Literature
Recommendations from your R&S Chairs
by
James Kinchen,
WCDA State R&S Chair
Spring/Summer
2003 issue
of Soundings, the WCDA Newsletter
SACRED REPERTOIRE
Submitted by Bruce Bengtson,
WCDA R&S Church Music Chair
1 a.
In thee is gladness,
Charles Villiers
STANFORD. THE ROYAL SCHOOL OF CHURCH MUSIC (AVAILABLE THROUGH GIA)
#A457. SATB, ORGAN
b. Pray that Jerusalem, C.V. Stanford
RSCM/GIA #A456. SATB, ORGAN
c. Purest and highest, C.V. Stanford
RSCM/GIA #A458. SATB, ORGAN
Originally paired with pieces for solo/unison voice(s), these three
short, SATB anthems are accompanied by independent organ parts. (A
fourth Stanford anthem, O for a closer walk with God is in the
collection, Anthems for Choirs, Vol 1, from Oxford Press.
2. As pants the hart (Psalm 42), Joel
Martinson
AUGSBURG FORTRESS #11-10414. SATB, ORGAN
Lyrical writing; one stanza is intended to be sung unaccompanied.
3. Grant peace we pray, Felix
Mendelssohn
CONCORDIA #98-2212. SATB, ORGAN OR PIANO
A simple prayer for peace that is sung three times, B(T), S(A)B(T), and
SATB. (Orchestra parts available from Carus Verlag, Stuttgart)
4. The glory of Christ, K. Lee Scott
CONCORDIA # 98-2982. SATB, ORGAN
An effective setting of a good text; optional handbells; a good
festival piece!
5. Come down, O love divine, William
Harris
NOVELLO #29-0470. SATB, ORGAN
A well-known text set to original music.
6. Jesu, grant me this I pray, Percy
Whitlock
OXFORD #A115. SATB, UNACCOMPANIED
Only moderately difficult; works especially well for the first Sunday
in Lent.
7. Come down, O love divine, William
Harris
NOVELLO #29-0470. SATB, ORGAN
A well-known text set to original music.
8. The glory of the Father, Egil
Hovland
WALTON #W2973. SATB, UNACCOMPANIED
This piece has some divisi; works well for Christmas season. Text comes
from the first chapter of the Gospel of St. John.
WOMEN’S CHOIR REPERTOIRE
Submitted by Alan Rieck
If
you are like me, choosing music for your choir is something that you
love and hate at the same time. I have always loved finding new pieces
and digging around to see what is available in the world, but I always
want to find the perfect combination that meets the educational and
interest needs of my choir and myself, and the educational and
entertainment needs of the audience. Of course, the chosen music must
also utilize the correct ranges for my group and place the appropriate
technical demands on them.
Sometimes
the most difficult thing about this task is finding music that is new
to you and good enough to even consider. I am pleased to bring to your
attention the new Women’s Choir Repertoire List that is now available
for download at: <http://acdaonline.org/ncwc/projects.shtml>.
The list contains about 4000 entries and is by no means complete. It
may, however, be a great starting and reference point for conductors
searching for music for women’s choirs. The web page also contains a
place for submitting additional selections. If you have any gems that
you would like to share with others facing the same challenges as
yourself, please submit them.
Some
pieces that I would suggest you consider for your women’s choirs:
1.How Can I Keep From Singing, Rev.
Robert Lowry
ARR. ROBERT HUGH. BOOSEY & HAWKES #OCTB6859, 3-PART TREBLE,
UNACCOMPANIED.
This is a very accessible arrangement of this wonderful tune. It opens
with a solo and follows with a unison statement of the beautiful
melody. The second verse contains some easily accessible
counter-melodies. The final stanza adds a descant line of Amazing
Grace. Ensembles love to sing this piece and to hear the texture expand
to its glorious climax and then settle into a final unison statement of
the last line.
2.Spirit of the Child, Robert Lang
BOOSEY & HAWKES #OCTB6781. TREBLE CHORUS WITH MULTIPLE DIVISI;
THREE SOLOS; PIANO AND TAPE.
This is a very unique piece that demands some explanation. Please don’t
be scared by the multiple divisi in the choir. It is really very
accessible and is well worth the time to achieve. This is actually a
choral drama inspired by stories of children caught in civil war in
Sudan. The performance notes in the piece are extensive and very
meaningful. This piece is performed with piano and a taped
accompaniment. The tape is not one to which you must stay rhythmically
bound. It is a tape of effects that assist in the drama of the piece.
The piece makes a dramatic statement about the experiences of children
in political or economic struggles. Students will be caught up in the
piece and audiences will be very moved. Great drama and well worth the
effort to perform.
3.Let It Shine!, arr. Kari
Ala-Pöllänen.
HAL LEONARD #HL08500336. 4-PART TREBLE, UNACCOMPANIED.
This arrangement from the Tapiola Choral Series combines the spiritual
tunes of This
Little Light of Mine and I’ve Gotta Home in Gloryland with some
jazz-like nuances to create a delightfully fun and interesting musical
presentation. The swing style presentation and movement of the melody
from part to part make this a wonderful closer and students love it.
4.Night, David A. Sasso
(TEXT BY WILLIAM BLAKE). PLYMOUTH MUSIC #HL-212, 4-PART TREBLE VOICES,
PIANO AND B-FLAT CLARINET.
Edited by Henry Leck, this song is a product of one of his students in
the Indianapolis Children’s Choir. David Sasso sang in Leck’s choir and
developed an interest in composition. Sasso sets this wonderfully
stirring and descriptive poem in a very sensitive manner. The colors
grow throughout the setting as the description of
the night becomes more and more elaborate. There is a tremendous amount
of expressive potential here for the choir as they work through the
interpretation of this text. Students instantly love the piece and
greatly enjoy working on it.
5.When I Set Out For Lyonnesse, Keith
Bissell.
Gordon V. Thompson #G-235, 2-part treble, piano.
Many people know of this piece, with text by Thomas Hardy, from the
Toronto Children’s Chorus Choral Series. It is worth being given a
reminder of it. This lilting melody in 6/8 casts a marvelous peace and
anticipation about this great text. There are technical demands that
will take some time, but this song is worth every minute. The colors
and dynamics abound in this great piece.
MEN’S REPERTOIRE
Submitted by Daniel Wolfgram
1. Ave Maria, Franz Biebl
HINSHAW #HMN1253. TTBB, UNACCOMPANIED
This is must for any advanced men’s chorus. This very challenging
arrangement emphasizes breathing and phrasing. Opportunities for solo
trio or double choir. Tenor and baritone soloists.
2. The Awakening, Joseph Martin
SHAWNEE MUSIC #C0286. TTBB, PIANO
This piece has a little of everything. It teaches sensitive singing,
and has a rousing finish. Once again, challenging for many younger
men’s choruses but very accessible.
3. Stopping by Woods on a Snowy Evening
(from Frostiana), Randall Thompson
ECS PUBLISHING #2182. TTB, PIANO
This classic in men’s literature is all too often overlooked. The
accompaniment helps to support the long phrases. Of course, a wonderful
text! Accessible to a wide variety of male groups.
4. No Ne Li Domi, Jester Hairston
BOURNE #090497. TTBB, UNACCOMPANIED
This is a great novelty number for men that offers many different
opportunities for percussion. African in nature, with simple harmonies
and some doubling. Accessible to men’s groups of all ages and sizes. A
great closer to your program.
5. Fergus An’ Molly, Vijay Singh
BELWIN #OCT9605. TTBB, PIANO (GUITAR; RECORDER)
A wonderful story and arrangement made popular by the men’s singing
group, Male Ensemble Northwest. Can be performed with Lament of a
Fisher’s Wife, and Finnan Haddie, also from the same series. Solo
recorder and guitar possibilities to give it a feeling of authenticity.
Some possibilities for bass and baritone solos. Great melody!
LITERATURE FOR YOUNG
CONDUCTORS-TO-BE
Submitted by Sharon Hansen
Note from James
Kinchen: “For most of us who work in colleges and universities, no
mission is more important than the preparation of the next generation
of conductors. They are the future of choral music! And, no less so
than is the case for those who sing in our ensembles, the literature we
choose for the study of prospective choral conductors has integral
implications for their learning. Sharon Hansen, our Student and Youth
Activities R&S representative, shares some of the literature that
she has found helpful in training young conductors. Says Sharon, "These
are jewels for young and upcoming conducting students: Ten
technique-building pieces that first-year undergraduate."
1. He Watching Over Israel (from
Elijah), Felix Mendelssohn
*SATB, PIANO
Great for developing cuing technique, understanding architecture, and
imitative entrances.
2. Glory to God in the Highest,
Randall Thompson
ECS PUBLISHING. SATB, UNACCOMPANIED
Mixed meter and tempo challenge! ABA architecture allows study of
contrast in the slow “B” section.
3. Surely He hath borne our griefs
(from Messiah), G. F. Handel
*SATB, piano
Wonderful exercise for subdivided 4 with a contrasting section of
legato 4.
4. O Magnum Mysterium, T. L. da
Victoria
*SATB, UNACCOMPANIED
Imitative polyphony at its best. Great for developing a sense of
vertical score reading, cuing and a steady and controlled “two” pattern.
5. Laudate Dominum (from Solemn
Vespers), W.A. Mozart
*SATB, PIANO
Excellent piece for learning arm speed control throughout 6/8 time, and
for learning subdivision in measures of ritardando.
Sharon
also suggests:
6.
Bach chorales (numerous)
Wonderful exercises in the three types of fermatas (not all fermati are
created equal!) Excellent study for a student to learn how to justify
which type of fermata belongs where.
7.
Gregorian chant (numerous examples)
Students learn how to create conducting gestures when no “time signs”
are given. Excellent opportunity to study word stress and how
conducting gesture relates to the weight of a particular syllable or
word.
8. West Side Story, Leonard Bernstein
Incredible wealth of teaching material exists in this score. Learn
every piece! Listen to recordings while following the score. Bernstein
constantly writes time signatures that have nothing to do with the
conducting pattern one would use. Fabulous score study opportunities,
mixed meter challenges, as well as lyrical, legato
conducting—especially in the instrumental numbers.
9. It Don’t Mean a Thing if It Ain’t Got That
Swing, Duke Ellington
It is important that conducting students learn different styles of
conducting. Vocal Jazz and Popular music (including some World Musics)
may require a different conducting style. This piece (and numerous ones
like it) offers an opportunity for investigating where one would
deviate from traditional conducting patterns and why.
10. Aglepta, Arne Mellnas
Great little piece (two pages) for students to become familiar with a
non-traditional score. *there are several editions available
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