New Releases - Sacred
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New Releases - Secular
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MenThe Process of Selecting and Performing Great Choral Literature
By Marie Stultz, Contributing EditorReflections on Selecting Choral Literature
The selection of choral literature should never be a compromise between your artistic ideals and what you think your singers would like to sing. Only when this principle is adhered to with zeal can we ensure that fine choral literature will be preserved. I point this out at this time as most of the music of Dr. Lloyd Pfautsch, choral giant at Southern Methodist University, is going out of print. It is our responsibility to perpetuate fine music by the purchase of this music. To select this music requires study and the willingness to expand one's craft. This is our charge as responsible musicians in the field. If we fail in this charge, the Benjamin Brittens of future generations will not have the opportunity to emerge.
I am continually astounded and alarmed at the volumes of choral music published in each calendar year. As the author and editor of The Choral Room newsletter, I go through a lot of published music in each quarter to find music to recommend. During the selection process, I am constantly reminded that some publishing houses gear their publications to the lowest common denominator, thinking that excellence is beyond most people's reach. They seem willing to publish too much music of dubious quality and while seeming to hold research and the publication of fine editions in lower regard. John Rutter identified this problem early on, developing his excellent Collegium series. I have also concluded in my many years of building the research library that many publishers follow an illogical selection process. They seem to publish with abandon, selecting pieces at random with little purpose or content.
Some (Good & Bad) Reasons for Publishing
1) It will sell.
2) It is accessible.
3) It is politically correct.
4) It will entertain.
5) The composer or arranger is popular or well-known.
You must be saying to yourself, these seem like good reasons to publish. The above list should be an outcome of well-crafted music, not a motivation.Ask the Right Questions
When considering a piece of music, ask yourself the following basic questions:
1) Is the title tasteful?
2) Is the text worthy?
3) Does the piece have melodic and harmonic interest?
4) Does the music contain some rhythmic challenge?
5) Is the piece well thought out with score articulations and interpretive suggestions?
By asking yourself these questions, you have forced yourself to take a giant step forward; you are getting yourself out of the traditional selection box, learning to determine whether the piece is going to be challenging to conduct and worthy of your singers. Should these questions be answered to your satisfaction, you need to address the following more specific points:
1. The edition should be reliable and thoughtfully composed. The writing must demonstrate knowledge of choral singing and partwriting procedures. In general, editions of established music are better than arrangements. When selecting an arrangement, make sure the voice leading is logical, and there are few or no parallel fifths or octaves. Watch for trite key changes or monotonous partwriting. The better arrangements should have some independent piano writing with effective harmonies or interesting counterpoint.
2. The poetry or song text must be worthy. The text must display a high degree of merit and poetic value. I have seen many tasteless text settings over the years, causing me to wonder if the publishing house had studied or screened the words for artistic merit before publication.
3. New music must be carefully scrutinized. Apply the same criteria to original music as you would to arrangements of pre-existing editions. Then, trust your instincts!
4. Select music that you truly believe in. Choose music that is well-written no matter what the musical genre. From Broadway show tunes to Bach, select the edition that has high artistic merit, one that is well-written.
5. The publication must be clean and easy to read. Today's published music is most often computer generated. Check for note alignments and accurate score marks, making sure that note and text sizes are legible. Accuracy in these areas often underscores a better edition.
The Parameters for Selecting Great Music
Great music has parameters, but it has no boundaries. It must be well-crafted, but it must also reach into our soul and intellect. To provide a baseline from which you could start learning how to evaluate the compositional merit of a fine score both new and of our historic past in all styles, the following guidelines are suggested and lie at the heart of what defines a great piece of music.
1. The piece must display a working understanding of the rules of composition. These rules are established by theory and analysis teachers in universities world-wide. For instance: if you find parallel octaves or fifths, the improper use of the tri-tone or a figured bass line in the second and third inversion on a consistent basis, the composer or arranger may not have a working knowledge of rules of composition. However, well-trained, experienced composers have been known to break these rules of composition as a music effect.
2. Does the piece hold an element of surprise, a turn, a chord or rhythm that is unexpected? If the answer is yes, then the piece will "wear well" and will be one that can be rehearsed and listened to over and over again. For instance, I have conducted Britten's Friday Afternoons thousands of times with a variety of treble ensembles. Every time I revisit this great choral song cycle I find something new and refreshing to ponder. At 21, Britten was able to write an uncanny collection of songs for children of all ages, including adult singers. (See the Fall 2009 newsletter for a detailed description of these great pieces.)
3. Does the piece contain a challenging or enlightening text? The quality or appropriateness of the lyrics is so important in evaluating a piece of music. The text evaluation should also include the composer's ability for clear text versification. If syllables are placed on the melody in an awkward manner with improper syllabic emphasis, the singers will always struggle.
4. Do the melodies and harmonies properly represent the text? This is an extremely important discovery. When a composer is capable of writing music that projects the text, the music holds special moments for both performers and audience. A good example is the brilliant chord in Menotti's opera Amahl and the Night Visitors as the Three Wise Men make their appearance at the cottage door. The skin tingles at the moment in the opera when Amahl opens the door to welcome the Magi. The simple E Major chord voiced over three and a half octaves is filled with pregnant mystery that captures in one single moment the beauty and magic of Christ's birth and the magnificent stature of these wise men. The reason for its success lies in the element of harmonic surprise, the beauty of its octave placement and its unexpected simplicity.
5. Determine whether the piece is composed from the intellect or from the heart. In general, head pieces don't last very long because they simply do not "wear well on the ears." It is the piece that comes from the composer's heart, relating to a life experience, that truly makes the greatest art. For instance: Poulenc's Litanies à la Vierge Noire was composed in 1936 after the composer's pilgrimage to an historic shrine honoring the Virgin Mary in Rocamadour, France. Built on limestone cliff above a large gorge on the Rive Alzou, the 10th century shrine and city have drawn pilgrims for over 900 years. Although considered a symbol of faith and hope, it was ravaged for centuries by religious wars, and then finally restored in the 17th century. Included in that restoration was the Chapel of Our Lady, where a statue of the Black Virgin is housed, dating from the 12th Century. Poulenc was so moved by the shrine's beauty that he wrote the first measures of "Litanies" in the Chapel of Our Lady, notes that marked a turning point in his compositional career as well as his return to Catholicism. The inner-self qualities of the piece cannot be described, only heard. This piece for treble voices and organ (orchestra) simply rings off the page. Researching the historical background of a piece can illuminate the performance experience.
6. Is it performable? Pieces that are too difficult rarely survive. I can think of a number of situations where the composer just didn't understand the vocal forces or how to write for the instruments included in the composition, resulting in music that is impossible to sing and sometimes to play with effect or great beauty. When selecting a piece for your choir, make sure that it is a performable work for your organization. You don't have to compromise quality music writing with the ability to perform with confidence and artistry. Follow the selection road map outlined in this article when making your music choices.
A friendly reminder: At Spectrum Music, there is a treasure trove of music to select from in the newsletter notebooks on the left wall as you walk into the choral room. Every effort has been made to recommend the best music published over the past 20 years. We started this newsletter in the fall of 1992 to better assist the choral professional. Imagine what power we can have in the publishing market place by ordering quality music of genres that Spectrum highly recommends. Comments and recommendations are always appreciated.
Portions of this article are taken from Choral Excellence for Treble Voices and Innocent Sounds~Building Choral Tone and Artistry in Your Children's Choir
New Releases ~ Sacred Awake, My Heart, with Gladness, by Johann Crüger (1598-1662), English text, Concordia, 98-3999, SATB, keyboard & 2 flutes. Set to the tune, Auf, Auf, Mein Herz, this arrangement by John A. Behnke is simply composed on a text by Paul Gerhardt (1607-1676) with an English translation by John Kelly (1833-90). This accessible anthem allows the conductor the alternative of using flutes on Easter Sunday rather than the typical brass quintet. The flute parts have some challenges in the partwriting, therefore accomplished flutists should be engaged. Filled with simple harmonies and rhythms, the piece will be a satisfying, easy learning curve in what is typically a busy season. It would be ideal to program for an Easter evensong. Flute parts are included with the octavo. Difficulty rating 3. $2.00
*Ave Maria, by Howard Helvey, Latin text, Boosey (Hal Leonard), 48019868, SATB/SATB cappella. Set in the key of g minor, this elegant anthem for double choir is beautifully written. The anthem, composed on a traditional Latin text, was commissioned for the 175th Anniversary of Xavier University in Cincinnati, Ohio. It has elegant phrases that are composed antiphonally until the climatic ending of quiet harmonies. Filled with moving harmonic gesture, the contrasts in the partwriting make this fine piece a real winner. The piece is composed on straightforward rhythms, which could be sung by two solo quartets. The edition includes a piano reduction to help with the learning curve. The performance would be extremely effective when sung antiphonally. Difficulty rating 3-4. $1.95
*Beauty for Ashes, by Bob Chilcott, English text, Oxford, 336178-2, SSSSAATTBB & organ. This fine piece uses minimalism and canon as compositional devices. Set in F Major in 7/8 meter, the anthem requires an accomplished choir that has a good sense of rhythmic pulse. Set to a text extracted from Isaiah 61:3-4, the interpretation of the short phrases must be sung evenly between the eight voice parts. Filled with vocal imitation on changing harmonies, the piece builds in vocal tone, and the phrase shapes expand to longer musical expression as it also builds in dynamic levels. There are two astonishing key changes of E Flat Major to G Major on phrases that are homophonic in construction. The piece returns to F Major in 7/8 meter with the opening minimalist materials. This extremely effective work closes quietly. It will require large, even vocal forces to insure an artistic performance. Difficulty rating 4-5. $4.55
*Descendi in hortum meum (We Went Down into the Garden), by Cipriano de Rore (1515-1665), Latin text, Oxford, 380492-0, SSAATBB & solo baritone a cappella. This stunning piece of music is one of the most beautiful settings of The Song of Solomon ever composed. One can easily be seduced by the "living murmur" of the garden created in the music. Filled with multi-layered counterpoint, close examination of the structure of this brilliant piece reveals a hidden canon that is led in the alto part. Beautifully edited by Sally Dunkley and Francis Steele, this publication is filled with performance suggestions, score analysis, and historic background. This is an unbelievable piece of music and well worth the effort. This edition has been transposed down a step and is a true working edition of this great work. Difficulty rating 4. $3.50
Esta Noche (Be Joyful Tonight), arr. John Rutter, Spanish/English text, Oxford, 336554-4, SATB, soprano solo, & piano (alt. orchestra). This simple carol setting begins with the soprano soloist or unison treble voices. The simple harmonies are effectively set and spiked with surprising harmonies in the voice parts. The piano part creates Spanish-like rhythms and harmonies that imitate the Catalonian countryside. The piece concludes on a G Major chord of great power and beauty. This is another fine carol setting from a revered English composer. Difficulty rating 3. $2.50
Let Your Light So Shine Before Men, by Robert Lucas Pearsall (1795-1856), English text, Oxford, 395388-8, SATB a cappella. This simple anthem, filled with lovely counterpoint on elegant legato lines, is beautifully edited by Richard Lyne. Set in the key of F Major and composed in 3/2 meter, it is marked Largo as a performance tempo. This tempo marking adds to the anthem's elegance. Set to a famous text from Matthew 5:16, it is filled with open harmonies on long phrase shapes. The edition is based on a manuscript found in the Benedictine Abbey of Einsiedeln with the help of librarian P. Lukas Helg. Difficulty rating 3. $2.00
*Locus Iste (Consecrated in Worship), by Anton Bruckner (1824-1896), Latin text, G. Schirmer (Hal Leonard), 50319130, SATB a cappella. Bruckner's music is always beautiful and this piece is no exception. Filled with simple counterpoint and meditative, exquisite harmonies, the anthem speaks to the dedication of the church. Found in numerous collections, this fine edition offers the conductor the opportunity to own this extraordinary piece as a single anthem. Composed in 1869, this wonderful work moves singers and conductors each time it is performed. The English translation is by Jane May. Difficulty rating 3. $1.80
Love Never Ends (Ubi Caritas), by Eleanor Daley, Latin/English text, Oxford, 380507-1, SATB & soprano solo a cappella. This fine setting of Corinthians 1:13 was commissioned by Ron and Sharon Nickle in honor of their 10th anniversary. Filled with rich harmonies, the soprano solo or semi-chorus soars on the beautiful Latin text that translates, "Where there is charity and love, God is there." The combination of English text in the solo and Latin text in the choir offers a gorgeous polyphony of textual colors. Composed in D Fat and B Major on shifting meter signatures, this piece is a wonderful addition to the wedding repertory. Difficulty rating 3. $1.85
Sicut cervus (As the Heart Panteth), by Giovanni Pierluigi da Palestrina (1524-1594), Latin text, G. Schirmer (Hal Leonard), 50296560, SATB a cappella. This is a reprint of a publication from 1915. Edited by Nicola A. Montani who introduced American choral conductors to polyphonic music, this edition reflects through editorial markings the performance practices of the time. Filled with long phrase shapes, this is the perfect example of the Roman School of polyphonic writing that is so identified with Palestrina. Difficulty rating 3. $1.80
Up and Beyond, by Emma Lou Diemer, English text, Kjos, 9096, SATB (divisi) & piano. Composed on a text adapted from Psalm 121 by John Kiety, this piece is set primarily in the key of A Flat Major. It closes powerfully in the key of B Flat Major on chords set at a double forte with the sopranos singing a high B flat 2. Changing meters are part of the basic music fabric on surprising chord shifts of startling beauty. This anthem can be used any time in the church year. The text versification of this setting is quite unusual but effective. Difficulty rating 4. $1.95
*Wells Jubilate, by John Rutter, English text, Oxford, 336646-6, SATB & organ. This fabulous setting of Psalm 100 was composed for the choirs at Wells Cathedral. With a tempo marking of Allegro vivace with 132 to the quarter note, this is a companion piece to the composer's Winchester Te Deum, which is another powerful piece of church music. This joyous setting will mesmerize the audience as the choir sings with great and joyful sounds. Filled with surprising and luscious harmonies, the end of this anthem is nothing short of spectacular. Rutter is truly back in his compositional stride with a new maturity of choral expression. The piece requires an accomplished organist. The anthem is perfect for a festival and would do well at churches such as Trinity in Boston. This is a must to program and perform if you're a fan of this fine English composer. Difficulty rating 3-4. $3.50EXTENDED WORKS
Lamentations (a5), by Robert White (1538-1574), Latin text, Oxford, 380491-3, SSATB a cappella. Holding the post of Master of the Choristers at Westminster Abbey in 1569 during the early reign of Elizabeth I, "The Lamentations belong to a tradition whose origins are found in the Lessons drawn from the biblical Lamentations of Jeremiah that were heard during the Holy Week office of the Catholic Church. From the 16th century onwards, composers began to set these Lessons to polyphonic music, both in Mainland Europe and, a little later, in Elizabethan England." Filled with elegant contrapuntal lines on long phrase shapes, this is considered one of the composer's finest works and is beautifully edited by Sally Dunkley and Francis Steele. The edition includes extensive program notes, translation, and historic information that will help in the interpretation of this great work. Difficulty rating 3-4. $10.95
Let All the World in Ev'ry Corner Sing, by Eleanor Daley, English, Oxford, 380473-9, SATB & keyboard. This bright setting opens in simple unison on an original melody set on changing meters. Composed to three famous texts by George Herbert (1593-1633), this exciting three-movement work is composed in the bright key of D Major. It quickly moves to some elegant partwriting. The closing section of the first movement is in simple two parts. This publication also includes a fresh, yet florid setting of The Call. Also set in D Major, this unusual setting is in 6/8 meter. The Call is framed by an Antiphon on the popular text Let All the World in Ev'ry Sing. This movement is filled with changing meters and bright, resonant harmonies. Difficulty rating 3-4. $2.95Magnificat & Nunc Dimittis in A, by William Turner (1651-1740), English text, Oxford, 395017-7, SSAATB & organ. Turner was one of the leading counter-tenors of the Restoration period. He held posts at the Chapel Royal, St. Paul's Cathedral, and Westminster Abbey. This is an opulent setting that imitates the music of Henry Purcell and John Blow. It is believed that this large work was composed for St. Paul's Cathedral during the church's construction. This publication is beautifully edited by Geoffrey Weber, with the manuscript based on sources found in the St. Paul part books. Historic information and performance suggestions are included in the score. Difficulty rating 3. $4.95
TREBLE VOICES~SACRED
*Ave Maria, by Miguel del Aguila, Latin text, Peer, 62374-118, SA & piano (or harp). This hauntingly beautiful Ave Maria chills you to the bone. It is without question the most beautiful and surprising melody I have heard in a long time. The accompaniment is sheer magic, supporting the unusual unison melodic line while expanding the meaning of the traditional Latin text. After a dramatic unison for much of this short piece, the setting splits into three-part harmony on a quiet, magnificent close on a double piano. This is truly an awe- inspiring setting of this famous text. Difficulty rating 3. $1.60
El Noi de la Mare (Carol of the Gifts), arr. John Rutter, Spanish/English text, Oxford, 336553-7, unison (or solo) & piano (alt. orchestra). This is another fine carol arrangement of a famous Catalan carol. It will sound very sweet on a well-trained young children's choir. Rutter always writes charming accompaniments and this arrangement is no exception. Sing it in Italian and then repeat in English. It has been scored for full orchestra including harp with parts available from the publisher. Difficulty rating 2. $2.50
*O My Dear Heart, arr. Ralph Vaughan Williams, English text, Oxford, 336490-5, SSSAAA a cappella. This arrangement by this great English composer has just been recently discovered. It is set to a text by Ursula Vaughan Williams (1911-2007), whom Vaughan Williams later married after the composition of this piece in March of 1943. Set to an Old German tune, the piece is structured homophonically with the altos singing the melody. The carol quickly moves to elegant counterpoint of great challenge both harmonically and rhythmically. The discovery and publication of this piece is as important to the choral catalogue as the discovery and publication of Britten's Lone Dog now included in the great collection FRIDAY AFTERNOONS. This elegant but mystical setting uses no accidentals in its construction. It is edited by Hugh Cobb. This is truly a gift to the choral world. Difficulty rating 4. $2.25
New Releases ~ Secular A Dream Within a Dream, by Debra Scroggins, English text, Oxford, 380522-4, SATB (divisi) & piano. Set to a poem by Edgar Allen Poe (1809-1849), this lovely piece is written in G Major in 4/4 time. The composer manages to create a dreamy environment through moving harmonies and complex chords with random divisi between the parts. The text versification is well done and the text painting is quite effective. The piece closes with some lovely repetitive harmonies that allow the listener to drift into a harmonious space. Difficulty rating 4. $2.00
The Lily and the Rose, by Bob Chilcott, English text, Oxford, 336486-8, SATB (divisi) & piano. Originally scored for treble voices, this SATB adaptation by the composer was created for Peter Hunt and the Berkshire Youth Choir. It is set to an anonymous 16th century English poem that is elusive in its meaning. So elusive, that Chilcott writes some program notes as to what the text is referencing. The piece is filled with simple harmonies that begin homophonically but soon shift to simple counterpoint. The entire work is introspective in nature with the piano part composed independently of the choral part. Difficulty rating 3-4. $2.25
Sing Everyone, Sing Me, by Robert De Cormier, English text, E. Henry David (Presser), 392-02583, SATB (divisi), soprano solo, & keyboard. The text versification of this piece is supported by a creative and active piano part. It is set to an imaginative poem by Louise Dobbs. The soprano solo is mystic in nature. The entire work begins a cappella, with the chorus answering the solo part. Set in a minor, the divisi in the vocal parts offer some harmonic challenges. The piece closes with the mystery of how to "Sing me." This original piece was composed for the South Burlington Community Chorus in DeCormier's home state of Vermont. Difficulty rating 4. $1.80
TREBLE VOICES ~ SECULARA Little Innocence, by Daniel Brewbaker, English text, Boosey (Hal Leonard), 48019758, SSA (divisi) & piano. This piece is part of a series intended for high school, college or women's chorus. Loaded with complicated accidentals and minor seconds, the piece requires good music readers with exceptional aural and tuning capability. Difficulty rating 5 $1.80
J'entends le Moulin (I Hear the Mill Wheel), arr. Mark Sirett, French text, Boosey, 48019929, SA, piano, fiddle, & spoons. This is a great arrangement for the young children's chorus, in a public school or community environment, with the flute part played by an amateur player. Because it is in French, it is given a 3 rating, but musically could be considered a 2. There is an English translation in this edition of this French Quebec folksong. Difficulty rating 3. $1.80
Little Fourpaws, byDaniel Brewbaker, English text, Boosey (Hal Leonard), 48019757, SSA (or unison) & piano. Set to another e.e. cummings text, this piece deals with the innocence of children and the death in a sensitive fashion of a cat. The text painting is quite lovely with the piano accompaniment supporting the voice parts. This can be sung in unison quite effectively with the parts added at a later performance. Difficulty rating 3-4. $1.80
Making Waves, by Bob Chilcott, English text, Oxford, 336498-1, SSA (divisi) a cappella. "This piece has been composed to honour the centenary of Marconi's first transoceanic wireless signal, which was sent from Poldhu, Cornwall, and received in St. John's Newfoundland, on 12 December, 1901, thus ushering a new era of global communication." This is quite the piece, with the choir singing random vocal fragments to imitate the moving of sound, set to a poem by the composer. The piece creates quite an illusion and will be great fun to sing. Difficulty rating 4-5. $2.25
MEN'S VOICES ~ SECULARSure On This Shining Night, by Morten Lauridsen, English text, Peer, 62366-120, TTBB (divisi) & piano. This arrangement is taken from Nocturnes, a larger work by the composer. Nocturnes was originally written for SATB voices, but this adaptation is quite effective. Much of the piece is composed in octaves on changing meters in the key of D Flat Major. It is an unusual setting of the text. It is dedicated to Paul Salamunovich and premiered by the prestigious Turtle Creek Chorale, conducted by Jonathan Palant on October 19, 2009, at the Meyerson Symphony Center in Dallas, Texas. The use of octaves and imitation dominate the compositional fabric. Lovely counterpoint that results in rich harmonies will resound on men's voices. Lauridsen understands the voice and that understanding dominates his musical style. Difficulty rating 4-5. $1.70
* New releases marked with an asterisk (*) are especially recommended.Difficulty Ratings Guide: All selections reviewed in The Choral Room are given a difficulty rating to help you select the music most appropriate for your singers. 1 - easy; 2 - accessible; 3 - medium difficulty;4 - advanced difficulty; 5 - extreme difficulty