Choral Treasures

March 28, 2018 | Author: rosemaroo | Category: Musical Compositions, Orchestras, Pop Culture, Harmony, Mode (Music)
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THE GREAT CHORAL TREASURE HUNT: Where’s All the Good Music? Finding great music that is accessible to elementary, middle level, and young high school singers is a timeintensive, never-ending quest. Here are strategies to find repertoire of the best quality, and ways to analyze it for great teaching ideas, using the CMP model as a guide. Music packets courtesy of J.W. Pepper Music. 8:30-10:00 AM Friday, October 31, 2003 Margaret Jenks Randal Swiggum Rebecca R. Winnie Comprehensive Musicianship Through Performance (CMP) Celebrating 25 Years of Service to Music Educators & Students Wisconsin Music Educators Association 2003 Wisconsin State Music Conference: Music, Now More Than Ever Monona Terrace Community & Convention Center, Madison, Wisconsin THE GREAT CHORAL TREASURE HUNT Where’s all the Good Music? Margaret Jenks, Randy Swiggum, Rebecca R. Winnie 8:30-10:00 AM • Friday, October 31, 2003 Music packets courtesy of J.W. Pepper Music Comprehensive Musicianship Through Performance (CMP) • Celebrating 25 Years of Service to Music Educators & Students Wisconsin Music Educators Association • 2003 Wisconsin State Music Conference: Music, Now More Than Ever THE ART SONG 1. Franz Schubert: To Music (An die Musik) Boosey & Hawkes OCTB6366 Other Recommended works: R. Vaughan Williams: Orpheus with His Lute Oxford University Press 55.140 J.S. Bach: Bist du bei mir Boosey & Hawkes M-051-46716-7 Arr. Benjamin Britten: Oliver Cromwell Boosey & Hawkes OCTB5893 (Shakespeare) Unison and piano Unison and piano Nursery Rhyme from Suffolk Unison and piano (Schober) Unison Voices and Piano CANONS 2. Gregg Smith: Now I Walk In Beauty G. Schirmer (Hal Leonard) 12374 Other Recommended works: Rolande de Lassus: Musica est Dei donum optimi Boosey & Hawkes OC4B6449 William Billings: When Jesus Wept G.Schirmer 11145 / Hal Leonard HL50311160 Michael Praetorius: Jubilate Deo Boosey & Hawkes OCTB6350 J.P. Sweelinck: Vanitas, Vanitatum Boosey & Hawkes OCTB6351 Melchior Franck: Da Pacem Domine Boosey & Hawkes OC2B6187 William Byrd: Non nobis, Domine Oxford University Press 40.023 Four-Part Canon Four-Part Canon Four-Part Canon Four-Part Canon Four-Part Canon Three-Part Canon arr. DePue Four-Part Canon (Note: one side of the octavo is in three treble clef staffs, the other two treble & one bass clef staffs.) Georg Philipp Telemann: Ich will den Herrn loben alle Zeit (Praise Ye the Lord) CPP Belwin SV 8926 [POP] Three-Part Canon Attributed to Clemens non Papa: Dona Nobis Pacem Somerset Press SP723 [POP] Luigi Cherubini: Like as a Father Summy-Birchard Music 5297 edited by Leonard Van Camp Five-Part Canon English text only: Psalm 103:13 Three-Part Canon with Piano (Note: DePue created a composed ending in this arrangement; R. Swiggum has also composed an ending for this canon) Hashivenu Editor, Rao Boosey & Hawkes OC3B6430 Lamentations 5:21 Three-Part Canon Johannes Brahms: Dreizehn Kanons op. 113 für Frauenchor Especially: No. 7 Wenn die Klänge nahn (Three-Part Canon) No. 11 Ich weiß nich, was im Hain die Taube girret (Four-Part Canon) Johannes Brahms: Töne, lindernder Klang Four-Part Mixed Canon Some collections: Libana: A Circle is Cast and Fire Within [www.libana.com] The King Singers Book of Rounds, Canons and Part-song [Hal Leonard 08743259] Classical Canons (without text) [Editio Musica Budapest] 150 Rounds for Singing and Teaching (Bokovac and Johnson) [Boosey and Hawkes TXB 86] The Sounds of Rounds and Canons [Organization of American Kodaly Educators] SATB “CLASSICS” TO BE REVISITED 3. Josquin des Prez: El Grillo (The Cricket) Oxford University Press: No.95 P 300 Other Recommended works: Henry Purcell: Come, Ye Sons of Art Neil A. Kjos 5977 from the ode Come, Ye Sons of Art SATB, keyboard, 2 C instruments SATB a cappella Hans Leo Hassler: Kyrie eleison, from the Second Mass Carl Fischer CM8325 SATB a cappella Orlando di Lasso: O Bella Fusa G. Schirmer 11338 / Hal Leonard HL50312670 George Frideric Handel: Hallelujah, Amen Belwin Mills 64001 SATB a cappella from Judas Maccabaeus SATB and piano reduction ORIGINAL 3-PART MIXED MUSIC BY HISTORICAL COMPOSERS 4. Wolfgang Amadeus Mozart: Three Nocturnes (Metastasio) (including: Ecco que fiero k.436; Se lontan, ben mio k.438; Luci care, luci belle k.346) Plymouth Music: pxw400 SAB and piano Other Recommended works: There are six Notturno and Canzonetta by W.A. Mozart – the three others are Mi lagnerò tacendo K. 437, Più non si trovano K.549, and Due Pupille Amabili K. 439 G.Schirmer publishes several of the six individually. Peters publishes all six with the string parts. There are 18 SAB works in Claudio Monteverdi’s Scherzi musicali a tre voci Especially recommended are O rosetta che rosetta and Vaghi rai di cigli ardenti. All include instrumental ritornelli and should be accompanied by continuo. Scherzi musicali a tre voice is printed in a collection from Universal-Edition [no.9590] with the Canzonette a tre voci [Libro X] Fanny Mendelssohn Hensel:Wer will mir wehren zu singen Furore-Editioin 514 Weltliche a-cappella-Chöre von 1846 v.5 Available through Hildegard Press Jacob Obrecht: Parce Domine (Hear Us, O Lord) GIA Publications G-1900 SAB a cappella ed. Proulx SAB a cappella Pierre Certon: Je ne fus jamais si aise (The Sound of Pipe and Drum) ed. Owen CPP Belwin SV8935 SAB a cappella ORIGINAL 3-PART TREBLE MUSIC BY HISTORICAL COMPOSERS 5. Claudio Monteverdi: Canzonette a tre (including: Il mio martir; Son quest’i crespi crini; Godi pur del bel sen; Hor care canzonette) Treble Clef Press: TC-180 SSA a cappella Other Recommended works: There are 22 SSA works in Claudio Monteverdi’s Canzonette a tre voci Especially recommended (in addition to those above) are Su su su che’l giorno and Come faro cuor mio. Canzonette a tre is printed in a collection from Universal-Edition [no.9590] with the Scherzi musicali a tre voci [Libro X] Claude Debussy: Salut Printemps (1882) Editions Choudens - Paris. C.F. Peters sole agents. (Chorus parts are separate from piano part – expensive) SSA, S solo, and piano (reduction of orchestration) (Shakespeare) Mostly unison with piano -- some SSA divisi. Benjamin Britten: Fancie Boosey & Hawkes. 5611 Johann Michael Haydn: Dixit Dominus Domino meo, from Vesperae pro Festo Sancti Innocentium Roger Dean Publishing 45/1074R (Psalm 110) SSA, 2 horns, 2 violins, cello, and bass (with piano reduction) Gustav Holst: Two Eastern Pictures Two Movements: I. Spring II. Summer Galaxy Music/ECS Publisihng. 1.5078. Gustov Holst: Choral Hymns from the Rig-Veda Group II for Women’s Voices & Orchestra (piano reduction) Especially: To Agni Group III for Women’s Voices & Harp (piano) Especially: Hymn of the Travellers (Kalidasa) SSA and harp (or piano) Galaxy Music a division of ECS Publishing Zoltán Kodály: Ladybird (Katalinka) Boosey & Hawkes 5674 based on a children’s folksong SSA a cappella Note: Kodály has written many pieces of varying voicings and difficulty for women’s and children’s voices. There is a collection available through Boosey & Hawkes in the original Hungarian: Kodály Gyermek-és nóikarok (Choral works for Children’s and Female Voices), Editio Musica Budapest, Z.6724. Táncnóta (Dancing Song) is especially nice. Francis Poulenc: Petites voix Salabert R.L. 11969x Francesca Caccini: Aure volanti Broude Brothers Limited MW1 (Madeleine Ley) SSA a cappella (Saracinelli) SSA continuo and 3 flutes Jean-Baptiste Lully: Ah! quelle erreur! (from the opera Armide) Piano vocal score of the opera: Broude Brothers Limited SSA Johannes Brahms: Four Songs for Women’s Chorus, Two Horns, and Harp Op. 17 Especially: Es tönt ein voller Harfenklang which uses only one horn Edition Peters N. 6617 SSA, harp, 2 horns Felix Mendelssohn: Lift Thine Eyes to the Mountains, from Elijah G. Schirmer No. 26 SSA a cappella R. Vaughan Williams: Sigh No More, Ladies Oxford University Press No. 54.143 Gabriel Fauré: Messe Basse Theodore Presser 312-40598 or ABI AB1041 from Sir John In Love and In Windsor Forest SSA and piano (Kyrie, Sanctus, Benedictus, Agnus Dei) SSA with organ (or piano) Rubtsov Musica Russica: FS 002 (language tape available) Other Recommended works: Somagwaza (South African Ceremonial Song) World Music Press The Gartan Mother’s Lullaby (Traditional Irish) Santa Barbara Music SBMP 314 Annie Laurie (Scottish Tune attr. & McCreary Co No. 1204 (or a number of others) SATB a cappella . Este: How Merrily We Live. ES63 (Thomas Oliphant) SATB a cappella John Dowland: Come Again Sweet Love Schmitt. by Pete Seeger 3 Parts – any voicing – percussion Arr. Véñiki (Brooms) Arranged by F. Youll: In the Merry Month of May. Flute or Violin Arr. Piano. Christopher Tye: Laudate Nomen Domini (O come. Lady John Scott) Lawson-Gould 647 The Girl I Left Behind Me (Traditional Irish) Lawson-Gould 51460 Durme. opt. Yehezkel Braun. Hilton: If It Be Love THOUGHTFUL FOLK SONG ARRANGEMENTS 6. Three Chinese Songs Arranged by Liu Zhuang Boosey & Hawkes: OCTB6828 Other Recommended works: Nukapianguaq (Inuit Chants) Boosey & Hawkes OCTB6700 Las Amarillas (Mexican Folksong) Boosey & Hawkes OCTB6784 Hotaru Koi (Japanese Children's Song/Canon) Ongaku No Tomo Sha/Theodore Presser 312-41520 Diu Diu Dang A (Taiwanese Folksong) earthsongs The Devil and Bailiff McGlynn Boosey & Hawkes M-051-47214-7 7. Carlos Alberto Pinto Fonseca SATB a cappella Adapted by Stephen Hatfield 4-part Treble a cappella Arranged by Stephen Hatfield 3-part Treble a cappella Arranged by Ro Ogura SSA a cappella Arranged by CHIEN Shan-Hua SSAA a cappella Arranged by Stephen Hatfield Unison (with an optional 3-part ending) 4-part Treble SATB (divisi) RENAISSANCE HOMOPHONY/POLYPHONY FOR THE EMERGING CHOIR 8. Hall. Neil Ginsberg SATB. adapted Jacobson SAATBB and piano (divisi is easy) Arr. ye servants of the Lord) Novello: 29 0219 SATB Other Recommended works: Baldassare Donato: All Ye Who Music Love Bourne Co. Morley: Love Learns by Laughing & Though Philomela Lost Her Love. Alice Parker & Robert Shaw SATB a cappella Arr. A few English madrigals to recommend include: Weelkes: The Nightingale & Thus Sings My Dearest Jewel. durme (Ladino folksong) HaZamir Music Publications HZ-012 Muié Rendêra (Two Brazilian folksongs) earthsongs Arr. Alice Parker SATB a cappella Arr.There are numerous 3-part Renaissance pieces ideal for women’s voices. 98 Especially: dominic has a doll (362-01222) and maggie and milly and molly and may (362-01224) Elkan-Vogel / Theodore Presser 2-part and piano Alice Parker: Escape At Bedtime Jenson/Hal Leonard 43509071 Leonard Bernstein: Gloria Tibi Boosey & Hawkes OC2B6344 Keith Bissell: When I Set Out For Lyonnesse Gordon V.com Suggested pieces: Lewis Moira Smiley SAT(S)B Utopia Moira Smiley SSA Barnet Seth Houston SAB Big Sky Seth Houston SAT(S)B Miss M. ES42 SATB a cappella Jan P. William Billings: The Bird Walton W2202 Other Recommended works: The Complete Works of William Billings in 4 volumes is available through the University Press of Virginia and is likely available at your nearest university music library. Bethlehem. Daniel Brewbaker: little tree Boosey & Hawkes: OCTB6530 Other Recommended works: Vincent Persichetti: Four Cummings Choruses op.pair. Sweelinck: Chantez à Dieu chanson nouvelle Mercury Music/Theodore Presser 352-00004 (Psalm 96) SATB a cappella “PRICKLY” 20TH CENTURY COMPOSITIONS FOR YOUNG SINGERS 9.e. Walton Music publishes many of Billings’ works in octavo – though almost without fail.northernharmony. Cobham. one should compare with the collected works.com SAT(S)B Endless Light: Spiritual Songs From a New Generation of Composers edited by Larry Gordon Northern Harmony Publishing Company www. piano and tenor solo (Thomas Hardy) 2-part and piano (e. la.Claudin de Sermisy: Tant Que Vivray National Music Publishers NMP-192 (Clément Marot) SATB a cappella Pierre Certon: Ie ne l’o se dire (I Cannot Conceal It) (also in other editions: La. la je ne l’ose dire) Bourne Co. Durham (fl. Shiloh. ca. cummings) 2-part treble and piano EARLY AMERICAN AND SHAPE-NOTE TRADITIONS 10. reversing the tenor and soprano parts.northernharmony.pair. Abraham Wood (1752-1804): Marlborough Found in Northern Harmony Fourth Edition Northern Harmony Publishing Company (Isaac Watts) SAT(S)B www. and David’s Lamentation. In any edition. 1850): The Promised Land (Samuel Stennett) Found in The Western Wind Songbook Harold Flammer Music 3-part . Other highly recommended Billings titles include: Creation. Hopkinton. Thompson Music VG-235 (Robert Louis Stevenson) 2-part and piano from Mass 2-part. C. Schirmer ECS No 1727 SATB Gwyneth Walker: The Troubled Sweet of Her E.C.SECULAR PARTSONGS WITH RICH CONTENT 11. Longfellow) SATB (Samuel Daniel) SATB Irish Air arranged by Charles Stanford: Quick! We have but a second (Thomas Moore) Hinshaw Music HMC1248 SATB Stephen Chatman: There Is Sweet Music Here (Alfred Tennyson) Jaymar Music Limited / Oxford University Press 02. Schirmer No. Sir Edward Elgar: As Torrents in Summer Thorpe Music Publishing Co: 392-03069 (TP) 12. No. . Ralph Vaughan Williams: Love is a Sickness Thorpe Music Publishing Co: 39203022 (TP) Other Recommended works: Piotr Ilyich Chaikovsky: Nochevala tuchka zolotaya earthsongs (Lermontov) SATB (Henry W. 3 (O Lovely May) (L. Paul Hillier.305 SATB and oboe Gerald Finzi: My Spirit Sang All Day (Robert Bridges) Oxford University Press/Boosey & Hawkes M-060-03039-0 SATB Johannes Brahms: O süsser Mai! Op. Oxford University Press. 4307 (Amante) SATB Arthur Sullivan: Echoes (Thomas Moore) Oxford University Press SATB Found in English Romantic Partsongs ed. Achim von Arnim) E. 93a. but it is a sacred text and spiritual in nature. in the end. I spent a lot of time looking at different sources to find the origin of this tradition. It is not said to a specific deity. 1991 American Choral Music. Arizona University Recordings Elements of Music Form • The piece is an eight measure melody divided into a four-part canon with each part entering at two measure intervals. but how difficult it can be to uncover the traditions! Here is a common listing of the complete text: Now I walk in Beauty Beauty is before me Beauty is behind me above and below me (Around me and within me) • Recordings: Fire Within. He gave me the history and significance of the song orally. Additionally. • The melody on a first listen will appear to be minor to many students. the ordinary. this can be brought into the class discussion. Schirmer. Libana.D. a range of an octave and a fifth is covered. In the end. Distributed by Hal Leonard General Description Now I Walk in Beauty is a canon for up to four parts that can be used for a variety of musical ability levels and voicings. CMP Committee Member Now I Walk in Beauty. Gregg Smith and the Dana Chorale. was the richest source of information and not all of the Ph. a good family friend lives on the Navajo reservation and has served as a leader in many capacities for 50 years. but with a little examination. This song is an example of how easy it is to see “traditional” in the attribution. The expanse of the melody is one of the most marked characteristics of the piece. dissertations and textbooks that I scanned. Background Information • The text is from the Navajo tradition (though the tune is not) and in some sources has an additional line. in the way that many of the Navajo traditions and history have been transmitted. whether it be a daily ritual. The lack of emphasis on a leading tone and the conspicuous f# doesn’t fit the Minor mode. The words are recited as the close of a prayer. Gregg Smith Published by G. every day nature of the text made it easy to find references. but rather the Dorian mode. It was interesting that he. The lack of any syncopation or rhythmic complexity leads to an over all sense of simplicity and purity in the piece. the voice spans an octave. most will discover that it is not traditionally minor. Fortunately.Analysis Margaret Jenks. but can be used successfully with treble voices or a combination of changed and unchanged voices. The Navajo text is referred to as a “prayer”. Again. but hard to find real information. but is rather a common every day recitation. so I assume the oral tradition is responsible for the variation and it may not be possible to find the “most authentic” text. Many more people speak Diné than write it (the written language is a relatively recent development). Rhythm • The rhythm is a very simple combination of eighth notes and quarter notes. Melody • In only sixteen beats (the entire song). Inc. but it is not a prayer in a Judeo-Christian sense. the wording varies slightly from one source to another. Within the first two measures alone. the opening or closing of a meeting or a special ceremony. The relatively wide range in such a simple short tune can provide for a melody-text discussion. . The octavo is printed in SATB format. It does not have any special ceremonial significance in itself. it could be interesting to compare the chord structures up the scale in major. Depending on the level of students. there are two points that the students should hear (and the teacher should help them find) that provide an unusual harmonic moment.edu) has available on CD or cassette “Navajo Songs”.edu. Have them sing the sale on solfege and then in a three part root position chords in solfege.Why the choice of the Dorian mode? How would it sound in other modes? Try making it natural minor and hear and discuss the difference in sound. live recordings from the 1940’s. free. Hearing the G. The World Music Archives at Wesleyan has the largest collection of Navajo songs in the world (www. Melodically. minor (harmonic). but not melodies. While many canons keep a fairly simple harmonic pattern. Timbre • The hollow openness of the melody line suggests an open. the pitch high point comes in measure 5. vocal timbre experimentation. Have students find the strong and weak syllables in the text. Additional Considerations and Strategies • While one should not necessarily avoid pieces that use traditional texts. Examine what instruments are often used in traditional Navajo music. D or E. What kind of timbre do these instruments use? Experiment with different vowel placements and tones and have students decide what kind of sound best suits the melody. composition of an instrumental or vocal obligato. The Heart The heart of this modern composed canon is an unconventionally beautiful dorian melody centered on intervals of the octave. 3. giving a lot of attention to these three intervals and further emphasizing the open feel of the melody. Harmony • Because of the melody structure. and many other possibilities. the piece is obviously polyphonic. World Music link) • Experiment with having the students sing in a circle or in mixed formation. Pieces like this are a perfect opportunity for learning to listen throughout the ensemble. Smith has chosen to focus the main structural points of the melody around the intervals of the octave. 6th and 8th). fourth and fifth. improvisation in dorian mode. possibly measure 7. Arguments could be made for building the piece to this moment. D and F# together on beat 2 of measures 1. Texture • In canon form. fourth and fifths also dominate the harmonic structure. • Don’t be afraid to program this with older choirs. this is a great piece for looking at harmonic analysis. the result is a minor V seven chord. Besides the suggestions in italics in the analysis.si. . In hearing the fourth and second measures together (and later the 2nd.wesleyan. octaves. or for keeping a more even. Have students listen for the increasingly thicker harmonic texture as each part enters. B. In covering a wide range. text and style of the piece. 5 and seven gives the major chord with a major seventh that is a VII chord in the A Dorian mode. don’t let the students confuse “Navajo text” with “Navajo song”. Smithsonian Folkways (www. Melodies are often played on various flute family instruments (usually wood). and dorian. Canon doesn’t have to mean elementary! There are so many opportunities for creative presentation and teaching strategies. Listen to Navajo and other Southwestern Native American pieces and examine what in this melody reflects the influences of true traditional Native American music. as they might in a poem for English class. Expression • Much of the piece’s expressive quality comes from the timbre that is used and the word/syllable stress within the text. • The main intervalic feel of the melody is one of openness and expanse (as stated above). less-vibrato kind of tone for the voices. open sound throughout with subtle dynamic changes based on the word stress.folkways. 4th. forth and fifth that works to enhance idea of innate beauty in a traditional Navajo text. Eleven of the sixteen beats begin with either an A. yes brooms – sweepers yes on the hearth laid about.” The composers who made up the Mighty Handful – Mussorgsky. the brooms. • • There is a WONDERFUL diction tape of the Russian text which can be purchased from the publisher. is essentially meaningless. fell from the stove and smashed. friend Gabriel. in which they strove to reproduce the character of the individual songs as faithfully as possible. yes from the hearth were torn off. • The first three six-measure statements create a sort of “A” section – m. Folk songs have had a firm place in Russian classical music since the outset of the 19th century. I told Godfather Gavril. the little brooms on the stove they lay. and composers like Liadov and Liapunov worked together with the Society. This prompted his contemporaries to give him the deserved epithet “the father of Russian music. 1991. kum Gavríla. Alexander Ponomarev. Godfather Gavril. whether in direct quotation or as an echo of the original. Teldec 9031-73241-2. The bass offers a pulsating V/I accent. Rubtsov Published by Musica Russica • 310 Glenwood Drive • Guilford. Two other more poetic-like translations are: The brooms. The entire piece lasts less than a minute and a half! This mixed-voice choral folksong arrangement has extensive divisi in the women’s voices (SSAA) and limited divisi in the men’s voices (primarily TB with a simple octave division in the bass in just six measures). Includes this actual mixed choir arrangement. After the overthrow of the Tsarist regime. This Véñiki arrangement was made by a folk-music researcher/composer. brooms. Text translation: The text. godfather Gabriel. Songs of the World – Vesna. The founding of a Geographic Society in the 1860s created the basis for scientific research into folk songs. It creates a six-measure phrase – four measures for the first line and two for the second. Glinka Choir of Leningrad. • • Brooms lay on the oven. CT 06437 USA 1-800-326-3132 • Fax: 1-203-421-3132 • www. Recordings: Russia Sings. They had fallen down. the little brooms.19-26 features a repeated melodic canon between the soprano 1 and tenor over the first line of the tongue-twister in the other women’s voices. Glinka incorporated national folk tradition into his music. ya Gavríle govoríla. da véñiki-poméliki. Baladirev and Rimsky-Korsakov also published collections of folk songs.ANALYSIS Rebecca R. Godfather Gabriel. 1-18.com • Custom Language Tape available from publisher. da spéchi oborválisia. Arranged by F. Winnie. . véñiki. 31-38 strikingly ceases the constant eighth-note pulse and features canonic statements between S & T and A & B. da po pechí valiálizia. • m. Elements of Music Form • The structure of the piece is organized by the statement of the two lines of tongue-twisting text: Véñiki. I to Gabriel was saying. Moscow Children’s Choir. Kum Gavríla. with the staccato declaration of the previous measures acting as a transition to the final section. Rimsky-Korsakov. Background Information • “Name me a people that has more songs!” exclaimed the poet Nikolai Gogol enthusiastically in 1837 after hearing Glinka’s opera A Life for the Tsar. Borodin. Broad Description & Type/Genre Véñiki is a Russian Folk Song arrangement – a very fast tongue-twister. m. and I said to Gabriel. CMP Committee Member Véñiki (Brooms). but a lot of FUN. The brooms. and Cui – developed this idea further in their own works. (Redepenning). m. like most tongue-twisters. Includes the same arrangement in a children’s choir voicing. 19-38 create a sort of “B” section with contrasting material appearing in four-measure phrases. Such innovations as irregular time signature and idiosyncratic harmonic combinations can be traced back to Russian folk music. friend Gabriel. the brooms. thus creating something of new quality. Balakirev. music ethnology came to enjoy sustained support from the state.musicarussica. 27-30 features women voices in staccato declaration of the second line of text while the men sing the first line in its familiar pulsating form m. Word for word translation is given in the edition: Brooms. 31-38. and Afrikaans!) The sharing tongue-twisters usually results in plenty of laughter. Additional Considerations • • • This piece makes for a great conclusion to a secular grouping of pieces or to an entire program. 51-end) and the secco sound of eighth-note followed by eighth-rest (m. to “F” for m. French. the return of the A (crescendo m. learn the Russian tongue-twister independent of the music. 31-36. Tenor: m. Chinese. bass m. 31-end of the piece. Expression • Detailed dynamic markings are provided throughout and generally offer contrast and emphasize the structure of the piece.27-30 & 37-38) offer contrasts to the constancy of the eighth-note pulse. Feature individuals in class and recognize both speed and Russian accent. with two statements of the six-measure phrase – the first tutti. punctuating bass part m. The vibrant. Texture • The piece begins with a simple unison in the alto line and gradually adds voice parts: divisi alto. 19-27. soprano 1 & tenor m. • The contrasting melodies are brief. • Unison declamation occurs at the beginning and again at the return of the A section at m. add bass. energetic pulse is primary in this folk song arrangement • Meter is 4/4 • The six-measure phrase primarily consists of eighth-notes but begins with a quarter and includes an eighth-rest at the end of the fourth measure. 13-19. An exciting coda is offered m. 31-35 (polyphonic texture). 19-27 Octave in range. Italian. tutti m. varying textures between men and women voices m. strong dominant feel. • The dramatic full-voiced and dark color of the Russian choral style is particularly necessary at m. to “A” for m. Dutch. with the basses beginning a dramatic elongated “Kum Gavríla” statement that continues into the second phrase and into the coda. and returns to “D” m. 39 (homophonic texture). . but quite lovely. 13 and at m. • The longer rhythmic values (tenor m.• m. Latin. Ask students to journal about why they think tongue-twisters are fun – why they seem to be universal. tutti m. bass m. 31-36 More than an octave range in top three parts. Gradually increase speed as a class – over many days. 43-end. The piece is short and can be learned under tempo in a short amount of time. Mixolydian. • The piece modulates: to “G” for m. 31 (crescendo m. 18-27 and m. 51-54 with the final cessation of the eighth-note pulse and fortissimo declarations of Véñiki! Rhythm • The rhythm of the piece is dictated by the rhythm of the text. First. divisi soprano. I personally like three dynamic changes: 1) emphasize the tenor entrance at m. 13 (forte) 2) crescendo in the men’s parts going into m. A Russian arranger and a Russian publisher have made this piece available. Melody • The primary “tongue-twister” melody moves only step-wise and is quite speech-like in character. • The primary harmonic rhythm is tonic on the first three beats with a movement to a dominant feel on the fourth. 19. 19-27. German. 39. Ideas for Strategies • • • Have students bring in tongue-twisters – English or any other language that they can speak. But the dominant never uses the ‘regular’ seventh scale tone. 37-38) The Heart The heart of this choral folk song arrangement is the driving rhythm that combines with the appealing texture contrasts to capture the playful fun and universal joy of executing tongue-twisters. Timbre • The expected “dark” color of Russian choral music becomes especially evident with the addition of the male voices at m. 19-27 and s/t & a/b m. 29-30) 3) no diminuendo into m. G major with lower 7th. canonic melodies in soprano and tenor m. though a flatted seventh is used throughout. 13-19 P4 in range. emphasis on minor third Soprano/Tenor: m. 27-31. This building of texture adds excitement and drama. 13. add soprano. using the rhythm of the first six measures (also just like on the language tape). 43-50. 39 to the end acts as a return of the “A” section. strong dominant/tonic feel Tutti: m. leading the return of D major • The melody is not primary in this folk song – quite unusual in the folk song genre. • Contrasting textures are often used – long melody at tenor entrance m. add tenor. 39-end. Harmony • The piece is in D (major by key sign). (Had students share tongue-twisters in Spanish. 27-30. 19-26. With what instrumentation would this music be performed in its original country/culture/ or tradition? Who would have performed this music and for what reasons? What can you find out about the arranger and how well this piece represents the tradition within which it is written? How westernized is it? If your arrangement is based on a folksong try to find the original tune. commissioned for a special event or written as part of job) and determine whether it is a good example of her/his work. Translate the text if it is not in English.) Background Information A thorough analysis of the music is a necessary foundation for significant learning and great performances • Research the style period when this was written and determine the compositional elements that make it a characteristic or uncharacteristic example of the period? Research the composer’s life and style characteristics. What story or mood does the text tell or create? Is this edition historically accurate? Can you check it against a more authentic version of the piece in a collected edition? Students can participate in the analysis of a composition • Additional Instrumental Information to Determine • • • • Describe solo requirements. . Explore why the composer wrote this piece (e. Pay particular attention to those aspects that pertain to your composition and that would interest your students. translate it yourself and then compare it to the given translation. folk. List style characteristics of the music tradition. how has the original been modified for this composition and why might the arranger have made these modifications? Background information for nonwestern. Determine who originally would have performed this piece and in what setting. or might there be dancing and instrumental accompaniment? Think about how these answers might affect your interpretation.g. Are the technical challenges appropriate for the target age group or level? Describe the quality of the transcription or arrangement. Is this the original instrumentation? If not.ANALYSIS Broad Description How would you describe this composition? Type/Genre (suite. motet. What story or mood does the text tell or create? Discuss any traditions or rituals that accompany this piece. or popular music: While doing an analysis you may be reminded of related pieces which can serve as interesting rehearsal strategies or good programming ideas • • • • • • • • Find out about the country and musical tradition from which this composition comes. etc. If the text is written by a famous poet or writer then research the author and poem to determine its historical/cultural significance. Would it have been just sung. overture. Discuss any traditions that accompany this piece (such as standing for The Hallelujah Chorus) • • • • Additional Choral Information to Determine • • • If the text is in a foreign language. g. modal. minor.Elements of Music How are they used and why did the composer make the choices s/he did? Form – What is the structure of this piece? How is the piece organized—e. or mood? Is this piece primarily homophonic. . title. phrases. but few pieces teach it exquisitely. fugue. Lots of music teaches phrasing or motivic development. through-composed? What recognizable devices does it include—e. chorale. articulations. trio? What are the primary motives? What note values are the most common? Is there syncopation or a peculiar time signature? Are there challenging rhythmic devices such as hemiolas and mixed meters? What is the shape of the theme? What is the tonality—major. or a combination? Does it progress by step or skip? Is there a melodic motive? Is there even a melody? Are there countermelodies that are important for the audience to hear? The time invested in an analysis is directly related to the depth of student learning Rhythm – Melody – Harmony – What is the harmonic rhythm? How and when does it modulate and what are the key relationships? Where are there dissonances? Are there any suspensions? Timbre – What are the colors in the piece? Is it primarily bright or dark and what instrumentation or voicing creates the colors? How does the timbre reflect the text. monophonic. binary.g. ternary. or polyphonic? Is it melody and accompaniment or monody? Does the density of the overall texture change? How does the composer contrast textures and what effect does that create? Texture – Expression– What are the dynamics. and tempi for this piece? How and when is each element used and applied? Additional Considerations How does the composer create moments of tension and release? How does the composer use and create contrast? How does the composer unify the composition? How does the composer sustain interest throughout the composition? How does the instrumentation contribute to the overall effect of the composition? How does the orchestration represent the style period? The Heart What attracted you to this piece of music? What maintains your interest in it? What gives this music its distinctive qualities? What do you learn about yourself through the eyes of this music? How has the composer created your response through compositional devices? Reasons to Perform this Composition What is the value of the music in relationship to available rehearsal time and student needs? Things You could Teach with this Composition Think specifically about what this composition teaches well or uniquely. has lasting qualities Determining the Quality of the Composition Uniqueness Design Depth Text Orchestration/Voicing Form Unpredictability Consistency Transcendence Everyday Needs to Be Considered Programming Level of Difficulty Length Audience Special guests Community Maturity Technique Literacy Rehearsal time available Personnel Voicing Tessitura Instrumentation Solos Accompaniment What do your students need? Balancing the Curriculum BAND Historical Periods Renaissance Baroque Classical 19th Century 20th Century/Avant Garde Musical Genres Marches Overtures Symphonies (movements) Film Music Folksong Arrangements Concerto Programmatic Music Jazz Musical Theater Musical Forms Theme and Variation Rondo Sonata Prelude and Fugue Suite Fugue Canon Minuet and Trio 12 Bar Blues ABA Through Composed Varied use of Ensemble Full Band Wind Ensemble Chamber Ensembles Is the knowledge gained transferable? CHOIR Historical Periods Early Music Renaissance Baroque Classical 19th Century 20th Century/Avant Garde Newly Commissioned Sacred and Secular Music A Cappella and Accompanied Music Various Languages Multiple Music Genres Madrigal Motet Part Songs Chant Cantata Oratorio Opera Choruses Mass Musical Theatre Vocal Jazz Gospel Folksongs World Music .MUSIC SELECTION A good composition. regardless of the level of difficulty. quartets) Chorus with orchestra . trios.ORCHESTRA Historical Periods Renaissance Baroque Classical Romantic Impressionistic 20th Century New music Forms Fugue Canon Theme and Variation Sonata-Allegro Rondo Minuet and trio 12 bar blues ABA Through composed Musical Genres Concert Overtures Symphonies (movements) Ballet Music Fiddling Folksong-Arrangements Musical Theatre Jazz Opera selections Concerto Programmatic Music Suite Commissions Music for different types of Ensembles Full Orchestra String Orchestra Chamber Orchestra Chamber ensembles (duets. immediate impression. A question I often ask student composers (and applies to any piece of music) is: “What does this piece say better (or at least very differently) than any other piece similar to it?” Does it stand alone as a unique artistic expression? What is inventive or new about the piece? Does it avoid cliché and triviality? Good form usually means the proper balance between two key principles: repetition and contrast. that's what teachers are buying!” The solution for what seems like a chicken versus egg problem falls squarely on the shoulders of music teachers. good compositions reflect the conscious design  U NPREDICTABILITY: Does the piece have “designed uncertainties”? Enough surprises? Does it contain enough harmonic twists. unpredictable ways. “Well. of their composer. A good composition reveals a striving toward a musical goal – the best pieces have unusual musical goals that are reached in often indirect. the third time should delight the ear with the unexpected. makes us remember it vividly and want to “relive” that special moment in the piece that makes it memorable. One is meant to make a quick. so too there are complex and difficult ones that lack musical substance and real depth. If there are too many or too elaborate diversions along the way. this also weakens its musical effect. Has the composer paced these events in an effective way? Do the climaxes happen at the most strategic points? Is the transitional material logical and does it help the flow between “events”?  FORM:  DESIGN: (Related to FORM) On a larger level than musical details. It is both simple and sophisticated. and identify. A solo Bach melody like “Bist du bei mir” continually reveals the genius of its construction and the force of its expressive power. How to tell the difference? This takes time and a little practical analysis. . great music is great music. but doing it in an especially beautiful or meaningful way. recall. We need to be vigilant in examining the music we choose to study with our students and push ourselves to seek out the best music we can find. This does not necessarily mean the music need be more difficult or complex. A very predictable musical goal reached by the quickest. Teachers dedicated to quality repertoire and comprehensive musicianship for their students bemoan the seeming lack of commitment from publishers or retailers to maintain a high standard of compositional integrity in the music they offer. the value of the piece is probably minimized.  DEPTH: Does the piece bear repeated hearings? In fact. most obvious or most direct route will be less effective. CHARACTERISTICS OF WELL-WRITTEN MUSIC  S OMETHING D IFFERENT : A good composition has something ingenious that holds our attention. Too much repetition of the same ideas creates monotony whereas too much contrast gives the ear nothing to latch on to. There may be something novel in the piece that is innovative or strange and sets it apart. I. If it is sufficiently unpredicatable to preclude an immediate grasp of its meaning. but either in extreme create a kind of formlessness. Here are some thoughts to guide in the process of examining potential repertoire. Both are needed. regardless of its technical demands or difficulty. Just as there are simple unison choruses worthy of study. It seems sometimes that directors in small schools or with smaller programs feel like the great masterworks are the property of large school programs only. melodic variation or rhythmic development to keep the listener sufficiently off-guard enough to stay interested? If a musical idea is repeated twice. or it may be that the composer is doing the same old thing. Truly great music usually demands repeated hearings to probe its layers of meaning. This is one of the differences between art music and entertainment music. it will sustain its intrigue through repeated hearings. In fact. or if every phrase of its music or text can be predicted accurately on first hearing.MERIT AND MEANING: The Search for Quality Music Randal Swiggum WHAT IS GOOD MUSIC? It’s Our Problem One of the most frequently heard laments in music education today is the cry for better music. the other offers new riches even after the hundredth listening. if the ear can grasp most everything on first hearing. Publishers and retailers in their turn counter with. No matter what the level or ability or size of the ensemble. All good pieces are a series of musical “events”. there is good music available. though it can be sung by children. ” Puts value on external.  To study the scores we teach.  It is richly filled with musical ideas. Profound moments should not be  CONSISTENT STYLE: Does the piece sound like everything belongs together?  G OOD Anything that seems “out of place” in the piece should have a good reason for being there. accident or poor taste. These criteria for measuring music’s worth ask a new question: how well will this music wear over time? “Whatever is not eternal is eternally out of date. how we view music in the culture. apart from its musical setting?  GOOD T EXT: Does the piece use a worthy text? Is this a text that will provoke discussion or insight on its own. Is open to a variety of interpretations. MUSIC IS A GOOD TEXTBOOK IF:  It suits the level of the performers.  To search diligently for music of only the highest quality. Labuta). They present human existence in a concentrated.” (Joseph A. and through them people relive and re-experience the best or most fulfilling aspects of existence. and our values. Makes a simple point. HISTORICAL IMPORTANCE Choosing music is fundamentally about a philosophy of music education. The way we spend our precious time with kids indicates how we view our role as music educators. Art Expects you to “chew. Puts value on inner depth.  GOOD USE OF TEXT: Does the composer show an understanding of the text? Is it a “happy marriage” of text and music? Is the composer sensitive to the structure and poetic devices of the text? Does the music “add” anything to the text or further amplify its expressive power? II. Operates on multiple layers. Entertainment “Goes down easy. O RCHESTRATION /V OICING : Does the piece use various colors and textures effectively? Does the composer show knowledge of voices or instruments? Is there good craftsmanship in the way the parts are handled? Again. THE CHALLENGES BEFORE US  To trust the intellectual and emotional capabilities of our students. Nourishes. Are we essentially purveyors of the dominant mass/pop culture or is our role to introduce kids to the traditions of historical Western culture? With the “Disney-fication” of mass culture. “In a very real way…musical works symbolize life experiences.  It shares insights about human experience.” (Madeleine L’Engle) IV. and historical style markers worthy of study. we are saturated with a certain mentality about the role of music.” Provokes and challenges. III. so as to know their depths. Satisfies “sweet tooth. not incompetence or accident. culturally. 2003 . compositional techniques. and historically significant. A combination of styles in a single piece should only exist if this is part of the composer's artistic vision. Created to sell. not because of carelessness. Changes us. incompetence.” Amuses us.” Stays in the “comfort zone. Is nuanced and subtle.  It has a genuine expressiveness and emotional content that can be grasped by the performers. strange choices of voicing or texture should be based on an artistic vision. miniature form. Is more one-dimensional. CONSISTENT QUALITY: Are all the sections of the piece consistent in quality? followed by trivial ones.  Time is allowed for the performers to study the piece in depth. stretching them without discouraging them. Created for meaning. which has elevated its importance for entertainment and “relaxing” and diminished its importance as intellectually. Is obvious. . GOING TO THE HEART (PART II) Randal Swiggum Written for 2003-04 CMP Insights There’s no better way to clarify your understanding and figure out what you really know (or don’t know) about something than to try to explain it—especially to write about it. Finding the “heart” of a piece of music was an expression which had been part of CMP jargon from the earliest days of the project and was usually introduced as part of the Analysis point of the model. Finding the heart of the piece. “Composer’s intention” can sometimes be discerned by “decomposing” the piece—trying to trace the compositional process backwards to the composer’s original idea or materials. as well as planning strategies that relate closely to it. the thing which makes it “work” or holds it together. I discovered that back in November 1990. My goal in the article was to enlarge upon the ideas presented in the summer workshop and put them into written form. too spiritual. and then building meaningful outcomes and exciting strategies on it ! ! ! ! ! . Knowing the heart of the piece (which might be its most exciting element) helps the teacher plan a dynamic way to introduce it to students on the first day. if you think about it. Our ultimate goal is students’ passionate engagement with the music they perform. While it’s true that music ultimately defies complete analysis—it’s just too elusive. (Intention is a loaded word these days since. too metaphysical. Writing about this somewhat abstract idea had the effect of shaping what I already believed.) Deciding upon the heart of a piece helps in choosing meaningful outcomes (we called them “objectives” back in 1990) that spring naturally from it. as I tried to put into words certain ideas that had been floating around in my head for the several years I had been a member of the CMP Project. too something to put into words—it is helpful to try. Attempting to decide and describe how a piece of music works at least brings us closer to understanding it. it can never be really or completely known.” Rereading the article today. its single most important musical element. I still agree with its main points: ! The heart can be thought of in several ways—as the “why” of the piece. but it also made me think in new ways about exactly we meant when we spoke of a piece of music’s “heart. when I wrote an article for the Wisconsin School Musician titled “Going to the Heart.” It was a significant exercise for me as a teacher. or the composer’s intention. or seems to be compositionally most important. It helps me. i. a fundamental aspect of the piece. with the belief that the musical meaning of a piece somehow comes from its essence. because of how most Americans tend to hear it and the associations they make when hearing it. the teacher. and have some new or different ideas to add to the points above. It is a way of stating. This way of thinking naturally emphasizes a single. . It helps my students. For example. I learned this the hard way when I tried to state clearly the heart of Mozart’s Eine Kleine Nachtmusik. One could make a case for all of these hearts. Is it the piece’s perfectly structured sonata form? The charm and elegance of its gracious melodies? Or the contrasts built into its main themes (a combination of both of the previous possibilities)? One could argue for all of these possibilities. and especially the wonderful feeling of “homecoming” on the return of the A theme. I’ve already started thinking differently about the piece and my students’ experience of it. I. and will remain the same and unchanging. The 1990 article was written from an essentialist viewpoint. but is attached to it by me as a listener. at least musically. correct “heart” for each piece of music. if I decide that the heart of a young band piece like Frank Erickson’s Balladair is its ABA form. We all recognize that different listeners hear music differently. Or I might decide that the heart is the way the lovely trio melody. both strong and lyrical. In the years since the article was published. Frankly. even for different listeners. all the other music I’ve heard up to that point. a good analysis is going to reveal many possible outcomes. is set in relief and prepared so beautifully by the very different. I may analyze “The Stars and Stripes Forever” and discover that the entire piece is organized around the character of a half-step. or by doing damage to the full understanding of the piece. But this seems counterintuitive. and will give students at least one solid and concrete aspect of the piece to think about and understand. Anyone who has attended the Summer Workshop probably remembers struggling to find the heart of a piece they were analyzing—a process we sometimes make unnecessarily difficult because of emphasis on finding the right answer. And that’s how a great piece finds a welcome home in the hearts of our students.S. where the meaning of the piece doesn’t come from within it.helps students connect with the piece—making a “heart to heart” relationship between them. understand clearly. a compositional device. when in fact they typically combine several elements in such an interlocking relationship that they can be teased out only with difficulty. A problem with the essentialist approach is that it sometimes it seems to limit great masterworks to one musical element. a single. It will help me (and them) focus on a very important aspect of the piece that might be overlooked otherwise. gives the piece meaning. I have continued to ponder the meaning of the musical “heart. but because of time we are usually limited to just a few (sometimes only one) to actually focus on with our students. important. something that is most striking. Mvt. throughout time. 2. Struggling to find the heart can help in two ways. and what its meaning might be. Isn’t it possible to have several hearts. This would be an essentialist analysis—the meaning/heart is in the notes. from its musical elements and how they are organized— that its meaning exists apart from me as a listener. in turn. my listening skills. succinctly. from its inside. Why? Because the heart is merely an artificial construction. So though it may not be the one and only possibility. The first three are more essentialist in nature—they depend on isolating a compositional aspect of the piece and identifying it as the one that gives the piece its unique character. But to say the heart is a mere “pedagogical tool” is not to diminish its importance in the analysis process. Deciding upon a heart for the piece—even a heart that might be different when you teach the piece again in 5 years—gives tremendous pedagogical focus and clarity. more aggressive melodies which precede it. Or I may decide that the particular combination of timbres (especially the piccolo versus trombone soli) gives the piece its distinctive American military feeling which is its heart. because I will probably choose more relevant outcomes and strategies for them to discover if I am working backwards from the heart of the piece. and all-encompassing heart—a musical element. and remember. This meaning is constructed from many factors: my understanding of music at the time. one of which leads to the other: 1.e. what is important about it.” I have enlarged my own understanding of it.—that it somehow “means” patriotism.A. etc. in the process of analyzing the piece by forcing me to come to grips with how the piece is constructed. it is one strong one which students can latch on to. one for each listener? And don’t some pieces seem to have hearts that are more complex than a single musical element? It was these thoughts which made me come to grips with the difference between an essentialist view of the music’s meaning versus an externalist view. hinted at even in the first measure. something “in the notes”—that gives the piece its meaning. a pedagogical tool to help in analysis. For example. in a way. Or I might even say that the heart of the piece is its status as an icon of musical patriotism in the U. " A name like Brahms or Morley or Mozart on the piece is a pretty quick way to decide if the piece will deliver musical depth. then look for new works by "old war-horse composers. We can find interesting music. If you are tired of "old war-horses". but only if you want something new or different. publishers. Go to many concerts. DO buy high quality music from publishers and • • • • • buy enough for each of your singers. Some other suggestions for finding new repertoire:        a nearby college library (peruse the collected works of great composers) the WSMA Festival lists (there pieces are mostly tried and true) recommendations from colleagues whom you trust convention performances (Save the programs. . It also lets them know that there are people who want to perform this music! Print the “paid permission to copy granted by” information on each copy. every time! Keep a home file of these to go back to year after year. Return to favorite composers. Listen to lots and lots of choral music. Sticking to the classic masterworks as a core curriculum is definitely an insurance of quality. Make notes to yourself) student suggestions from their summer music camp repertoire reviews in professional journals / magazines CDs and professional recordings. and effort -but you can adjust transpositions and voicings to fit your group. You also can bring some of the exciting choral music repertoire that is not available in performance copy to your students! Music libraries with facsimiles of manuscripts and first printings as well as collected works of composers can be of great assistance in finding interesting music. but not find a program to fit it into for several years. Other repertoire ideas. etc. time.WHERE TO FIND IT Finding the best music may take a little more time. It is a great example to your students that you are respecting the rights of composers. styles. In other words. Browse the good record shops. please don’t photocopy! Ever! b) Write the publisher for permission to photocopy “out of print” music for a small fee (I have yet to be turned down by a publisher). Stretch yourself and your students beyond your comfort zone -.com/ d) Make your own editions of music in the public domain. Collect many CDs.snaptel. editors. musings: • Buy single copies of interesting or recommended music any time. etc. • Look in choral collections. Isn’t it good for our students to see us try new things? do extra research? find excitement in learning? How many centuries of choral music are represented in a given school year? cultures? traditions? genres? A few answers to the problem “Quality music isn’t being published or is going out of print”: a ) DON’T buy poor quality music from the publishers. issues. try new choral traditions.! c) Choral Public Domain Library: http://cpdl. Some things work really well for certain groups or ages.research new styles. Much of this music is available in octavo or permission to photocopy can be sought from the publisher. This takes some research. Mit einer Einführung von Karl Michael Komma herausgegeben von Günter Graulich. Frankfurt.trebleclefpress. should be of great assistance in program planning. Bryn Mawr.com • ph: (919) 932-5455 • fax: (919) 932-5418 • 415 Wesley Dr. Kassel. it is hoped. The English School for 4 voices 3. Carus-Verlag 403179. Desirable Women 4. Christmas and Advent Motets for 5 voices 13. The New Novello Part-Song Book: Forty-four British part-songs for mixed voices from Purcell to the present day. Eagle Court. Italian. Boosey & Hawkes Doreen Rao Series www. Motets for 3 voices 8. 62) Heft II (Opus 93a. who contributes copious historical notes to each volume. Petti. includes notes. translations are provided at the head of each piece. OR 97330 Treble Clef Press www. “The first sixteen volumes of this expanding series are devoted to a wide range of sacred Renaissance motets with Latin texts.Some Recommended Publishers: earthsongs www. Fanny Hensel-Mendelssohn: Weltliche a-cappella-Chöre von 1846. Lond EC1M 5Qd. and simplified keyboard reductions with suggested tempi and dynamics are provided as a rehearsal aid or as a basis for a continuo part where appropriate.com/pages/teaching/features/seriesDetail. VT 05658 fasola. 37.and four-part songs for equal and mixed voices. Petti. The Seasons 5.” 1. Petti. Love and Marriage 3. The Animal Kingdom 2. Includes an English translation of the Introduction and: Op. with modernized spelling and punctuation..musicarussica. The “Two Duets” are unaccompanied. 30. 1999. Furore Edition. 27. Lond EC1M 5Qd. 44 partsongs.hildegard. Indispensable popular works are interspersed with relatively unfamiliar but attractive and singable pieces.” 1. Brahms: Geistlich Chormusik: Gesamtausgabe der motettischen Werke. Smoking and Drinking 7. English. The English School for 6 voices 14. 74.com • ph: (610) 649-8649 • fax: (610) 649-8677 • Box 332. 3915a and Nr. New York. “Comprising three.” Northern Harmony Publishing Company.German only. J & W Chester/Edition Wilhelm Hansen London Ltd.. 104). An important feature of this anthology is the arrangements by subjects. ArtsVenture. Eight Volumes copyrighted 1982-1986. The English School for 5 voices 10. The Italian School for 4 voices 2. Petti. David Moore and Catherine Roma. 1997. Chapel Hill. The Flemish and German Schools for 5 voices 12.asp?seriesID=31 • ph: (212) 358-5300 • fax: (212) 358-5301 • Boosey & Hawkes. Endless Light: Spiritual Songs from a New Generation of Composers. Edited by Anthony G.northernharmony. Place Names The Chester Books of Motets. partsongs and rounds from the 16th and early 17th centuries. Novello. Furore-Edition 510-514. German. Northern Harmony.F. 12. In the case of the non-English texts. the “Three” are with piano accompaniment. J & W Chester/Edition Wilhelm Hansen London Ltd. “Plaine Tunes.” Northern Harmony Publishing Company.com • ph: 1-800-326-3132 • Fax: 1-203-421-3132 • (language tapes available) • 310 Glenwood Drive • Guilford. Edited by Larry Gordon. 110. written by teenage composers from the ensemble Village Harmony. Two collections of Brahms partsongs -. NC 27516-1521 Hildegard Publishing Company www. 109. 29.earthsongsmus. The Chester Books of Madrigals. Christmas and Advent Motets for 4 voices 7. The Spanish School for 4 voices 4. Eagle Court. Chester Music. Sixteen Volumes copyrighted 1977-1982. Chester Music. NY 10010-6212 Musica Russica www. and contain a mixture of well known and unfamiliar pieces. Barnwell with Sweet Honey In The Rock. Germany 1988. 1994. The Italian and Spanish Schools for 6 voices 15. 13. C. The French School for 4 voices 9.boosey. . Marshfield. Published by Contemporary A cappella Publishing. Edited by Anthony G.pair.. Transcriptions by J. “The Chester Books of Madrigals offer an exciting collection of secular European madrigals. Fuging Tunes and Anthems from the Early and Contemporary New England singing Tradition. 35 East 21st Street.com • ph: (541) 758-5760 • fax: (541) 754-5887 • 220 NW 29th Street Corvallis.com • ph: (802) 426-3210 • fax: (802) 426-3491 • 5748 Hollister Hill Rd. 1964. Singing and Dancing 6. The German School for 4 voices 5. French. Edited by Elke Mascha Blankenburg in 5 volumes with a total of 18 partsongs. Warfare 8.org This site is a starting point to help you find information related to the tradition of Shape Note or Sacred Harp singing. The Flemish and German Schools for 6 voices 16. London. [Also available through Hildegard Publishing Company] Fanny Hensel-Mendelssohn: Two Duets on Texts by Heinrich Heine and Three Duets on Texts by Heinrich Heine. 1993. PA 19010 Northern Harmony www. Christmas and Advent Motets for 6 voices Continuum: The First Songbook of Sweet Honey In The Rock. Fourth Edition. Edition Peters Nr. The Flemish School for 4 voices 6. Distributed by Hildegard Publishing Company. some of which are published here for the first time All appear in completely new editions by Anthony G. 22. newly edited from early sources by Anthony G. 20 pieces by 5 Sweet Honey in the Rock composers. Exclusively Distributed by Hal Leonard Corporation. CT 06437 USA Some Recommended Collections: Brahms: Weltliche A Cappella Gesänge: Gemischter Chor. 1998 . Texts are in the original languages. includes notes. Compiled and Edited by Ysaye M. The majority of the settings are for SATB [though each volume includes selections of fewer and more parts]. New York. Edited by Larry Gordon and Anthony G. which. The Italian and Spanish Schools for 5 voices 11. Edited by Robert Walker. Herausgegeben von Kurt Soldan: Heft I (opus 42. and Spanish. Inc. London. 3915b. Barrand. 1999. Leipzig. Peters. The Oxford Book of Spirituals. Cambridge. London. William Billings: The Continental Harmonist.” The English Glee. Edited by Jerome Roche in three volumes: Volume I: AnimucciaMarenzio. Opera Choruses. The King’s Singers. Oxford University Press.. Three Two-part Songs. 1988. John Rutter. 2002.. Britten: A Ceremony of Carols. A Collegium Choral Tapestry. “Contains over fifty of the finest examples of sacred choral music from continental Europe. Edited. Joel Cohen. Inclues: Shiloh. “24 Show-stopping Concert Pieces. Orlando di Lasso: Villanelle. Awake. sweet love… Songs and lute solos by John Dowland and his contemporaries. Paul Hillier. 1991. Dowland: Farewell. 1986. When Jesus Wept. Dowland Come again. Clifford Bartlett. DELOS DE3165. Though Philomela. European Sacred Music. 59 madrigals and partsongs. Oxford and New York. includes notes and an index of vocal and instrumental requirements. 30 partsongs by 19 composers. Harmonia mundi HMU 907048. Hyperion CDA67076.1994. Oxford University Press. Edited by Clifford Bartlett in two volumes: Volume I: European Madrigals in 4 parts. Orfeo C026 974. Newly revised and edited from the former Penguin Book of Madrigals for Mixed Voices. Rundfunkchor Leipzig und Instrumentalsolisten. Edited by Percy M. 1989. 1997. NHPC 104-2. EMI CDC 749265 2. Moresche e Altre Canzone. Premier Recordings 1008. 1978. The Oxford Book of French Chansons. Associate Editor. New York. two neckes. Includes Hopkinton. English Madrigals. Madrigals and Partsongs. David Miller. 1983. and Cobham. Renaissance Voices: Introduction to the Italian Madrigal for four voices. 1996. William Billings: A Land of Pure Delight. Rinaldo Alessandrini. Includes Elgar As torrents in summer. Includes O bella fusa. Galaxy Music Corporation. Creation. The Cambridge Singers. Clifford Bartlett. Volume II: European Madrigals in 5 parts. 34 anthems for mixed voices compiled by Christopher Morris. Collegium CS002. . opera choruses. 2001. Oxford University Press. Harmonia mundi HMC 901279. Oxford. 60 English Madrigals by 17 composers. David’s Lamentation.Oxford: Encores For Choirs. Edited by Clifford Bartlett. 28 spiritual arrangements. Oxford and New York. Edited by John Rutter and Associate Editor. Unkind – Songs & Dances. The Boston Camerata. 1995. Oxford University Press. Gregg Smith. 1987. Laudibus. Josquin Desprez: Chansons. Oxford and New York. Includes Ford Since First I Saw Your Face. reprinted 1987. The King’s Consort. Oxford University Press. Compiled by Peter Gritton. Oxford University Press. Includes performance notes and translations. Oxford University Press. New York. Edited by Alec Harman. Volume III: Light Madrigals and Villanellas. Dennis Keene. Ronald Corp. Oxford University Press. 55 madrigals by 22 composers.selection ranges from the sixteenth to the twentieth centuries. Edited by Paul Hillier. and Translated by Judith Blezzard. English Romantic Partsongs. Series Editor. Johannes Brahms: Samtliche Chorwerke a cappella und mit Instrumentalbegleitung. Ensemble Clement Janequin. Renaissance Voices: The Flower of the Italian Madrigal for Mixed Voices. Includes: Weelkes Four arms. New Lond Children’s Choir. Oxford and New York. 84 chansons by 60 composers. Distributed by Hal Leonard Publishing Corporation. Naxos 8. Oxford and New York. Oxford University Press. Kittery. Young. Oxford University Press. Wolf-Dieter Hauschild. Endless Light: Spiritual Songs by a New Generation. Edited by Moses Hogan. Concerto Italiano. Oxford and New York. Oxford University Press. Oxford University Press. includes English translations. 1993. Oxford and New York. The King’s Singers. (Includes Fancie). Volume II: Monte-Willaert. The Bird. Voices of Ascension. 1997. 26 glees by 20 composers. Includes El Grillo. Oxford and New York. Friday Afternoons.. German Romantic Partsongs. 1984.” Folk-songs for Choirs. Beyond Chant: Mysteries of the Renaissance. 40 partsongs by 12 composers. 1988. The Oxford Book of Tudor Anthems. Edited by John Rutter. Faber Music Ltd. 1998. Oxford and New York. Oxford and New York. Northern Harmony Publishing Co.553183. Oxford and New York. David’s Lamentation. The Oxford Book of English Madrigals.1996. Edited by Jerome Roche. 35 Some Recordings of Recommended Repertoire: All in the April evening. The nightingale. includes English translations. 1995. Edited by John Rutter in two volumes. Selected. The Choir of Clare College. Edited by Philip Ledger. Hyperion CDA66447. 1978. 1988. The Oxford Book of Italian Madrigals. one wreathing. Galaxy Music Corporation. Michael Brewer. 1993. Village Harmony led by Larry Gordon. His Majestie’s Clerkes. Oxford University Press. 12 and 13 unaccompanied mixed-voice arrangements of folk-songs from the British Isles and North America. 1990. Edited by Frank Dobbins. The King’s Singers’ Madrigals. Oxford and New York. Opus III 3094. James Bowman. Erato 0630-12704-2. 1995. Irish Folk Songs. Hyperion CDA66777. Fantasia on a Theme by Thomas Tallis. earthsongs. My Spirit Sang All Day. 1998. CMP presenter email contact information: Margaret Jenks. Hyperion CDA66641/2. 1990. CPO 999 012-2. Robert King. earthsongs. The King’s Singers. Maria Guinand. The Robert Shaw Chorale. The American Boychoir. etc. 1985. John Rutter. Monteverdi: Canzonette (1584). Includes Messe Basse. Gustav Holst: This have I done for my true love: Partsongs by Gustav Holst. Salamone Rossi: The Songs of Solomon – Volume I: Music for the Sabbath. Lully: Armide. New York Vocal Arts Ensemble. Pro Gloria Musicae. Andrew Parrott. 1991 Music to Hear. Vaughan Williams: Over hill. Arabesque Z6556. The Long Day Closes. 2003. Five Variants of ‘dives and Lazarus’.com • Randal Swiggum. Fanny Mendelssohn-Hensel: Gartenlieder. PV794042. 1994. CD 04.57. The King’s Consort. 1990. AYS-006. Elke Mascha Blankengurg. je ne l’ose dire.wi. Norman Del Mar & Bournemouth Symphony Chorus and Sinfonietta. earthsongs. Dénes Szabó. LINN CKD 152. Royal College of Music Chamber Choir. Larry Gordon. Monteverdi: Scherzi musicali a tre voci. Brian Kay. Libana: A Circle is Cast.edu • Rebecca R. Somm Recordings 204.com. City of London Sinfonia.553317. Leitung: Willi Gundlach. Lassus. EMI Classics 7243 5 65131 2 9. Philippe Herreweghe. Russia Sings. Jannequin. Thorofon CTH2299. Doreen Rao’s Choral Music Experience. Richard Bjella. Cantemus – Nyíregyhaáza. Robert Shaw. Choir of New College. earthsongs. Northern Harmony. Sergio Vartolo. Somm Recordings 207. Collegium Vocale. EMI CDC7 49765 2. Children’s. Laurence Equilbey. Naxos 8. Concerto delle Dame di Ferrara.1986. One World Many Voices. Fanny Hensel-Mendelssohn: Chorlieder. Directed by John Barron & Brenda Zadorsky. CD 02.Fauré: Requiem and other choral music. Gustav Holst: Hymns from the Rig Veda. la la. The Scholars of London. Bayley-Hazen Singers. Includes Chatman There is Sweet Music Here. Teldec 9031-73241-2. Collegium COLCD 109. Also includes: Norfolk Rhapsody No. The King’s Singers’ Madrigal History Tour. 1986. Members of the New York Collegium. One World Many Voices. Stephen Hatfield: Amabile Youth Singers Sing the Music of Stephen Hatfield. Includes Marlborough.k12. In Windosor Forest. Ladyslipper LR108CD. BMG Classics 60139-2-RG. 1998. 1989. Stephen Layton. Sermisy.1993. 1988. 2001. James Litton.550880. Director. Música de Latino América. King’s Singers with the Consort of Musicke. Ceecilia’s Day • Music for Queen Mary. Includes Vaughan Williams Love is a Sickness. rwinnie@mtsd. Terzette. 1994. Johann Michael Haydn: Mass & Vespers for the feast of Holy Innocents. Director. Hyperion CDA66705. Includes Sullivan Echoes and Elgar As Torrents in Summer. PM108. Naxos 8.553316. 1995. French Chansons: Josquin. Harmonia mundi HMC 901456. 1986. City of Birmingham Symphony Chorus & Orchestra. conductor. Leonarda Ensemble Köln. Taverner Consort. Front Hall Records FHR 205C. 1986. The Holst Singers. editor. Music of the Americas. Eric Milnes. Handel: Judas Maccabaeus. Cambridge Singers. Naxos 8. New York Baroque. Sergio Vartolo. Virgin Veritas 7243 5 61582 2 1. 1994. CD 05. Choeur de Chambre Accentus. Hymn to Dionysus. Glinka Choir of Leningrad. Vaughan Williams:Toward the Unknown Region. Raymond Beegle. 1997. 1995. Stephen Hatfield: Resound! Boosey & Hawkes Marketing Department. 1991. Two Eastern Pictures. Unicorn-Kanchana DKP (CD)9046. Stanford Quick! we have but a second. [email protected]. Concerto delle Dame di Ferrara. Kodály Karmúvészete: The Choral Music of Kodály 7. Poulenc / Ravel: Secular Choral Works. Includes Certon: La. Stephen Layton. Conductor. Kammerchor der Universität Dortmund. 1995. Winnie. Holst Singers. Volume 3.northernharmony. jenks@execpc. Lawrence University Concert Choir. Libana: Fire Within. Choir & Players. Sir David Willcocks. 1 in E minor. Volume 2. Includes: Finzi My spirit sang all day. Royal Philharmonic Orchestra. Hungaraton Classic KFT – HCD 31291. Purcell: Odes for St. Conductor. Duette. Pierre Verany.us . Cassette available from Northern Harmony www. La Chapelle royale.pair. Oxford. 1984. EMI CDM 7 69837 2. over dale. Mozart Nocturnes and Haydn Vocal Quartets. 1995.1968. Spinning Records SRCD-002. Youth and Female Choruses. 1993. One World Many Voices. . gneur. oh God. tez le. sing! &b c ˙ 3 Ah. œ J de coeur - de ˙ - œ œ - œ tez! œ Ó . and a very high honor. France - le de œ te œ lou œ - er. œ Sei œ 3 &b œ &b ˙ 7 œ #œnœ œ neur. et œ de 4 chan 5 & b #œ 9 . comme c'est chose belle Oh. 2 &b œ 5 . chan - œ très œ œ haut œ œ hon œ œ fi ˙ . Sing with a devoted heart. œ œ.Ah. comme œ c'est œ cho œ - se œ bel ˙ 14th C. how beautiful it is to praise you. œ est Orlando di Lasso (1532-1594) 2 #### #### Mu si . œ . j œ si - - œ De - œ i ˙ hum. Mu - 3 4 #### œ De œ - œ ˙ do œ i do œ œ ˙ - - œ num. œ i do œ œ. 2003 . ˙ .ca De ˙ - œ œ ca num œ op œ - œ ti - mi. RRW Edition. & 2 & & & 7 5 3 j œ œ - Music is God's greatest gift.Musica est Dei donum optimi 1 #### 2 œ . œ œ œ Al ˙ - # & Œ & & 21 17 mein . œ œ œ œ œ Lob Georg Philipp Telemann (1681-1767) ben œ œ œ œ œ œ ˙ al 3.em Mun .de sein.Ich will den Herrn loben alle Zeit I will praise the Lord at times. œ sein soll œ œ œ - œ œ dar in le im . (Psalm 34:1) & cŒ & & 13 9 5 # # # 1.em œ œ Mun ˙ - œ œ. de œ œ ˙ j œ ˙ ˙ sein! œ Lob œ soll œ œ # # Sein sein im . œ œ mein . ˙ Œ in œ mein .em œ œ œ Mun - de œ in mein . 2003 . Zeit! w œ œ œ œ œ œ Lob.mer in œ mein .mer œ œ œ œ dar œ in sein. His praise shall conintually be in my mouth.de sein. Ich œ will œ den œ Herrn œ lo œ œ œ ˙ œ œ œ - 2.em œ œ sein! w ∑ Mun .em Mund ˙ - de RRW Edition. ˙ Œ le Zeit. ˙ ˙ ya. let's sing a song of praise Traditional Israeli Round 1 b &b c 5 2 b &b ˙ &b 9 Ha ˙ - va œ œ na - shi ˙ - ra ˙ ˙ shir ˙ Ha œ œ - œ œ l' - lu ˙ œ va œ na - ˙ shi - ˙ shir œ œ l' - ˙ ya. Ha ra Ha lu 3 b ˙ Ha - œ va œ na - shi ˙ ˙ ra RRW Edition shir ˙ Ha œ œ l' - lu œœ œœ ˙ - ya. .Hava Nashira Come. . . . change . in . one wreath . œj œ œ arms. ˙ ˙ Œ œ Œ œ Fa la la la la la. U w 2 .a bly. Bar. 10/15/06 The thought of this confounds me. Fa la .. Fa œ œ ˙ la. two pair of lips. ˙ . 1 Two œ . Four 1 ˙.1576-1623) Fa arms.ing. Fa 1 la. œ la.ter .. . Fa la la la la la.ing. Aœ œ Two 2 .ing. œ œ œ Fa la la la la œ œ œ œ n œj œ œ œ ˙ la la la j œ ˙. Aœ . œ œ œ œ pair of lips. Two hearts that - la.. Bar.change . Fa la.ti - . œ œ œ œ œ œ œ œ œ œ ˙.. Fa Œ œ Fa œ Fa S b &b œ œ œ œ œ ply in . and O this all is nothing. two necks. Fa la. Fa bœ œ œ œ œ œ œ la la la la la la la n˙. ˙. U w la. two necks. Fa A & bb la la la la la. one wreath . This no with griefs doth prove report oft turns in love. Fa la la la. œ œ œ œ œ Fa la la la la la.Four Arms. œ . RRW Edition. one breath . œ . 1 la. Two la. ? bb ˙ . la.ter . mul mul .change . Fa la la la ply sighs œ in . two ˙ ˙ ˙ j œ œ bœ. Œ œ œ œ Fa Four la. hearts that mul - Two œ J ti - la la la la la. la. Thomas Weelkes (c.. J Four Four . Fa la la la la la. la. U nw la. Bar.. Two Necks. ? bb ˙ . la la la la la. ˙. n ˙ . Fa la. Fa œ œ œ œ œ la la la la la. œœœœœ œ œœœœœ œ ˙.bly.. œ œ œ œ bœ nœ œ œ œ œ Fa S b bœ &b œ œ œ œ nœ 6 Four arms. Fa la la la.a . 2 Fa Œ œ Fa la. 2 œ J ti - S b & b n˙.. la. œ Fa la la la la la. Fa œ œ œ la œ œ ˙ la la n˙. la.. 1 ˙. two necks.. One Wreathing Soprano b &b c œ Alto b & b c œ . 17 la la la. Four œ . la. œ œ one œ œ breath . la. œj œ œ œ œ. Fa nœ ˙ la œ bœ œ œ la la la la œ la. 2 bœ œ œ.. œ nœ œ ? bb c . œœœœœ œ œœœœœ œ ˙.ing. It cannot be expressed.ing.. one 2 breath .. Aœ œ Two hearts that œ œ œ œ œ œ bœ. œ sighs œ œ bœ œ œ œ œ Fa j œ ˙ ˙ - - bly. and as I speak it wounds me.ter . God help me whilst I rest. Fa A b & b bœ œ œ œ œ œ ? bb œ 11 la la la la la.. one wreath .a œ œ œ œ A bœ sighs ply bœ œ œ. b & b ˙. two œ œ Baritone œ œ bœ œ 1 pair of œ œ lips. Fa la la la la la. Fa ˙ ˙ ˙ œ œ bœ œ œ œ œ œ la la la la la.ing. la. Bad stomachs have their loathing. . & ˙ & ## et œ w w 9 œ œ ˙ - do - shem w w w A Bar. ˙ ˙ ˙ œ Nœ ˙ œ œ n˙ - m' - vo RRW Edition. . Soprano œ ˙ 2 œ œ ˙.Bar'chu ## c & ˙. Alto Baritone ? ## c ˙ . œ ˙ r' 7 - chu w w w . ˙ 16 ˙. ha ha ˙. ? ## ˙ . . et et w œ ˙ œ œ œ œ . . ## c & Ba Salamon Rossi (1570-c. . ? ## ˙ . ˙ ˙ 3 œœ œ œ œ œ ˙ - 4 5 ˙ ˙ ˙ ˙ a 13 6 j œ.1630) Bless the Lord who is to be praised. œ œ œ ˙ œ ˙ w a œ œ ˙ œ œ œ œ 18 ˙ a - w do do ˙ - shem - - shem S & & ## ## ha ˙ 15 œ œ œ œ m' ˙ ˙ - 17 œ œ vo œ ˙ ˙ œ œ œ œ 19 A Bar. 2003 . œœ ˙ 12 ˙ ˙ w ˙ #˙ ˙ r' r' - chu - - chu 14 S ## 8 . Ba Ba ˙ ˙ œ œ œ ˙ ˙ 10 w ˙. - ˙ ˙ #˙ ˙ m' - vo ˙ ˙. Praised be the Lord who is blessed for all eternity. ˙ œ ˙ 11 - œ œ œ œ ˙ ˙. l' . ha - ˙ ˙ me - #˙ vo w w - - #˙ rach.lam va - Ba - ruch a . œ J #˙ ˙ ˙ ˙ - 'ed.'o . .lam 'ed. . .do . N œj ˙ ˙ ˙ . .shem ha ˙ ˙ - m' - vo ˙ ˙ - rach l' . œ .'ed. œ œ 33 ˙ A Bar.shem ˙ ˙ ha - 29 ˙ ˙ ˙ #˙ vo - 30 ˙ ˙ ˙ . œ œ ˙ ˙ l' l' .lam va - S & & ## ## 32 'ed. A Bar.lam va - 'ed. ? ## w #˙ rach. ˙ . w w w .'o . ha - me - vo rach. ˙ .lam va œ.do .do . ˙ Nœ œ . . . - 'o . rach.'o .'o . ? ## ˙ 'ed.lam ˙ va ˙ œ. .S & & ## ## w ˙ 20 21 rach. ? ## w #w Ba - ruch œ œ N˙ œ œ ˙ a . . #˙ ˙ Ó 22 ha ˙ ˙ ˙ 23 - ˙ 24 25 me ˙ ˙ - vo w ˙ - rach.shem ha - m' - vo - rach l' . . œ œ ˙ 35 l' . w w w 39 w w w l' .lam va - 'ed.œ œ ˙ va - 34 l' .'o . 'ed. œ œ w 36 37 - w ˙ #˙ w 38 'ed.lam œ œ˙ ˙ ˙ ˙ ˙ #œ va - A Bar. m' rach œ œ œ œ œ œ 31 l' .lam œ œ˙ œ ˙ ˙ ˙ ˙ va .'o .'o .'o . S & & ## ## 26 Ba w 27 ˙ ˙ ˙ - ruch œ œ 28 a . O rosetta che rosetta from Scherzi musicali a tre voci Claudio Monteverdi (1567-1643) 3 œ œ 6 œ .go - &œ œ ?œ œ O O œ ta Ro - set œ che œ œ ro - set œ œ - ta œ œ Tra'l bel œ œ œ œ ver - de œ œ di œ œ œ œ tue #œ œ fron .zel - let-ta Che spo .# œ œ 4 # œ œ œn œ 6 œ . œœ œ .go - j j 3 & œ œ œ œ œ œ œ œ 6 œ œ œ œ 4 #œ œ œ œ 6 œ.œ œ 4 œ œ œ œ 8 œ J # œ 4 8 œ œ# œ 4 œ 8 œ .di Co .œ j 3 œœœ 6 j3 & 4 œ œ 8 œ .ra don .# œœ œ .scon .sa . è.sa ti na .œ œ œ . 2002 sa - ta_an .di Ver .ta_an ? œ œ œ œ œ œ œ œ 6 œ œ œ œ 4 œ œ œ œ 6 œ.œ# œ 4 œ œ œ # œ 6 œ . cor non 3 œ 4˙ ˙ J è.di Co .scon .ra don .zel let-ta Che spo - gno .ra don .me pu . che œ œ ro .set - œ ta œ œ Tra'l bel set ver œ. œ œ œ œ 4 3 3 3 3 J3 8 8 œ 8 œœœ 8 J J œœ 10 Ritornello & œ œ O Ro - 3 œ 4 3 4 œ 3 œ 4 œ ta œ.di œ œ œ œ œ œ Ver .ta_an RRW Edition. .œ œ œ # œ 4 œ œ J ? 4 œ 6 œ . œœ œ œj 4 œ œ œ œ 6 œ .œ œ œ œ 4 œ œ œ œ 6 œ .zel let-ta Che spo sa .scon .œ œ œ œj 4 œœœœ 6 œ œjœ œ 4 œ œ 3 3 3 3 &4 8 8 8 8 J 3 6 3 6 œœ 3 œ œ œ œ 6 œ . œ œ - de œ œ œ J di tue fron . œ œ œ 3 8 8 J J gno .me pu .cor j 3 œ œ # œj 4 ˙ non - cor œ non 3 œ 4˙ J è.sa ti na .sa ti na . œ œ 8 8 15 j 3 & œ œ œ œ œ œ œ œ 6 œ œj œ œ 4 œ œ œ œ 6 œ 8 8 gno .go - œ œ œ œ #œ œ che ro - Ro - set - ta set - ta Tra'l bel ver - de di tue fron .di Ver .œ œ œ œ 4 œ 6 œ .me pu .di Co . but this Goddess in grace and in beauty has no other Goddess like her. I know it. rose that through the fair green of your leaves in modesty lie hid like a pure maiden that is still unwed.O rosetta che rosetta (Gabriello Chiabrera) O rosetta che rosetta tra’l bel verde di tue frondi vergognosa ti nascondi come pura donzelletta che sposata ancor non è. I cannot say how much I esteem you beauty of Cytherea. but so I esteem you that in your praise my thoughts have their reward. Caro pregio il tuo colore tra le man sia di colei che governa i pensier miei che mi mira il petto e’l core ma non mira la mia fe’. io me’l so. Naxos 8. If born of a fair cluster it did not worry or concern you. Dear in worth your colour in the hands of her who rules my thoughts who sees my bosom and my heart but does not see my faith. ma questa Dea e di gratia e di bellezza non ha Dea sembiante a se. 1995. Concerto delle Dame di Ferrara. O rose (translation by Keith Anderson) O rose. Sergio Vartolo. . A suggested recording of O rosetta che rosetta: Monteverdi: Scherzi musicali a tre voci. Director. Se dal bel cespo natio ti torrò non te ne caglia ma con te tanto mi vaglia che ne lodi il pensier mio se servigio ha sua mercè. Non mi dir come t’apprezza la beltà di Citerea.553317. ni fin fo - da la co. . œ œ œ #œ 4 6 Vin .ti Più lu .to_a œ œ œ œœœ 3 ˙ ˙ 2 ma . 7.ghi œœœ œ 6 ˙ 4 20 rai che tan .i.gli_ar prie .ra Sia .co. - te ni.i. 5 œœ œ œœœœ 3˙ 3 œ œ œ œ 4 œ œ œ œ œ œ œ œ œ œ 3 œ.gli_ar prie .te_a . .no œ œ œ œœœ 3 ˙ 2 i 16 ˙ i ra .go. Vin . œ œ œ ˙ 6 J & 12 œ ˙ œ œ œ œœœ ˙ œ œ œ œœœ ˙ œ œ ˙ - ˙ ˙ ˙ & ˙ ? ˙ rai di ci . 2002 .to_a œ œ œ œœœ 3 ˙ ˙ 2 œ ˙ œ ma .dor ˙ Mi mi . œ ˙ J 19 #œ ˙ - te ni.te_a .ghi voi 1.to Di più Vin . RRW Edition.ti den . Va .go.cen . ˙ Mi mi .ti Che del 6 4 ˙ .ti ˙ Più œ œœ œ ˙ œ œ ˙ te ni lu . ˙ .te tor .gi_ar den .ra Sia . Va .e_ei pie ri - ta tor - te ni ˙ Mi mi .ti den .to Di più al - 1. œ œœ œ 6 4 .ti Più rai di ci .ghi rai che tan . œ œ 4 6 ˙ 6 4 œ œ œ œ œ 6 œ œ œ 6 & 3 œ œ œ œ 4 œ œ œ œ œ œ œ œ œ 3 œ. . 4œ œœ ˙ J œ 3˙ 2 ˙ œ œ 6 . .to_al Di più 21 œ œ al - 6 4 18 6 œ œ œœ œ œ œ œ œ œ 3 ˙ &4 2 6 &4 ˙ ?4 ˙ 6 fin da fo.Vaghi rai di cigli ardenti from Scherzi musicali a tre voci (1607) 2 3 4œ .cen .œ œ œ œ ˙ œ œ œ œ œ œ ˙ ˙ œ œ œ œ 6 2 2 J 6 &4 ˙ œ œ ˙ 3˙ ˙ 2 ˙ 3 2˙ 13 œ œœ 4 ˙ œ ˙ 6 ˙ ˙ ˙ ˙ . Meter signatures and phrase (breath) marks have been added by the editor. œ 2 2 4 œ œ œ J ?3 œ œ 2 6 .e_ei ri œ œ ˙ ˙ #œ pie ri - fin fo - da la co._o rag . E ._o rag . . 7.gi_ar 17 - den . .œ Va . œ œ œ œ œ 4 6 6 J &2 2 2 J Claudio Monteverdi (1567-1643) Ritornello ˙ ˙ ˙ .dor œ. 7.gi_ar den . œ ˙ ._ov .te_a .cen . œ œ œ œ œ œ 4 ˙ Va .dor œ.ti den . ˙ ˙ œ œœ œ ˙ ˙ 1. ˙ œ œ ˙ œ œ ˙ 15 .ti ˙ Che 6 œ œœ œ 4 ˙ œ del œ Sol non so.ghi E voi lu . Va .ghi E voi ? 4 œ.gli_ar prie .go. Va .no œ œ œ œœœ 3 ˙ 2 œ ˙ œ no_i i ˙ i ra rai di ci . œ œ œ 3 œ .ra Sia . œ œ œ #˙ &4 J 7 8 9 10 11 ._ov . œ ˙ J - te ni.i. 6 4 ˙ œ ˙ 14 œ œœ œ ˙ œ 3˙ 2 œ 3˙ 2 ˙ œ œ ˙ œ œ ˙ . la pie ov .e_ei œ - 3 œ ˙ 2 3 ˙ 2 ta tor - ta .ti Che œ œœ œ 6 ˙ 4 del Sol non so.ghi œ œ 6 4 ˙ rai che tan - to_a - 3 ˙ ˙ 2 ma ._o rag . 3 ˙ œ œ œ œ œ œ œ œ 4 ˙ œ œ . Sol non so - 3 ˙ 2 ra - ˙ i . 4 œ œœ ˙ J œ 3˙ 2 3˙ 2 6 œ œ 4 6 6 œ. 6 œ. 7. Già tra pianti. ove ei ritorni Siate adorni. Harpsichord can fill in harmonies throughout. 21. . o burning beams brighter than the Sun’s rays. burning beams brighter than the Sun’s rays. defeated at last by pity. E voi pur lasciate al vento Ogni accento Vaghi rai. where you come again. 5. 4. ond’egli è piena. Performance Suggestions: Use two treble instruments (violins) and a bass instrument (cello) for the ritornello. more fiery. A rolled harpsichord C chord can end the piece on the third beat of measure 11 or of m. They may double the voice parts in the choral section during all. look at me. che tanto amai (translation by Keith Anderson) Lovely rays of burning eyes brighter than the Sun’s rays. Vaghi rai di cigli ardenti Più lucenti Che del Sol non sono i rai Vinto alfin da la pietate Mi mirate Vaghi rai che tanto amai. And I beg you. hor che’l vedete Che scorgete Nel profondo del mio seno Ivi sol per voi si vede Pura fede Pura fiamma. Look at me. L’ardor mio non pur credete.Vaghi rai di cigli ardenti Text by Gabriello Chiabrera 1. Hora è vano ogni martirio S’io sospiro Il seren vostro turbate. Vaghi rai. The strophic form can be given variety by adding a solo verse (Soprano part) or a trio verse. 2. tra sospiri Tra martiri L’ardor mio tant’affermai. Additional verses: 3. Ma’l vedete Vinti al fin da la pietate. che tanto amai. Vaghi raggi. and take from out my heart the grief and anguish of my woes. lovely rays that I loved so much. Sia tranquilla in su la sera. The ritornello can also conclude the piece. some. in beauty. Mi mirate raggi ardenti Più lucenti Che del Sol non sono i rai e dal cor trahete fuore Il dolore e l’angoscia de miei guai. Play the ritornello prior to each verse. E voi priego o raggi ardenti Più lucenti Che del Sol non sono i rai Di più foco. Del mio cor la pace intera Sia tranquilla in suo cammino Sul mattino. O per me gioconda luce Che m’adduce. 6. or none of the verses. lovely rays that I loved so much. ciam can can - tan tan - do_a do n˙ tan tan - do_a do la ri la ri - bell' ve - Al ren - ba_ho za_a œ - no l'Al œ.no #w te re te re Che fan can Fac .di vu .ti_u .sto .am d'A .ri_u .ti su pa .ri_u .za Tut . no_é for s'in . out and hear the birds that sing in honour of fair Dawn RRW Edition.ciam can tan tan œ Che fan Fac .. c j w œ Nœ œ - - ba ho .to_ho . ba.ciam can .tan can .al j œ ˙ su can pa .am d'A .no - Che fan Fac .di vu .mo - te re .sci ti .tan can . œj Et gli_au .tan can ..ciam can - œ œ œ do do S1 & ## 13 ˙ œ - œ bell' ve - 14 ˙ ˙ - œ ba_ho za_a - 15 œ.gelEt con do - che'l gior .tan can .mo .sto . - re.Su su su che'l giorno From Canzonette a tre voci Claudio Monteverdi (1567-1643) 4 Soprano 1 # & # c & ## Soprano 2 Alto # & # c Ó c Œ œ œ œ Su su Su su su su Su su Su su ˙ œ œ 2 œ ˙ - œ 3 ˙ - œ œ œ ˙ - œ 5 œ œ ˙ œ œ #˙ ˙ œ œ - 6 .tan œ œ œ œ œ - - do do Che fan Fac .al .sto .ti_u .tan œ œ œ œ - let .ti Su su Su su œ œ su su che'l gior .al œ œ œ œ œ Œ re Su su su za Tut . œ J su su che'l gior ch'il sol œ œ œ œ œ œ œ. w Now day is here up shepherds. 4 œ œ œ œ œ œ œ - 10 ˙ ˙ œ do do 11 œ œ œ œ œ œ 12 ˙ - œ do_a do S2 # œ & # & ## œ let .ti_u . ba. œ œ œ.caim do do œ œ œ œ œ can . 2001 Above.to_ho . j œ œ œ œ bell' ve - 16 œ. 4 œ 3 .ti . .sci can .no_é for ch'il sol s'in . the sun rises let us all sing of Love and with due honour let us sing in reverence of Dawn.tan A let .Et con do œ œ œ .am d'A .re Su su ch'il sol s'in . œ #œ J te re te re Et gli_au .sci ti .gelEt con do - S1 & # # 7œ œ #˙ œ œ ˙ ˙ - 8 w Half = Dotted half 9 3 .to_ho .di vu .ciam can ..ri_u .ciam can .mo - - re za Su su Tut . 4 œ 3 .ti can œ œœœ œ œ œ œ œ - pa .no_é for .tan Che fan can Fac . ba.no - te re w Che fan Fac . j œ Nœ Dotted half = Half c w 17 #w re. œ œ.gel- Et gli_au . Al ren j œ œ aœ c #œ œ ˙ - w A # & # ˙ Che fan Fac . 18 S2 # & # œ la ri œ œ Al ren œ œ n˙ ˙ no l'Al #œ.no za_a l'Al - re. that as they go salute fair Dawn. Damon sang and invited his companions to sing in honour of his Goddess. Damon cantava e i compagni invitava a far cantando honore a la sua Dea. su che’l giorno é fore su. Here is the pale sister of Phoebus and the other fair wanderers. che nel passare fan mormorando a la bell’ Alba honore. So. up shepherd. Udite i rami e l’ore et per l’herbe le chiare acque. Così. su. out and hear the birds that sing in honour of fair Dawn. Hear the branches and the breezes and through the grass the clear waters that in passing murmur in honour of fair Dawn. Director.553316. su. che fan partendo a la bell’ Alba honore. su pastori uscite et gli augelletti udite che fan cantando a la bell’ Alba honore. Concerto delle Dame di Ferrara. Above. the sun risers let us all sing of Love and with due honour let us sing in reverence of Dawn. su. as Dawn rises. vaghe. and the shining stars.Su su su che’l giorno Su. Ecco la bianca suore di Febo et l’altre belle. Now day is here. Sergio Vartolo. . Translation by Keith Anderson Recommended Recording: Monteverdi: Canzonette. et lucenti stelle. mentre sorgea Alba. su ch’il sol s’inalza tutti cantiam d’Amore et con dovuto honore facciam cantando riverenza all’Alba. Sus. Naxos 8.
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