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Two-Year Colleges Repertoire
List
Assembled
by Jim Aagaard, UW-Richland Center
Jim Aagaard,
Director, UW-Richland Choir
1. Ich lasse
dich nicht by Johann Christoph Bach. Schirmer 50299980, SATB double
choir, a cappella or organ "ad libitum" text in both English and German
(I Will Not Let Thee Go)
This outstanding work, by an uncle of J.S., should be better known.
There are three sections; the first is for double choir that is basically
homophonic, I've done it with eight voices in choir II. The second and
third sections return to the standard SATB format. Section two is a
fugue for ATB while the sopranos sing the chorale tune in augmented
durations. The third section is a straight forward chorale setting.
This is a challenging work, especially if done a cappella, but doable.
It's particularly useful for those younger groups who are not quite
ready for the more difficult J.S. Bach motets.
2. Magnificat
by Mozart. T. Presser 312-41057. SATB with keyboard accompaniment edited
by Ehret. (Latin only text), brief solos for stb.
Like the Bach motet listed above this is a wonderful introduction to
Mozart for those younger groups who are definitely ready for something
more substantial than a single movement work but aren't quite ready
or large enough to handle the more difficult large Masses. The first
section is a double fugue with the two themes interchanging with brief
solos and other more homophonic sections. The second section is a brief
homophonic andante in triple meter. The work closes with a short fugue
which remains polyphonic to the end. My choirs have always dug into
this piece, it's just challenging enough, and it builds nicely from
beginning to end.
3. Six Madrigals
by Jean Berger. G. Schirmer. SATB, a cappella
"My True-Love Hath My Heart" 50229600 (text - Philip
Sidney, 1554-1586)
"I Find No Peace" (text - Thomas Wyatt, 1503-1542)
POP
"Art Thou That She" 50229620(anon. 17th c. text)
"To Mistress Isabel" 50229630 (text - John Skelton,
1460-1529)
"Lost is My Quiet" (anon. 17th c. text) POP
"Harvester's Song" 50299650(text - George Peele, 1559-1597)
These six motets are published separately but make a real impact when
performed as a group. They range from the relatively typical semi-tonal
Berger style (#s 1, 3, 4 & 6) to more ear challenging dissonances (#s
2 & 5). When my group first did them there was some discontent at first,
but as the pieces came together they all got into them andfound the
emotional impact of the complete set quite moving. Starting with #s
4 and 6 is recommended; they are, perhaps, the most accessible and contain
some humor.
4. Insect-Asides
by David Passmore. Jaymar Music. SATB with piano, occasional div. in
voices. text by the composer.
"If . . ." and "The Ant" 02.277
"The Butterfly" 02.278
"Insects Aside" 02.279
There is an increasing amount of Canadian music available in the US.
Much of what I have so far seen is full of wit and humor and this set
is a real hoot. The lyrics are of a type intriguing to small children
but with enough tongue-in-cheek subtext to be fun for adults. There
is marvelous text painting in both the vocal and (challenging) piano
accompaniment. My students got into these so quickly they never even
realized how dissonant they sometimes are.
5. Let Me Laugh
by Leo Kraft. T. Presser 312-40199, SAB w/ piano (anon. 1655 text)
If you're one of those directors who makes a point of taking a moral
stand against SAB music then you're missing out on some great literature,
including some by the masters. This one is a gem that is perfectly conceived
and I defy anyone to come up with the "missing part". It is a short
joyous work that at times touches on polytonality, tricky rhythms, and
is larger contrapuntal. The writing of the keyboard part is integral
(and not "easy").
William Day,
Director, UW-Marathon Co. Choir
1. A Jubilant
Song by Norman Dello Joio. G. Schirmer 50302650
Piano accompaniment - difficult.
2. Great Day
by Warren Martin. T. Presser 312-40080
A capella.
3. Four Pastorales
by Cecil Effinger. G. Schirmer
"No Mark" 50310440
"Noon" 50310450
"Basket" 50310460
"Wood" 50310470
Oboe accompaniment.
4. Saul by Egil
Hovland. Walton WM-126
Piano accompaniment.
5. Three About
Jesus by L. L. Fleming. Augsburg
"Every Time I Think About Jesus" 11-0539
"Give Me Jesus" 11-0540
"Ride On, King Jesus" 11-0541
Pat Eby, Director
of Choral Activities, UW-Fond du Lac
1. A Shakespeare
Trilogy by Michael Larkin. Belwin c/o Warner Bros.
"It Was a Lover and His Lass" OCT02594
"Take, O Take Those Lips Away" OCT02595
"Sigh No More Ladies" OCT02596
Good setting of excellent texts; "madrigal-like" treatment of lines;
use of humorous text-painting in vocal lines and accompaniment. Moderately
easy.
2. Old Joe Has
Gone Fishing by Benjamin Britten. B & H 1784
Interesting shift of accent in the four parts of this round from the
opera "Peter Grimes", meter is 7/4 and the tempo reads quarter note=266;
accompaniment is a rhythmic drone on E-flat in 2+2+3. Voice parts are
simple to challenging; keeping the 2+2+3 feel is the challenge for the
ensemble.
3. Walk Him Up
the Stairs by Gary Geld - arr. Bower. Mourbar Music Corp. 200180
This piece (from the musical "Purlie") opens with a true "walkin'" gospel
feel with the choir humming in unison followed by a solo for alto (G3
is the lowest note). The tempo doubles for a fast gospel feel; begins
in G modulates to A-flat, then A, and finally B-flat which tends to
excite the singers and audience.
4. Jabula Jesu!
- Zulu folksong - arr. Stephen Hatfield. B & H B6723
SATB with soprano & tenor soloists and optional percussion. Some English,
some African text; great use of layering ostinato and polyrhythms.
5. Route 66 by
Bobby Troup - arr. by Shaw. Hal Leonard 08200369 SATB with piano and
optional instrumental accompaniment
Well done arrangement of the popular swing tune.
Tony Garton,
Director, UW-Fox Valley Choir
1. Do Not Go
Gentle Into That Good Night by Robert DeCormier. Lawson Gould LG052255
SATB accompanied.
Based on the Dylan Thomas poem. Beautiful arrangement with quality text.
Each part has lovely melodic passages; fairly homophonic.
2. Love Lost
by Paul Sjolund. Walton W2702. SATB, a cappella
A cycle of 4 satirical poems on love. Quality, humorous texts, including
one by Dorothy Parker. Dissonances integrated throughout.
3. Sure On This
Shining Night by Samuel Barber. Schirmer 50308930. SATB w/ piano. Based
on a James Agee poem
Nice for Christmas. Long, Romantic phrases. Lush harmonies.
4. Lullabies
and Nightsongs by Alec Wilder. B & H BH 6131. SATB, a cappella
A group of 5 short songs for children, homophonic.
5. I Remember,
I Remember by James Mulholland. Plymouth Music JM-106. SATB accompanied
with Horn solo. Text by Thomas Hood
Multiple metric changes, demanding breath control.
Jim Langkamp,
Director, UW-Rock Choir & MATC Choir
1. Exultate Justi
in Domino by Viadana. Walton W2153
2. Jubilate Deo
by Mozart. G. Schirmer 50322180
3. Hallelujah
Amen by Handel. G. Schirmer 50303460
4. Glory to God
by Bach. Schmitt, Hall, McCreary SCHCH01436
5. Glorificamus
Te by Eugene Butler. Hal Leonard 08017001
Dr. Dan Steinert,
Director, UW-Marshfield Choir
1. Clap Yo' Hands
by George Gershwin - arr. by Pete King. SATB / piano. Warner 9374
2. Contrappunto
bestiale by Banchieri. a cappella. G. Schirmer 50299250
3. Three Madrigals
by Emma Lou Diemer. SATB / piano on texts by Shakespeare. Boosey and
Hawkes BH5417
4. Keep Your
Lamps by Andre Thomas. a cappella. Hinshaw HMC-577
5. I See a Land
OR Christmas is Coming by Elie Siegmeister. Lawson Gould LG000696
Both of these are SATB cantatas with several solo opportunities, chorus
numbers, and narrator -- with piano, or orchestra rental.
Wayne Wildman,
Director, UW-Sheboygan Choir
1. Hear My Prayer
by Felix Mendelssohn. G. Schirmer 50323820
Soprano solo, SATB with organ, English text only. Dur. 8 - 9". This
beautiful motet features one of Mendelssohn's most engaging melodies,
setting the text "O, for the wings of a dove." The choral writing is
primarily homophonic, very accessible, and can be prepared with little
rehearsal time. The solo is extensive but gracefully written and very
appropriate for a young lyric voice. The accompaniment is more effective
on organ than piano but is in either case quite simple.
2. Rejoice in
the Lamb by Benjamin Britten. B & H BHLCB-147. SATB w/ satb solos with
organ. Dur. 16
The words of this short cantata are by the mad 18th c. poet Christopher
Smart. The text is by turns mystical and humorous and Britten provides
a sympathetic setting which is distinctly modern in idiom yet accessible
to both singers and audience. The solos are within reach of young voices
and the choral writing is unfailingly skillful. The texture is mostly
homophonic with some unison and two-part and a small amount of imitative
writing. The organ part would be difficult to adapt to piano though
it is only moderately difficult.
3. Te Deum and
Jubilate by Henry Purcell. G. Schirmer 50324760. SATB w/ ssaatb soli,
piano or instrumental accomp. Dur. 25 - 30
This work was a staple of British ceremonial occasions from its premiere
in 1694 until 1743 when it was supplanted by Handel's "Dettingen Te
Deum". Most of the solos are quite short and not very difficult, providing
lots of opportunities for choristers to step into the spotlight. The
choral writing is mostly polyphonic but wonderfully memorable and melodious
in all voices. The piano reduction is moderately difficult. The instrumental
accompaniment for strings, two trumpets, timpani and keyboard demands
good players but is well worth the effort. The many changes in tempo
will test your abilities as a conductor as well.
4. Magnificat
by Francesco Durante. Arista AE 465. SATB w/ satb soli, piano or string
accompaniment, Latin text. Dur. 15
This work was formerly attributed to Pergolesi but is in fact by his
teacher Durante. The sprightly outer movements of this seven-part work
are based on a plainsong reciting tone for the "Magnificat". Two easy
duets for the soloists and two short homophonic sections frame a central
polyphonic choral movement. The accompaniment is moderately difficult
in either form.
5. Mass in B-flat
by Johann Nepomuk Hummel. Oxford ISBN 385748-0. SATB with piano or instrumental
accompaniment. Dur. 35
This is a challenging and unusual work: a full concerted mass without
any solo sections. It is similar in style and format to the late masses
of Haydn (like them, it was written for the Esterhazy family) though
easier both technically and musically. The choral writing is homophonic
except for the fugue which concludes the "Gloria". While rather demanding
in both range and stamina this work is well worth considering both for
its intrinsic musical merit and its pedagogical usefulness as a bridge
between the easier Italianate works (e.g. Vivaldi) and the more complex
world of Haydn and Mozart. The keyboard reduction demands considerable
technical facility. The orchestral version (strings, trumpets, timpani
and optional winds) requires good violinists.
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