singers, "To bring the solemnity of the classical-based Mass together with the down-home sparkle of bluegrass-now there's an assignment." Composed in seven movements, this will offer an unusual presentation in a serious concert environment. Difficulty rating 3-4. $8.95
TREBLE VOICES~SACRED
Give to My Eyes, Lord, by Ronald Corp, English text, Oxford, 335921-5, SA and piano. Set to a text by Colin Coppen that makes reference to the death of Christ, the anthem opens with two unison verses on changing meters of 6/8, 9/8, and 12/8 in the key of G Major. Set in six verses, with the next three verses in two parts with various key changes, the piece is filled with harmonic challenges of varying difficulty. The final verse, sung in unison, is set in A Major. This return gives the anthem a feeling of being constructed strophic in form. Difficulty rating 3. $1.80If Ye Would Hear the Angels Sing, by Stephen Mager, English text, Oxford, 3804791, SSA & keyboard. This carol, set to a text by Dora Greenwell and the composer, is a joyful selection for Christmas. Composed for both SSA voices and SATB voices (380479-1), this is a thoughtful, sophisticated setting of the text, with a beautiful, original melody. The carol would work well in unison or in parts. Set in F Major with a meter signature of 6/8, it is filled with dance-like rhythms. Difficulty rating 2 in unison and 3-4 in parts. $1.70
Let All the World in Every Corner Sing, by Paul M. Vasile, English text, MorningStar, 50-6405, Unison and keyboard. This simple setting will develop the mid-range of the child's voice. Perfect for the beginning choir, it is a great introduction to a text made famous by Martin Shaw. There are some tricky text versification sections that will have to be carefully studied and drilled. Difficulty rating 2. $1.
Rejoice Together Ev'ry One, by Barrie Cabena, English text, ECS, 6875, SAB and keyboard. Set in 6/8 meter to a text taken from Gesangbuch der Brueder (1544), this anthem for Easter is filled with charm. Composed in e minor and set in three verses, the first verse uses simple homophonic harmonies, with the men singing the second section in unison. The last verse is set canonically, making this an effective but easy anthem to learn. It is perfect for the small choir. Difficulty rating 3. $1.85
New Releases ~ Secular Let Music Fill the Air, by Gwyneth Walker, English text, ECS, 6363, SATB and piano. This is a powerful setting of various texts that celebrate the joy of music and singing. It speaks to the universality of music. The harmonies ring off the page and the interpretive challenges will be more than satisfying. Walker writes melodic music, and this piece is no exception. The musical interpretation of the text gives the choir many opportunities to sing with power and translucent beauty. This wonderful work was commissioned by the Polymnia Choral Society of Melrose, MA, as part of their 50th anniversary. Difficulty rating 4. $2.15
Ne VeterVeya S Visoti (Was It a Night Wind from On High), by Nikolai Rimsky-Korsakov, Russian/English text, ECS, 6721, SATB (divisi) and piano. Taken from a cycle entitled In Spring, op. 43, it was originally written in a three-part format. This arrangement is by by Vadim Prokhorov. The two outer parts are narrative in nature, with the middle section conceived more dramatically. The beautiful narrative melody sections are set homophonically with divisi in the voice parts. The middle section is filled with elegant counterpoint. The piano part brilliantly imitates the wind as it weaves in and out of the voice parts. Three other Russian arrangements by this editor are "Gopak" by Musorgsky (6718~$2.65), "PoputnayaPesnia" by Glinka (6720-$3.25), and "So V'yonum Ya Hozhu," an arrangement of a folksong by Rimsky-Korsakov (6722-$1.85). All are published by ECS and include program notes and pronunciation guides. They would make a wonderful Russian set for the ambitious choral society or college choir wanting to sing in original languages. Difficulty rating 3-4. $1.85
O Schöne Nacht (O Lovely Night), by Johannes Brahms (1833-1897), German/English text, G. Schirmer (Hal Leonard), 50316790, SATB and piano. Composed in 1877, this is the first in a set of four quartets, op. 92. This opus number was published in 1888, with performances in Frankfurt and London in November of 1887. Filled with lyrical contrapuntal lines of great beauty, the piano part is filled with florid phrase shapes that seem to shimmer in the night. The text painting is exquisite and masterful in melodic gesture in all voice parts. A perfect choice for the accomplished high school or college choir, its breathtaking beauty will please performers and audience alike. Difficulty rating 3-4. $1.80
The Seal Lullaby, by Eric Whitacre, English text, Hal Leonard, HL 08749149, SATB and piano. This touching text by Rudyard Kipling was originally written for an animated film - a film that never came to fruition. The composer was so excited for the opportunity that he composed the piece instantly, giving the music a wonderful spontaneity. The text versification is beautifully done. This composer understands the voice, and this shows in the basics of this composition. The tone painting in the lovely phrase shapes make for some very special moments in a unique lullaby set to an earthy text by this great poet. Program notes are included in the edition. This is a real winner and demonstrates what a fine composer can do with this genre of music. Difficulty rating 3. $2.25
The World Is Too Much with Us, by Kirke Mechem, English text, G. Schirmer (Hal Leonard), 50486693, SATB (divisi) a cappella. Written with colorful images set to a great poem by William Wordsworth (1770-1850), this anthem is filled with gripping, heart-wrenching harmonies. The text painting in the music rivals Wordsworth's compelling 200-year old poetic warnings about the industrial revolution. Full of beautiful counterpoint and homophonically-built harmonies, the text seems to have driven this composer to some uncanny, sonorous moments. This is a must for the accomplished mixed chorus. Although set to a secular text, it does mention the words "great God." On the right Sunday, where the service is directed to concerns for the earth, this anthem would be ideal. Difficulty rating 4. $1.95
EXTENDED WORKS
Estampas Criollas (Creole Portraits), by Ernesto Cordero, Spanish text, Boosey (Hal Leonard), 48019772, SATB, tenor solo, rapper, string orchestra and piano. This unusual extended work in five movements is based on melodies taken from the oral tradition in Puerto Rico. The piece opens with a short Fantasia for orchestra that acts as an overture. The second movement takes the form of a lullaby that is impressionistic in nature. The third movement is a Guanina, a love song for tenor, chorus and orchestra. The fourth movement is set to a popular patriotic song and is dominated by the chorus, with the orchestra offering a fifth voice. It is modal in quality and depicts the time in which the song was created. The last movement is the most unusual, featuring a rapper, filled with syncopated rhythms and traditional harmonies. The a cappella section in this movement is madrigal-like in style with the rapper creating a recitative. This final section is the most difficult of all the movements. The entire work with overture lasts approximately 20 minutes. Difficulty rating 4. $3.50Fünf Gedichte von Richard Pohl (Five Poems by Richard Pohl), by Hans von Bülow (1830-1894), German/English text, ECS, each sold separately, SATB a cappella. Hans von Bülow, considered one of the finest composers of his generation, studied composition with such composers as Franz Liszt. He was best known for his conducting, premiering such pieces as Brahms' Symphony No. 4 and Wagner's Tristan and Isolde. These five pieces include some elegant counterpoint and surprising harmonies. Each demonstrates a brilliant understanding of composition. Am Stande (At the Beach, 6619, $1.85) is plaintive in nature. The text versification is beautifully done, with the harmonic writing filled with sorrowful harmonies. The second movement, Regenbogen (Rainbow, 6620, $1.85), uses lively harmonies at a quick tempo. The piece opens homophonically, but then turns to counterpoint and challenging harmonies that will be great fun to sing. The third movement, Wanderziel (Travel Destination, 6621, $2.15), uses lyrical phrase shapes on changing meters. The harmonies and contrapuntal lines contain interpretive challenges. Again, the text painting is brilliantly conceived. Unusual in this period, the use of articulation marks is quite prominent. The fourth movement, EwigeSehnsucht (Eternal Longing, 6622, $2.65), uses rich harmonies and contrasts in dynamics. The performance marks in the score are very specific, helping the choir create the beauty of an eternal spring. The final movement, Seelentrost (Consolation of the Soul), will be available from the publisher shortly. Difficulty rating 4.
SephardischesLiederbuch (The Sephardic Songbook), ed. Aron Saltiel and Joshua Horowitz, Spanish text, Peters, 10849, unison a cappella. Published in 2001, this fine, valuable collection has just come to the editor's attention. Included in this well-researched edition are 51 authentic Jewish-Spanish songs from the oral tradition. Performance suggestions are thoroughly covered by the editors, with comprehensive background on this unusual music. Equally amazing are the ornament guidelines for the vocalist. Improvisation is an important element in the performance of these lieder or songs. An annotation of each melody and its source is included at the back of the edition. This is a must for every researcher, conductor and composer interested in the historic path of this great music. Difficulty rating 3-4. $33.50
TREBLE VOICES ~ SECULARHey, Bunny (Zain'ka), arr. Vadim Prokhorov, Russian/English text, ECS, 6719, SSA & piano. This is a charming children's folk dance from Russia. Some simple instructions on how to play the game are included in the edition. The arranger, who is a prominent authority on Russian music, offers a comprehensive Russian pronunciation guide and an English translation in the edition. Arranged in the key of d minor, the quick tempo and simple part-writing in thirds make this an accessible anthem. The altos must be able to sing a low A with ease. This is a great piece for building the mid-range of young voices. Difficulty rating 3. $1.85
Orpheus, by Dominick Argento, English text, Boosey (Hal Leonard), 48005131, SSA (divisi) a cappella. Set to a dramatic poem by Osbert Sitwell, this is the first anthem composed by Argento for children's chorus. Editor Francisco Núnez commissioned this brilliant work for the Young People's Chorus of New York City and premiered the work in 2003. It is part of the Transient Glory Series of works written for young voices by some of the world's greatest composers. The piece opens with a cleverly constructed canon in two parts. Argento has made no compositional compromises, filling the piece with challenging accidentals which will develop the choir's pitch and auditory skills. The text painting is so typical of this great American composer's style, using both counterpoint and homophonic writing to great advantage. This piece requires an accomplished ensemble that understands how to sing contemporary music. What a gift to the treble repertory! The composer conceived this piece for young singers with a carefully selected text. However, the accomplished woman's chorus could sing the 5-minute work with great empathy. Difficulty rating 4-5. $2.50
Three Riddles, by Richard Causton, English text, Oxford, 336005-1, SSA a cappella. Composed in four movements, including a reprise of melodic and harmonic material in movement four, this piece is carefully thought out. Composed contrapuntally, the text painting of these anonymous, humorous texts will bring a smile to everyone's face. All of the short movements are filled with harmonic and rhythmic challenges. The long phrase shapes will build a choir's breath control. Although rather silly, the piece must be sung with great artistry. The riddles include Night and Day, The Sun, The Moon and a reprise of Night and Day. According to the composer, "Each riddle in some way explores the ideas of balance and symmetry, whether through the use of canon, inversion, or palindrome." This three to four minute work requires an accomplished choir. Difficulty rating 4. $2.25
Time to Say Good By (Con tePartirò), arr. Mac Huff, Italian/English text, Hal Leonard, 08744669, SSAA and piano. This is an obvious selection because of the melody's popularity made famous by the famous tenor Andrea Bocelli. This arrangement, mostly in unison, will be a big hit with the audience, making this piece the perfect concert closer or encore. The harmonies, composed mostly in thirds and seconds, and taken faithfully from the accompaniment, will be easy for the accomplished treble choir to learn. Everyone gets to sing the original melody at some time in the arrangement. Difficulty rating 3. $1.70
Where Go the Boats?, arr. Valerie Showers Crescenz, English text, Oxford, 386994-3, SA and piano. This simple piece is well constructed. The harmonies have some elegant charm about them as the conductor develops the mid-range of the child's voice. Set to a text by Robert Louis Stevenson (1850-1894), the wave-like motion in the piano accompaniment supports the melody. This is highly recommended for the intermediate choir where simple part-singing needs to be developed. Avoid shout singing, keeping this lovely melody gentle and effective. Work to create a timeless element in the singing. Difficulty rating 2. $1.80
EXTENDED WORKS
Peace Variations, by Nick Page, English/Hebrew/Latin/Arabic/Hindi text, Boosey (Hal Leonard), 48019782, SA and piano. This plea for peace is based on a theme by J.S. Bach and originally found in Preludium One in C Major (BWV 846). In five movements, the first movement is an arranged statement of the theme. The next three movements are variations on that theme, with a Postlude at the end. The piece was inspired by some of the great religious leaders in history, with the word peace sung in Arabic, Hebrew, Hindi, English and Latin. Composed mostly in unison, the simple part-writing is quite accessible. The basic chord progressions found in Bach's music is used in all of the variations. This clever, 13-minute work will have universal appeal in both church and school environments. Difficulty rating 3. $2.50The Jabberwocky, by Judith Shatin, English text, ECS, 6977, TTBB a cappella. This fanciful, creative work is brilliantly conceived and constructed to the famous poem by Lewis Carroll (1832-1898). The piece opens with appropriate nonsense syllables on fast rhythms that must be sung with extreme accuracy. Humor is extremely important as you work to create an effective performance. Changing meters dominate and help with the proper text versification. The text painting is driven by well-conceived rhythms, melodies, and harmonies. Collectively they build a unified conception of tremendous poetic and musical expression. The harmonies are brilliant but approachable. A perfect choice for the ending of a concert, this is a great addition to the men's choral repertory. Difficulty rating 4. $3.90
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