TBE CAROLS ··.III1~~ . '. .•. .:,,or .. ' .··,,·.ccCO•.. :: .•••• :'., •. :.:.:.. : More Than In the .' lbaA,.'",
by Richard Waters ~ ~ arold Darke (1888-1976) composed his best known same year he also founded the St. Michael's Singel-s, a choil-of \""i' ••... y piece, the carol In the Bleak Mid-Winter; nearly one appmximately eighty singers. One of the stated objectives of the . .. hundi-ed years ago. Despite the fact that he composed choir was to perform Bach's St.John Passion annually during Holy more than forty pieces fOI- choir; Darl Love Come Down at Christmas 1911 hymn SATB unaccompanied Cradle Hymn 1912 anthem Unison voices, piano -T9TT .. antll-em- A Christmas Carol 1914 anthem SATB, S solo, organ A Christmas Carmen 1915 hymn SATB unaccompanied When Christ Was Born of Mary Free 1916 hymn SATB, S solo, organ * Not Published five violin sonatas and romances, six min majority of these compositions are sa to write six more carols in the next seven iatures for oboe and piano, six orchestral cred works, including seven carols, sixteen years. An old family friend, Margaret Agnes works, sixteen songs, and seven part-songs. anthems, fourteen sel"vice music settings, Calkin, contributed to the cost of Harold's Most of these compositions date from the eight extended or multi-sectional wol"l<.S education following the death of his father 1900s through the 19 lOs, from the eady for choir and instl"umental accompaniment, in 1902 at the age of fifty-six. Darke com stage of his compositional careel~ and many and nine hymns. posed the carols, which all bear the inscrip of them remain unpublished. tion "To MAC" as Christmas presents to By far the most recognized and popular Calkin as an expression of thanl<.S for her genl"e of Darke's works is his chol"al music. Carols generosity.9 He wrote more music for choir than for Darke composed his first carol in 1909, Two distinct types of carols emerge any other medium; the overwhelming at the age of twenty-one. He would go on upon examination of their formal struc ture: those that are strophic hymns and those that are through-composed an thems. Table I shows a complete listing of these wod<.S. Two of the three hymn-like carols con tain a refrain at the end of each stanza.The anthem-like settings may be distinguished from their hymn counterparts by their in dependent accompaniments, which Darke frequently varied from stanza to stanza. However; the four anthem-carols bear some resemblance to the hymn-carols by maintaining the same melody throughout 'Hrl1tess·zon.Clt Development Workshop each stanza. Three of the carols draw their texts LOJJZa~tctors of Choirs at All Levels from one of England's most important female poets, Cht"istitJei RossettL IO Many-_ 17~~~~~A:le:x:andrJ.a, Virginia of Rossetti's poems are deeply religious, July 28 - August 1, 2008 reflecting her strong devotion to the Angli- can Church. She is the only literary source Reserve Conductor Positions Now whom Darke used more than twice in any of his sacred choral music. www.ChoralConductorsRetreat.com Darke's carol settings are more re [email protected] • (808) 595-0233 served than his anthems or service music. 20 Choral Journal • October 2007 The melodies are memorable lowed by a refrain; the texture is and easily-sung, the vocal parts -- -- '- homophonic and the music for contain very little divisi, and the 7711 the two stanzas is identical.The harmonic language remains - 7'. l...A.c entil-e composition lasts sixty-six simple and straight-forward. ("L1t 1o..r.d t..",- ~A..::... • t.!<~'L.-, measures: each stanza is twenty The tonal center of each caml measures long, and the refrain is is clearly defined and I-arely thirteen measures. changes, unlike much of his other - Two stylistic features stand !l. J( choral music. Two factors help -= -- out in A Christmas Carmen. explain this conservative tonal CCin/L First, the tonal center of the appmach. First, the camls are : carol is A Mixolydian. This is all early works, when Dad Chol-al Journal • October 2007 21 Love came down_ at Christ - mas, Love all love - ly, Love di - vine, 5 ,--3----, 3 r-----=-- ---, '~IV r' p rz-sd J I J J I F r r F r I r' p A II Love was bom_ at Christ - mas, Star and an gels gave the sign. 'V,""""'V mm. 1-8. the carol genre. He scored the carol for the manuscript and the printed score of not specify which keyboard instrument soprano soloist and SATB choir with or When Christ Was Born of Mary Free. FOI' should be used to accompany the choir; gan accompaniment.This fifteen-measure example, the first nine meaSUI"es feature the Novello edition marks it fOI" ol"gan. strophic setting consists of four stanzas, a soprano soloist, simply marked "solo" The wdting style found in the keyboard each of which is followed by a refrain.The in the manuscript. In meaSUI"e 10, when does seem to imply that Darke had the text is believed to be from the fifteenth the full sopl"ano section enters, Darke organ in mind when composing the ac century, although the identity of the author clearly marked "Tutti" above theil" line companiment. Certain measures would is unknown. in the manuscript. The p,"inted Novello be problematic on the piano, where the Several discrepancies exist between edition, including the 1996 re-engl'aving, left hand would need to simultaneously marks the beginning line for"Soprano."The play two pitches that are a twelfth apart. printed edition confuses Darke's intent, as Such passages may be easily executed on the other voice parts are also listed in the the organ, where the lowest note is played singulal'form (Alto,Tenor; and Bass). There on the pedal and the left hand plays the is no Tutti indication in measure 10 of the remaining pitches. Novello edition to indicate a change from Darke utilized imitative entrances in the Part soloist to full choir. refrain of When Christ Was Born of Mary Predominant In addition, while the manuscript does Free. Each voice part begins one beat l~ecordin.gs ART STUDY RECORDINGS COlllplete choral productiolls with each voice part highlighted by professiollal singers! Our library features works such as: Rutter's Requiem, Gloria & Magnificat Faure Requiem Alozart Requiem Vivaldi Gloria Handel's Messiah J\;!ass in G by Schubert Coronation l\;fass by Jv!ozart ...... and many morc- including titlcs for SATB, elementary, SSM and TTBB choir "PPR's study recordings are excellent ..... it's a wonderylll done by a company that cares useful Lnuce C. Bristol, Chair of Choml Affairs, N'ebrnsku {\lEA View our catalog online: www.partpredominant.com e-mail: [email protected] TOLL FREE: 800-290-SING local: 253-851-0290 fax: 253-851-0289 2617 39th St NW Gio Harbor WA 98335 Chol'al Journal • October 2007 aftel- the othel~ begin to 21 , but by measUl-e 22 ning with the basses the harmonic structure 1. "'.J Choral Joumal • Octobel- 2007 23 first two measures of lines I and 3 are nearly the same, as is the first 35 , measure of lines 2 and 4; however; S " II no phrase or line is identical. Both A ...JJ t!J I, /·1 I I r F renderings are of strong merit and Je ' ------sus Christ. have stood the test of time, as /: demonstrated by their inclusion J~. /J J. , T : in The New Oxford Book of Carols B ::::ll I ~ in 1992. Je ------sus Christ. Cradle Hymn (1912) is a set ting of the first two verses of the familiaLte£AwayjD~3.0l\l1aDg@r;."I,:I , Darke's setting is forty-eight mea 11I/j1 :: P.P 51" II f sures long and features piano ac S J A companiment. It is the only carol t!J 1'-...... 1./1 >"--- ..-"'1 I, c.--- I r '" give __ my heart, give my heart. that Darke did not score for SATB > 11I/j1= P.P choir. The manuscript marks the J :4~ J vocal line simply as "Voice." This T : ~~ J~' '"' B carol would work equally well as a I I > T 7' give __ my heart, give my heart. solo or as a piece for unison choir. ---- The gentle melody of Cradle Hymn is exactly the same in both Figure 2. Harold Darke, In the Bleak Mid-Winter, mm. 35-37 and mm. 51-55. stanzas, with the exception of © 1911 by Stainer and Bell. Used by permisison. one additional pitch at the very end of the second stanza. Even in such a short composition, Darke's writing features detailed dynamic miliar setting, composed three years earlier and two sixths. Rhythmically, the two set contrast throughout. The carol consists for the first edition of The English Hymnal, tings are nearly identical until the last line, of a four-measure introduction, two reveals an assortment of similarities and where Darke chose an expanded ending. seventeen-measure stanzas (with a four differences. The melodic contour of the (Figure 3) measure interlude), and an eight-measure first two measures of each tune is remark Overall, Holst's setting is more re codetta. The thirty-four measures of vocal ably similar. Holst's melody is mostly step petitive, both melodically and harmonically, writing contain seven different dynamic wise, with no leap greater than a perfect than Darke's version. Lines 2 and 4 are markings, as well as several crescendi and fourth. By contrast, Darke's tune features identical, as are the first two measures decrescendi. several mOI'e leaps, including foul'ths, fifths, of lines I, 2, and 4. In Darke's setting, the Darke contrasted the two stanzas of Cradle Hymn by varying the manner in which the piano accompaniment provides the harmonic support. In the introduction and first stanza, the accompaniment is more peaceful, anchored in the left hand by quarter; half, and dotted half notes. In the interlude and subsequent second stanza, Darke created a sense of forward motion by featuring a steady display of eighth notes in the left hand. Here, Darke showed that he was comfortable writing for either the piano or the organ, and understood the differences and possibili ties~oHhe-twoinstruments;-even-atsuch-~" an early stage of his compositional career. The accompaniment style used in the first stanza returns for the conclusion of the second stanza and remains through the codetta, which features a subtle hemiola (a common feature in much of Darke's 24 Choral Journal • October 2007 ,~ J. J £ J\ J £ i ~ F I J J I J J I J In the bleak mid - win - ter Fros - tywind made moan, 5 ,~ J. J j J P F IJ I J J. J\I J £ 9 Earth stood hard as ir - on, Wa ter like a stone: ~ ,~ iP I A IF'~~ J J I £ r· r F r r "----" J Snow had fal - len, snow on snow, Snow_ on_ snow, 13 ,~ J. J J\ j i ~ F I J J 14zEzLJ I II In the bleak mid - win - ter, Long a - go. Figure 3a. Gustav Holst, In the Bleak Mid-Winter, Melody, mm. 1-16. © Public domain 3 ~ J\ I J A I J\ J i r· r r J J u 'ti In the bleak mid win ter Fros ty wind made moan, - - - )5 r J I r J f" }I j j Earth stood hard as ir - on, Wa - ter like a stone: L ::j r· J\ r - u Show had fal - len, snow on snow, Snow_ on snow, 15 ,tiJ J II In the bleak mid - win ter,_ Long ___ a - go. Figure 3b. Harold Darke, In the Bleak Mid-Winter, Melody, mm. 3-19. ©1911 by Stainer and Bell. Used by permission. Conventions Have Something for You! .rk with Choral Colleagues Choral Journal • October 2007 25 Soprano Solo 5 \ ) J\ J I J J J I J. ~ -=--a I A II ~~ t J J IJ r· 4rl==="' But what have I, a lit tle child, To guide me home from_ far, Sopranos 31 ~~ J I J J J J I J J r· p I J r t?r f f I J J II must be like these good Wise Men, With heav' n - ward heart and_ look:=== __ Figure 4. Harold Darke, A Christmas Carol, mrn. 5-8 and mrn. 31-34. ©1920 by Stainer and Bell. Used by permission. music). concludes with imitative entrances for all The organ plays a supportive role A Christmas Carol ls (1914) is Darke's voices. in A Christmas Carol, as opposed to the longest carol, spanning eighty-six measures. Darke used the same melody in four independent character it often displays This carol is scored for soprano solo, SATB of the five stanzas. One notable alteration in Darke's other choral music. There are choir, and organ accompaniment. Darke set five of the nine stanzas from Christina Rossetti's poem. Darke utilized a variety of vocal forces in A Christmas Carol. He scored each stanza ./!t1;,.:;~~tJfJr;:~-(Q)[fD@·.~·.·rmUdJgu@f!®@ ..•.... )j@(Q]~5{~m~~'~&fD~ .; .. ';' for a different combination of voices. A 1 ...... ;••••. ,,;::;>;p=·~·0tDfR2@W{j[(j@ifD @(tUrtDriJD@'!&J@@]§t!JMJO@JsWO##rfP"j', soprano soloist begins the carol, the men sing stanza two, while the full choir sings .. stanza three. The soprano soloist returns ,ti~~~il@. ~mJ ~~ ~~~5,j for the fourth stanza, while the choir ;f/@~/(Q)@@'-@JkffD@W!l ~ilWD(f@[{~ilg)qrMJfR>@cm(Q)@ &l~: joins the soloist for the final stanza. In the ";'; ~rmX~rm[lj]~rfnflfli]UdJ~il(f;o . . .,' ...... ; ... ~.::}'?:; stanzas that are sung by the choir, Darke ·\.;,,,_e,_\;'"'' ,'"1-',', :;. created further variety by using unison writing for the first four to six measures before dividing the choir into parts. Forthe occurs in the second phrase. Although the no organ interludes between the stanzas; second stanza, Darke featured two- and basic contour of the melody is unchanged, instead, Dal-ke concluded each stanza on three-part writing for men's voices. The the pitches used in subsequent stanzas either a dominant or diminished chord, third stanza contains the most diversity. are higher than those found in the first only to be resolved at the beginning of the After singing in unison for five measures, stanza (Figure 4). In the fourth stanza, the subsequent stanza. (Figure 5) the choir divides into four parts for the soprano soloist has an entirely different The final stanza begins with the origi next phrase of text. This is followed by a melody, providing contrast from the pre nal melody, featuring further variations short phrase for sopranos and altos, and ceding stanzas. and modifications. The only substantial WORLD CHOIR GAMES SINGING TOGETHER INTERKULTUR· WORLD CHOIR GAMES, Am Weingarten 3·0-35415 Pohlheim BRINGS NATIONS TOGETHER Tel.: +49 (0) 64 03 - 95 65 25 . Fax: +49 (0) 64 03 - 95 65 29 . [email protected] 26 Choral Journal • October 2007 Soprano Solo 9 mf ,....., : " - '~ I U ~ stars_ sing to - geth - er, And sing - ing An ------gels are? __ tlllis. mp T B The " ~I ,/JI I 1 ~ u ___ 1____ - I I ~f 1 -r [...J I I I r;J' ~ - I I" -I 1 14 : = -f9- 111- fL 111- .. 111- T : . B Wise Men left their coun - try To jour - ney morn by_ mom, __ With " ,r--- v u_ .. ... :t: ... ~ ----:: - .. .y ... :t: 1TIIfJ -I I 1 1----1 1 I 1 Ii ,r--- : a v ------.~ ~ ------.~ Figure 5. Harold Darke, A Christmas Carol, mm. 9-17. © 1920 by Stainer and Bell. Used by permission. I-epetition of text is found in the last phrase ("All 'Glol-y, glol-y' given to Thee through all the heavenly height"), which Houghton College is restated for the final twenty-three a higher purpose i1l1lli11d measul-es of the carol. Dal-ke introduces new musical material as the music builds, Integrating the Christian faith leading to the only fortissimo moment of the piece. At this moment, the soprano with professional music-making soloist returns; it is the only time that the and fine scholarship. soloist and choir sing in the same stanza. Graduate Programs in Music The organ accompaniment then assists Numerous assistantships, up to in the gradual decrescendo to the pianis full-tuition with stipend simo conciusion.The choir sings the final Outstanding faculty F majol- chord: unaccompanied, hushed, Intentionally small classes' with seven-part divisi. Two degrees and five curricula Brandon Johnson, Director of Choral Activities Jean Reigles, Director of Camerata Singers & Women's Choir Assessing Darke 800.777.2556 or 585.567.9400 Nearly one hundred yeal-s after the Houghton, New York composition of In the Bleak Mid-Winter; E-mail: [email protected] Harold Darke is still fondly I-emembered MEMBER Cn1Uldl fllr a!ti~ll~n by those who knew him for his impact www.houghton.edulgreatbatch Cnll,'!:,:" l.o Unl~enlill" Chol-al Journal • October 2007 27 on English church music. He displayed a visualize sounds, and unless, above Performance Tours, commitment to high musical standards as all, they have the power of holding a composer and a pelformer; a dedication their players and singers, of molding Bands-/ Choirs, to the performance of new music by his them to their will, and of imparting friends and colleagues, a fondness for the something of themselves to them music of the past (particularly the music of and to their hearers, then all else is Orchestras 16 J. S. Bach), and a devotion to his unending of no avail. ARTS BUREAU FOR THE U§i4Ca· work as a teacher and mentor. All these CONTINENTS • endeavors helped to advance the cause Darke's choral compositions have not EXrERlENCETHEMUSIC UnDl of English music during its renaissance in achieved the level of recognition obtained the twentieth century. by the music of his more prominent At1s Bureau for the Continents is a patmer Stanford, I ' the Musica Mundi selies concern for the future of English church • Performances arranged in Great Britain, Ireland, Europe, music, particularly of his anxiety that there relatively small output (a result of his busy North America, Australia, New Zealand 8: Asia would be a return to lower musical stan schedules at both St. Michael's Church and • Experienced tour managers dards through the acceptance of "trivial" the Royal College of Music) and conserva • Sightseeing and fun or include any music festival and "vulgar" music. He urged the younger tive compositional style are two factors Such as: generation to strive to live up to the great that may explain why much of his music Music and Choral Festivals, Vienna tradition they had inherited: has not escaped the boundaries of his February 2S-29, May 22-23, June 27-30, native country. Many of his choral works July 3-6, 5-S, 12-15, 200S • June 26-29, July 11-14, 2009 There is no short cut to success in remain in print today, including the recent Salzburg Music Festivals, Austria reissue of three carols by Stainer and Bell. May 22-23,July 3-6, 10-14, 200S • July 2-5, 9-13, 2009 music. We find budding musicians who are graceful stick-waggers, Several anthems formerly out of print have Cork International Music Festival also been reissued in the last few years. April30-May 4, 200S • Aptil29-May 3, 2009 but unless they possess the ability April2S-May 2,2010 to hear an inner part, unless they Hopefully, even more of them will soon become available, so that a new genera- Niagara International Music Festival can read a score, unless they cail (ChOirs, bands &orchestras) July 9-13, 200S • July 7-10,2009 2008 Conductor Stephen Hatfield 2009 Conductor Francisco Nunez ABC Toronto International Choral Festival March 27-30, 200S Conductor: Stephen Hatfield International Youth Festival, Bavaria July 17-24, 200S Llangollen International Music Eisteddfod, Wales July S-13, 200S, July 7-12, 2009 Aberdeen International Youth Festival, Scotland July 30-August 9, 200S • July 31-August 10, 2009 Concorso Corale Internazionale Riva del Garda, Italy March 16-20, 200S World Choir Games, Graz, Austria July 9-19, 200S International Choir Festival of Sacred Music, Rottenburg, Germany July 17-20, 200S Venezia in Musica, Choir Competition, Italy October 1-5, 200S • April 29-May 3, 2009 Malta International Choir Competition October 30- November 3, 200S October 29-November 2, 2009 International Franz-Schubert Choir Competition, Austria November .. 200S· November 1 Contact lois Harper, BA, M.Ed, ARCT Arts Bureau for the Continents 815 Taylor Creek Dr., Ottawa, Ontario, Canada, K1 C 1T1 TF: 800-267-8526 • Tel: 613-234-3360 Fax: 613-236-2636 • E-mail: [email protected] www.abc.ca 28 Choral Journal • October 2007 tion of conductors, singel's, congregations, 9 Michael Dad Veljo Tormis On American Shores Sung in English Portland State Chamber Choir Directed by Bruce Browne CLR921 CD Timing 64:53 50% tuition waivers are available for accomplished singers who Veljo Tormis is considered the preeminent composer of Baltic Choral music. In 2003 Estonian Composer Veljo Tormis heard the Portland State Chamber desire to major in one of 40 Choir while they were on tour in his country. Tormis was so taken with the undergraduate or 11 graduate brilliant artistry and expressive power of the ensemble he requested that degrees at HPU. Bruce Browne and his singers do a recording of his music sung in English. Tormis personally guided the preparation of the music for this CD. It is with great pride that the Grammy Nominated Label Clarion Records Call (808) 544-1127 again steps forward with another first. or email: [email protected] for more information. www.clarionrecords.com - (800) 367-9059 www.hpu.edu/choral Choral Journal • October 2007 29