CHORAL WORKS FOR WOMEN BY PROMINENT CANADIAN FEMALE COMPOSERS
HILARY APFELSTADT
Hilary Apfelstadt is Professor and Director of Choral Activi- ties at the University of Toronto. She conducts MacMillan Singers, Women's Chamber Choir, and is also artistic direc- tor of Exultate Chamber Singers in Toronto.
6 CHORAL JOURNAL Volume 54 Number 5 anada has a wealth of choral composers writing for treble voices, among them three prominent women: Eleanor C Daley, Ruth Watson Hender- son, and Nancy Telfer. For general information about Canadian composers, one can contact the Canadian Music Centre (CMC), which has over 800 associate members, many of whom compose for treble voices
CHORAL JOURNAL Volume 54 Number 5 7 CHORAL WORKS FOR WOMEN BY PROMINENT CANADIAN FEMALE COMPOSERS
In preparing to write this article, I others, however, each provided three has been composed, thanks to the con- was faced with the somewhat daunting works with suggestions for alternates, tinuing support and talent of her choirs. task of dealing with each composer’s which I will mention. What follows is A prolifi c composer, Daley has a complete oeuvre for women’s choirs, a brief bio for each composer and a remarkable gift for melody. Her works and quickly realized that doing so suc- description of the three compositions are most notable for their sensitive cessfully would result in three separate each has chosen, with additional sugges- interweaving of text and music. She has articles. “An interview with Canadian tions for alternate works. over 140 published choral composi- composer Eleanor Daley” appeared in tions and is commissioned extensively the June/July 2011 issue of the Choral throughout North America. Included in Journal (51(11), pp.17 – 34), and in- Eleanor Daley her unpublished choral works are doz- cluded a complete listing of her choral Born and raised in Parry Sound, ens of anthems, fi fteen Missae Breves, works and a discography. Yet I could not Ontario, Eleanor Daley received her three pageants, and hundreds of des- write this article without including Elea- Bachelor of Music in organ performance cants, introits, and psalm settings. Her nor Daley among the trio of outstand- from Queen’s University in Kingston, compositions have been widely per- ing Canadian women composers for Ontario, and holds diplomas in piano formed, recorded, and aired throughout this genre. To do that and to stay within and organ from the Royal Conserva- North America, Great Britain, Europe, reasonable length parameters, I decided tory of Music, Toronto and Trinity Col- South Africa, and the Far East (Source: to ask each composer to suggest three lege, England. She has been the director www.fairlawnavenueunited.ca/music. works she felt best represented her of music at Fairlawn Avenue United htm). style. As Nancy Telfer responded in Church since 1982. During this time, In an e-mail dated June 3, 2013, an e-mail, “Well, this is an impossible she has established a thriving choral Eleanor Daley wrote: task! Sophie’s Choice, eh?” She and the program for which much of her music I am happy for you to use Lake Isle (Ed. Note – I had suggested this work.) Other suggestions (with piano) would be A Hymn for St. Cecilia, The Angels Will Guide You Home, Gentle Nature, or Child with the Starry Crayon.
If (you are) looking for more upbeat tempo – (I) would suggest “The YALE SCHOOL OF MUSIC t NORFOLK CHAMBER MUSIC FESTIVAL YALE INSTITUTE OF SACRED MUSIC Robert Blocker, Dean t Paul Hawkshaw, Director Martin D. Jean, Director White Rose” (# 2 from Rose Trilogy - with piano) or “Autumn” (# 3 from Chamber Choir & Choral Conducting Workshop Seasons of Love - unaccompanied). led by Lastly, if (you are) looking for a Simon Carrington R August 10 – August 17, 2014 piece that a larger choir can do – Deadline Materials must be received by 4:00pm, Thursday, March 27, 2014 (I) would suggest “The Gate of the Year” (unaccompanied).”
A workshop of coachings, masterclasses, rehearsals & seminars for advanced singers & choral directors In order to provide variety amongst Repertoire from the Renaissance to the 21st century the three pieces selected for this ar- ticle, I chose one from the fi rst group, Sessions and final concert will be recorded on DVD the lyrical Gentle Nature, one from the Conductors will have the opportunity to conduct second, “Autumn,” which is both more instrumental as well as choral ensembles Simon Carrington up tempo and unaccompanied, and Enchanting location in the northwest hills of Connecticut “The Gate of the Year,” as it is especially
[email protected] | 860.542.3000 suitable for a large festival choir. Apply online at norfolkmusic.org
8 CHORAL JOURNAL Volume 54 Number 5 1. Gentle Nature By its very title, Gentle Nature sug- The music is lyrical and melodic, be- ♭ (Alliance AMP -0741; SSA with piano) gests a quiet atmosphere: ginning in the key of E major, remaining tonal throughout its modulations and On two occasions, Toronto’s Ori- sun, tell the stars to come varying in texture from unison to SSAA. ana Women’s Choir (William Brown, moon, show the stars to the people As is often the case in Daley’s music, the conductor, 1996–2011) commissioned stars, shine to your people and remind three-part writing is triadic with fl ow- several composers to write music them the way to freedom ing 1st, 2nd, and 3rd inversion chords. based on texts written by children in sky, teach the birds to fl y In this case, notice how the right hand the Toronto District School Board and sea, listen to the waves of the piano accompaniment doubles published in anthologies. From each col- stone, remember to tell the people not the voices, but then changes to a more lection of approximately two hundred to use you for evil independent texture in mm. 21 and 22 poems, the composers selected a poem night, bring the moon and stars to join (Figure1. mm. 15 – 22). or two to set to music. In 2004, Eleanor you The dynamic level ranges mostly Daley chose Child with the Starry Crayon. mountain, look down at my people from piano to mezzo forte with one In 2007, she chose Gentle Nature, poetry dawn, dance with the sun section marked forte, where the word by Mark Lofi chenko, then in grade four morning, dream at night “dance” is embellished and enhanced at Grenoble Public School. Ruth Watson further with a modulation to the key of Henderson also participated in these (Note: Punctuation appears as in the C major (Figure 2. mm. 50 – 54). projects, composing Landscape and choral setting.) Text painting is evident throughout. Night in 2004 and I Am a Cloud in 2007. Words like “fl y” and “waves” are treated as ornamented melismas (Figure 3. mm.
CHORAL JOURNAL Volume 54 Number 5 9 CHORAL WORKS FOR WOMEN BY PROMINENT CANADIAN FEMALE COMPOSERS
27 – 31). The range of the vocal parts is mod- erate, making this music suitable for high school or women’s ensembles. Altos ♭ sing no lower than a B below middle C and S1’s highest pitch is a G on top of the staff. The meter remains in 4/4 time except for one measure of fi ve beats prior to the ending (m.62). Only sixty-six measures long, the music is about four minutes in length with a metronome marking of 84 to the quarter note. The work is expressive, lyrical, and beautifully phrased, all of which makes it satisfying to sing. These hallmarks of Daley’s style are consistently present in her writing, and any of the examples cited above in the fi rst paragraph of her e-mail share those characteristics (e.g., “The angels will guide you home”).
2. Autumn (Seasons of Love, No. 3) (Treble Clef Music Press TC-293; SSAA unaccompanied)
I selected this from Daley’s sug- gestions for more upbeat character because it is unaccompanied and thus contrasts more with the fi rst example. Many of Daley’s works are accompa- nied. As a fi ne pianist herself, she writes idiomatic keyboard parts. In addition, unaccompanied music makes a good contrast in a program of treble works that might be mostly accompanied, and also is a worthy challenge to an ensem- ble’s pitch and rhythmic independence. According to the publisher’s website, O, When I Was in Love With You begins the cheeky A. E. Housman poem about love that’s left behind on purpose. Open fi fth drones on “la la la” recall the sturdy peasant sound of a hurdy-gurdy, while the larky melody in 6/8 time is a modern tribute to medieval dance tunes.
10 CHORAL JOURNAL Volume 54 Number 5 the Texas Women’s University Concert Choir and published in 2007. In keeping with the carefree nature of the text, the lilting compound meter and “la-la” refrain are reminiscent of an English part-song or madrigal. A two-part alto drone begins the piece and then accompa- nies the soprano melody and text (“Oh, when I was in love with you, then I was clean and brave, and miles around the wonder grew how well did I behave.”). A fi ve-measure bridge (mm. 19–23) with all parts singing “la la” follows, link- ing to the second verse where everyone sings the text. Here the texture is essentially SSA. Another bridge (mm. 36–40) ushers in a key change from ♭ D major to B major, which is signifi cant in coloring the text (“nothing will remain”), and then the music returns to D major by the end (Figure 4 mm. 36 – 40). Compound meter is con- sistent throughout, enhanced by oc- ACDA MONOGRAPH NO. 14 casional dotted rhythms that reinforce the light mood of the music (Figure 5 NNineteenthineteenth CenturyCentury ChoralChoral Repertoire:Repertoire: AnAn AnnotatedAnnotated BibliographyBibliography mm. 19 – 22). ooff MusicMusic AppropriateAppropriate forfor CollegeCollege andand UniversityUniversity ChoirsChoirs This music requires excellent ((DonaldDonald Trott,Trott, editor)editor) articulation and a light tone both to deliver the rhythmic clarity and also CChoralhoral ConductorsConductors areare onon a nearlynearly continualcontinual questquest forfor high-qualityhigh-quality to support the mood of the music. cchoralhoral literature.literature. InIn thisthis monograph,monograph, DonaldDonald TrottTrott provides,provides, “a“a spring-spring- A stable dynamic range gives way to bboardoard forfor thethe readerreader toto investigateinvestigate furtherfurther thethe repertoirerepertoire thatthat isis avail-avail- more variety at the end of the piece, aableble ffromrom tthehe nnineteenthineteenth ccentury.entury. WWhenhen oonene eexploresxplores aandnd ccreatesreates again, to enhance the text and mood. a projectproject suchsuch asas this,this, itit becomesbecomes evidentevident thatthat thethe icebergiceberg isis quitequite One can almost imagine a subtle wink llargearge andand onlyonly a tiptip ofof itit hashas beenbeen seen.”seen.” of an eye in mm. 65 and 67, while singing the sudden contrasting echo AAvailablevailable fromfrom thethe ACDAACDA StoreStore atat www.acda.org/shop.asp.www.acda.org/shop.asp. (“quite myself”) and the fi nal declara- tion (“again”) (Figure 6 mm. 63 – 67). While an excellent contrast within the set of four pieces, this selection can
CHORAL JOURNAL Volume 54 Number 5 11 CHORAL WORKS FOR WOMEN BY PROMINENT CANADIAN FEMALE COMPOSERS
stand on its own if need be, but is likely 3. The Gate of the Year (Walton Music on the score, “The Gate of the Year was best sung in context of the entire cycle WW1350); SSAA, S solo or semi- commissioned by the Alliance for Arts as it is quite short and the text gives chorus, a cappella) and Understanding for the 2004 Alli- only one perspective on the “Seasons ance World Festival of Women’s Singing of Love.” According to the program notes held in Salt Lake City, Utah. The uplifting text is complemented by a simple Latin chorus, and offers a powerful vehicle for displaying the beauty of female voices.” The notes further explain that the poetry comes from a work called “God Knows,” by Minnie Louise Haskins, and was a favorite of the Queen Mother whose husband, King George VI, chose to quote it in his Christmas broadcast of 1939 stating, “I said to the man who stood at the gate of the year, 'Give me a light that
12 CHORAL JOURNAL Volume 54 Number 5 I may tread safely into the unknown.'” This would have been particularly ap- propriate at a time of unrest, just prior to World War II. Daley chose to begin the composi- tion with a soloist or semi-chorus singing this text in the key of D major, in duple meter, with triplet fi gures underlying the natural stress of the text. The one rhyth- mic change allows the word “year” to be emphasized, and gives additional time to breathe between phrases (Figure 7 mm. 1 – 13). This simple opening precedes a double choir (S1A1; S2 A2) homopho- nic statement of Lux aeterna. As in the fi rst example (Gentle Nature), Daley uses coupled with the thick texture, this piece Each of the other works that either a series of triads, but without the thirds would suit a very large chorus or festi- the composer or I initially suggested for in this example. (Figure 8 mm. 18 – 21). val choir, as the composer suggested in consideration in this article are readily The melismatic treatment of the word her e-mail to me. It is a substantial and available, equally accessible to women’s “aeterna” is appropriate in reinforcing inspiring text that would suit a variety chorus, and musically satisfying to re- the ongoing nature of the everlasting of purposes. hearse and perform. The Lake Isle of In- light (Figure 8 mm. 14 – 21). When the English text repeats, the entire double choir sings it, with the triplet fi gures used again to match the fl ow of the text, as earlier. The second alto tessitura is quite low here, hovering BAYLOR UNIVERSITY’S SCHOOL OF MUSIC around A below middle C, and giving ANNOUNCES TWO NEW richness to the texture. Daley introduces the next line of text (“Go out into the darkness and put Doctoral Programs your hand into the hand of God”) with a slight change of texture, leading with the in Church Music A2 part, and the others joining as a trio. Four-part homophony soon resumes, Doctor of Philosophy in Church Music however, at m. 41. Doctor of Musical Arts in Church Music The fi nal verse (“So I went forth and fi nding the hand of God, trod gladly into Application Deadline: the night.”) is in E major, marking the February 1, 2014 fi rst key change of the piece. The coda, Contact: too, is in E major and seems to suggest Dr. David Music a brighter color to underpin the text Program Director (“lux aeterna”). This section is enhanced [email protected] by the addition of the soprano soloist Learn more at or semi-chorus descant (Figure 9 mm. www.baylor.edu/ccms 66 – 69). Because of the strength of the text,
CHORAL JOURNAL Volume 54 Number 5 13 CHORAL WORKS FOR WOMEN BY PROMINENT CANADIAN FEMALE COMPOSERS
nisfree is published by Oxford University given birth to some of the most singable are fairly well known and probably don’t Press; A Hymn for St. Cecilia, The Angels choral music in the Canadian literature” need to be mentioned.” will Guide You Home, and Child with the (Source: http://www.musiccentre.ca/ Starry Crayon are all Alliance Music Pub- node/37309/biography). 1. Gloria (Boosey & Hawkes lications issues. “The White Rose” (from Henderson suggested three works: OCTB86760; SSAA, brass quintet and the Rose Trilogy) is published by Treble percussion – also available with piano Clef Music Press. -Gloria (SSAA, brass and percussion) reduction) -Creation’s Praise (double choir, piano, 4 hands) Gloria was commissioned by and Ruth Watson Henderson -Songs of the Nativity (multi-movement dedicated to Doreen Rao, for the Ruth Watson Henderson has an work) women of the University of Toronto’s international reputation as one of Can- Symphony Chorus and Women’s ada’s leading composers of choral music, She also suggested I might mention Chorus, who premiered the piece in and as an admired pianist and organist. Jubilant the Music, but notes that, “It’s March 1993. It is about fi ve minutes, 30 She has done much to promote the only available at the CMC. There’s also seconds long. Despite its being nearly 20 artistry of children through her wealth Cantate Domino, Come, Ye Makers of years old, this is a piece that continues of compositions for treble voices, using Song, and When Music Sounds, but they to sound fresh, at least to my ears. Rao, the expertise gleaned over 29 years as accompanist of the Toronto Children’s Chorus under Jean Ashworth Bartle, until 2007 when both retired. She has at the same time written a wide spectrum of works for adult choirs, an activity be- gun while she was accompanist of the Festival Singers under Elmer Iseler. Her works are acclaimed, performed, and recorded worldwide. Such well- known choirs as the Elmer Iseler Sing- ers, the Toronto Children’s Chorus, the Amadeus Choir, and the Ontario Youth Choir regularly perform them. Her pieces are often featured as the title track on such recordings as My Heart Soars (TCC), Come, Ye Makers of Song (TCC), The Last Straw (Amabile Boys Choirs), When Music Sounds (Oriana Singers) and Be Thou My Vision (Ori- ana Women’s Choir). The Elmer Iseler Singers released a CD, Sing All Ye Joyful, entirely devoted to the works of Ruth Watson Henderson. This CD has found great favor with reviewers. William Lit- tler, writing in the Toronto Star, refers to the recording as “long overdue,” and states that Henderson’s “years as an ac- companist for Elmer Iseler contributed to an understanding of the expressive possibilities of choral sound that has
14 CHORAL JOURNAL Volume 54 Number 5 in her performance notes on the score, The composer wrote most of it while refl ects text stress. These alternations wrote the following: on tour with the Toronto Children’s between simple and compound time Chorus in England and France in 1992, are used throughout the fi rst section of The predominantly three-part vocal composing in buses and hotel rooms the music (Figure10 mm 1 – 8). texture is reminiscent of Stravinsky’s with no piano available, and then did “Et in terra pax” ushers in a new sec- angularity and objectivity, the colour some revisions at the piano once she tion that uses vocal echoes, less disjunct contrasts, varied dynamics, and returned to Toronto. melodic patterns, and a quiet dynamic syncopated rhythms remind us of Poulenc, and the use of brass with The work begins with a fanfare-like to refl ect the text meaning. When Gloria treble voices suggest the infl uence of statement in triple meter, giving way to is performed with percussion, the ma- Vivaldi, a composer who spent much compound time although the meter sign rimba solo makes a startling contrast to of his career composing for women. remains the same. This rhythmic shift the brilliant color of the brass and tym- pani that immediately precedes it. Both a tempo change and the marimba timbre serve to set up the strong contrast that follows (Figure 11 mm. 53 – 60). This entire section displays great variety in rhythmic patterns to refl ect text changes. As is common in Hender- son’s writing, text infl ection determines the rhythm, and the use of triplets, for example, is one technique used often to mirror the natural accentuation of the words. Four-part texture dominates the next section with S1A1 duets paired against S2A2 voices. There is some divisi within voices, necessitating careful voice assignments for balance (Figure 12 mm. 95 – 102). The most challenging and intricate rhythmic writing appears in a 5/8 section that joyfully refl ects the ebullient text: “cum sancto spiritu in gloria Dei Patris” (mm. 125 – 141) and here, both rhythm and pitch are challenging to singers. The accompaniment is helpful to singers al- though it does not double the parts, as is typically the case in Henderson’s writing. The coda is reminiscent of earlier material, somewhat echoing the three- part Gloria setting that starts at m. 13. The ending is solidly in triple meter with no mistaking the intentionality of the text meaning (“Gloria, Gloria, in excelsis Deo, Gloria!”). The full scoring of brass, tympani, and marimba provides a variety of color- ful accompaniment forces that can be
CHORAL JOURNAL Volume 54 Number 5 15 CHORAL WORKS FOR WOMEN BY PROMINENT CANADIAN FEMALE COMPOSERS
duplicated only partly by the piano re- an excellent opening or closing number 2. Creation’s Praise (published originally duction. That said, the latter could work for a program and, if possible, securing by Gordon V. Thompson, now handled well with an excellent pianist who can excellent instrumentalists makes it even by Alfred); Choir I SSAA and Choir play with the strong rhythmic energy more impressive for a festival choir con- II SSA with piano 4-hand accompa- and forceful dynamic changes that are text. A large massed choir can balance niment. There is also a version for so central to this piece. the brass quintet and percussionists brass and organ. I have taught this work both to high very well. school and adult singers and found it to This music was commissioned for be challenging and satisfying to all. It is Jean Ashworth Bartle and the Toronto
16 CHORAL JOURNAL Volume 54 Number 5 Children’s Chorus who pre- miered it in Toronto in 1986. I encountered the score shortly afterwards and per- formed it with the University of North Carolina Women’s Choir at the 1989 ACDA National Conference in Lou- isville. In November 2013, at a celebration concert of the composer’s 80th birthday, the University of Toronto Women’s Chamber Choir sang it with the composer present. What struck me about the experience was the timelessness of the music. De- spite a twenty-four year gap between my fi rst and most recent experience with the same composition, the music seemed is a matter of teaching the music. For ensemble) singing the lower staff. as fresh as ever. The singers thoroughly example, the opening is clearly written At m. 62, the chamber or semi- enjoyed rehearsing and performing it for two choirs and the larger/triple trio chorus part shifts to the upper staff, but and the audience reaction was equally model works (Figure 13 mm. 14 – 27). here again, this can be sung by all the favorable. What contributes to the The next section, however, is in six S1’s, while the S2’s and A’s share the music’s longevity and enduring appeal? parts, but rather than dividing S1, S2 bottom line, or the choir II part. This is My students, in both cases, enjoyed the and A each into two parts, I assign six textural changes, the text setting, the equal parts with sopranos on the top melodic character, and the clear form. parts of each staff and altos on the bot- They also found the piano accompani- tom parts. This works well because the ment to be colorful and rhythmically parts are essentially equal on all staves. supportive. Finally, they were challenged For children, whose ranges are more to deal with the variety in texture, the homogeneous than older singers, this pitch and rhythmic permutations, and might not be necessary, but with more MUSIC DEPARTMENT the expressive elements. mature voices, I fi nd this approach to DIRECTOR OF CHORAL ACTIVITIES As conductor Jean Bartle says in the voicing works best. It also evens out The Department of Music at Millersville introduction on the score, “Choral direc- any potential differences in timbre that University of Pennsylvania has a full-time, tors should not be discouraged from tenure-track Director of Choral Activities, at the would arise with older voices. If, for Assistant Professor rank, available starting with using this work if they do not have large example, altos only were to sing staff the 2014-15 academic year. Millersville forces.” She recommended a triple trio University is committed to a high-quality music three, the color would likely be darker program dedicated to an innovative curriculum, for Choir II, and in our ensemble of 36 or richer than the top staff, sung only creative environment, and caring community. Beautiful performance and rehearsal spaces are singers at the University of Toronto, we by S1’s. According to the score, this can available on campus at the new state-of-the-art did that. At one point, the choir divides also be sung by the larger choir dividing Winter Visual and Performing Arts Center, and at the Ware Center, a performing arts facility, into six parts that can be divided equally. staves one and two, and the triple trio or located in downtown Lancaster, PA. To see the There is also a section for SSAA. Prior chamber group singing staff 3. This does full description of the job and required and preferred qualifications, and to apply, go to to introducing the work, I assign parts not make for even balance, however https://jobs.millersville.edu and create a faculty throughout the score and work out a (Figure 14 mm. 28 – 41). application. Full consideration given to “map” so singers know where to switch applications received by January 6, 2014. At letter B, choir I (SSAA or S’s only) An EO/AA institution. www.millersville.edu staves. Once that is accomplished, it take the top staff, with choir II (small
CHORAL JOURNAL Volume 54 Number 5 17 CHORAL WORKS FOR WOMEN BY PROMINENT CANADIAN FEMALE COMPOSERS
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FFREEREE TTOO ACDAACDA MMEMBEEMBERRSS a lovely serene section where evenness is distributed somewhat antiphonally. of tone is essential and careful voicing After a piano interlude, the opening is will facilitate the desired musical result reprised with slight variations, followed (Figure 15 mm. 62 – 74). shortly by the six-part, “Praise him and At letter E, m. 112, there is a rhyth- magnify,” refrain again that we fi rst heard mic shift to 7/8 with one measure of at m. 28. It is used again at letter I (m. 9/8. This fl exibility refl ects the text that 169) and leads to the powerful ending
CHORAL JOURNAL Volume 54 Number 5 19 CHORAL WORKS FOR WOMEN BY PROMINENT CANADIAN FEMALE COMPOSERS
that is essentially in three- part texture(Figure 16 mm. 200 – 211). This energetic work is celebratory in nature and works well with choirs of varied sizes. It is an excellent opening piece for a concert or equally appropriate at the end, es- pecially as part of a massed choral festival. In that case, performing the music with brass and organ would be ideal to support a large choral ensemble. The work is fi ve minutes long.
3. Songs of the Nativity (Gordon V. Thompson, now handled by Alfred); SA, SSA, SSAA and piano)
The Oriana Singers (now Oriana Women’s Choir) commissioned this set of six short pieces in 1984 and premiered the work under the direction of founding conductor, John Ford. It was published in 1986. Duration is about 15 minutes. Poets include Christina Rossetti, Kath- erine Lee Bates, and Wil- liam Blake, among others. Texts progress as follows: “Chanticleer;” “Before the paling of the stars;” “The Kings of the East;” “The Lamb;” “Peace,” and “Christ is Here.” The piano ac- companiment requires a facile (although not virtuosic) pianist, within the capabilities of a good high In “Chanticleer,” the rooster’s shrill and serves to underpin the music har- school, church, or community women’s cry is signifi ed by the use of dotted monically and rhythmically, rather than chorus, and individual movements can rhythms (Figure 17 mm. 1 – 9). to double parts. This music is certainly be extracted for performance, if desired. These fi gures are used consistently
20 CHORAL JOURNAL Volume 54 Number 5 throughout the movement. The strong stars,” which begins with a simple two ferent treatment for each verse for the ending is a good contrast to the gentle part-texture in the key of A minor. Each sake of interest, although the composer character of, “Before the paling of the of the songs is strophic, necessitating dif- chooses to begin verses two and three
CHORAL JOURNAL Volume 54 Number 5 21 CHORAL WORKS FOR WOMEN BY PROMINENT CANADIAN FEMALE COMPOSERS
of this movement similarly (Figure 18 mm. 22 – 25 verse 2) (Figure 19 mm. 41 – 44 verse 3). Meters change to refl ect text stress, as is common in Henderson’s writing. Keeping the 8th note constant is the key to success. “The Kings of the East” begins with a strong accompaniment to set the mood, and the rhythmic fl exibility required by singers is still anchored by the consistent quarter note beat set up by the left hand (Figure 20 mm. 1 – 7). In contrast, the second verse, speak- ing of the “sweet harp” is introduced and accompanied by harp-like fi gures in the piano (Figure 21 mm. 27 – 32). In the third verse, the alto range becomes lower, signifying that the music was indeed written for a mature ensemble and not for children’s choirs. “Little Lamb” begins with two contrasting ostinati in the divided alto parts, set- ting up an undulating pat- tern to accompany the S duet above. To help balance the melodic material, these ostinati are sometimes wordless. Verses one and two are identical except for their endings and the coda, beginning at m. 26, is reminiscent of the opening. This is the only a cappella piece in the set, and the lack of piano supports the quiet nature of the text subject (Figure Career Moves 22 – mm. 26 – 30). “Peace” begins with a simple S uni- is a summary of all the help-wanted ads that are son line, answered by the altos. This running in each particular issue. This month's introduction leads to a three- and then listing is on page 93. four-part texture, all simply stated in compound time to provide a kind of lilt- ing atmosphere. This movement is very
22 CHORAL JOURNAL Volume 54 Number 5 CHORAL JOURNAL Volume 54 Number 5 23 CHORAL WORKS FOR WOMEN BY PROMINENT CANADIAN FEMALE COMPOSERS
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24 CHORAL JOURNAL Volume 54 Number 5 tonal with no accidentals and is thus an of parts in the piano, which seems to ample of excellent treble choral music “easy read,” making it a good starting strengthen the uniformity of the ending and worthy of consideration, and they point in teaching the entire set. (Figure 23 mm. 25 – 35). are frequently found on honor choir and The last movement, “Christ is Here,” The other pieces that Henderson all-state programs. begins quickly with a choral piano intro- mentioned in her e-mail to me are duction that serves to change the mood likely well-known, and for good reason, from refl ective to celebratory. The lilting in particular Cantate Domino and Come, Nancy Telfer 7/8 meter is appropriate for the mood Ye Makers of Song. These pieces may be Nancy Telfer is a Canadian composer and some unison writing magnifi es the found on a variety of recordings by the who received her formal education importance of the text. These charac- Oriana Women’s Choir and the Toronto at the University of Western Ontario teristics are clearly evident on the last Children’s Chorus, as well as elsewhere. where she concentrated on music page. There is also a bit of doubling Each is a well-written, expressive ex- education, composition, piano, and voice.
CHORAL JOURNAL Volume 54 Number 5 25 CHORAL WORKS FOR WOMEN BY PROMINENT CANADIAN FEMALE COMPOSERS
She then worked full-time as a com- inspiration from the beauty of natural Repeated patterns among voices ne- poser. environments. She has been strongly cessitate matched timbres in all voices. Since 1979, she has composed more infl uenced by the teaching of conductor Because the ranges among voice parts than 350 works for soloists, chamber Deral Johnson and arranger Kenneth are so similar, it would be possible in ensembles, orchestras, bands, and choirs, Bray. She lives in Bracebridge, Ontario. this movement to assign all singers to almost 200 of which are published in parts I, II, and III, each having a mix of Canada, the United States, and Europe. sopranos and altos. In that way, the Her music is performed in many differ- 1. Missa Brevis: Kyrie, Gloria, Sanctus, color of each voice part would match. ent countries and many fi ne performers Agnus Dei (Leslie Music LSC 105); This could work especially well up to have commissioned works by her. She SSA a cappella m. 34, where the collective range is an has also been in demand as an adjudica- octave, with one exception (See m. 18) tor and guest conductor. This eight-minute work was pub- (Fig. 24 mm. 1 – 24). Nancy Telfer’s reputation for creative lished in 1985 and remains one of Mrs. In the “Christe” section, the pitch experimentation is linked with the Telfer’s best-known treble compositions. center shifts momentarily, reverting to belief that all music should delight the The “Kyrie” begins homophonically the original as the composer repeats ears, capture the imagination, and feed with a simple statement that precedes the driving imitative “Kyrie” section. the soul. In each of her pieces she has a more driving imitative section. D is Rhythms are straightforward through- attempted to bring some new kind of the tonal center, but through frequent out, making this quite accessible for experience to the performers so that repetition, both D and A become pitch reading. their lives might be more meaningful and anchors. The range of a 10th, from The “Gloria” is the longest of the more enjoyable. D above middle C to F, is extremely four movements, written mostly in Telfer has always been interested appropriate for young singers and al- compound meter and employing dot- in the outdoors and has often drawn lows for evenness of sound to develop. ted rhythms to reinforce the mood of
26 CHORAL JOURNAL Volume 54 Number 5 the text. There are frequent dynamic contrasts requiring quick adjustments of the singers. Each of these re- lates directly to text mean- ing. Initially, the texture is mostly homophonic, shifting to more imitative at m 20. At this point, the key signa- ture changes as well (Figure 25 mm.13 – 26). This same text (“Gra- tias agimus tibi propter magnam gloriam tuam”) is repeated with slight musical variations: the end of each phrase moves to 4/4 from compound time, to empha- size the text. The overall range of parts is wider. Fur- ther metric variety appears in the next section (Figure 26 mm. 43 – 50). The fi nal section of the
CHORAL JOURNAL Volume 54 Number 5 27 CHORAL WORKS FOR WOMEN BY PROMINENT CANADIAN FEMALE COMPOSERS
careful tuning. The rhythm refl ects the text stress with even greater variety in this movement than in the others. In this movement, the alto drops to a low A, making it the widest in range of all movements in the Missa Brevis. On the other hand, the S1 part extends to a high A. The fi nal movement, the “Agnus Dei,” begins on a unison D that fans out as the S1 part ascends the D Major scale. Telfer repeats the fi rst six measures on the same text at mm. 22 – 27 with one slight voicing change. She uses the same fanning out technique twice later, based on an E (mm. 8 – 9 and mm. 18 – 19) (Figure 27 mm. 1 – 10). The texture throughout this move- ♯ ment is mostly homophonic, allowing “Gloria,” beginning at m. 65 (“Quoniam with parallel triads (G Minor, F Minor, the text to be central, and obligating tu solus sanctus”) uses homophonic tex- G Minor, A Minor, G Minor, etc.) sung the singers to excellent intonation and ture, and ends on a simple G Major triad. at slow tempo and with quiet dynamic. balance. Shaping the lines is vital to The “Sanctus” movement begins Again, the homophonic texture requires avoid syllabic singing. This is a wonder- ful teaching piece in the sense that so many choral techniques can be explored and reinforced through this repertoire, which also provides a vehicle for expres- sion. It is an excellent unaccompanied THE TEMPLE UNIVERSITY CONCERT CHOIR challenge for a young women’s chorus. UNDER THE DIRECTION OF PAUL RARDIN ANNOUNCES THE RELEASE OF 2. Requiem aeternam (Edition Music –Contact EMC 302630); SSAA, S solo, piano and percussion
AFRICAN-AMERICAN WORDS AND MUSIC This is a work of major signifi cance in terms of its dramatic scope and Music available on iTunes and Amazon and featuring works by William Averitt, Adolphus Hailstork, Phoebe Knapp challenges for a women’s chorus. It with arrangement by Byron Smith. was commissioned by the Peninsula Women’s Chorus in 1995 under the “Your ensemble was superb from start to finish.” direction of Patricia Hennings. This fi ve- William Averitt movement work is about 15 minutes long. Both piano and percussion parts are quite accessible. Although each of www.temple.edu/boyer the fi ve movements has a traditional Requiem text (Requiem aeternam. Dies irae. Offertorium. Sanctus and
28 CHORAL JOURNAL Volume 54 Number 5 Hosanna.; Agnus Dei), the actual text is a combination of Latin phrases and original English words related to the environment. At times, these overlap (Figure 28 Movement I, opening line.). Also notable in this pas- sage is the use of pitched chanting of the Latin text, in contrast with the solo line of English text, which happens again from mm. 75 – 85. This chanting technique is used again later in the movement, with only the Latin present. Movement II (“Dies Irae”) uses no Latin text whatso- ever. Using original English text, written in a declama- tory style, this movement is a strong statement against ecological carelessness and destruction. Heavy accents, homophonic texture, syllabic text setting, an accompanying drum, and some dissonance underscore the dramatic impact of this movement. The “Offer- torium” includes narration to ac- company melodic material (Figure 29 mm. 10 – 11). Movement IV, “Sanctus and Ho- sanna,” is among the most melodic writing in the en- tire work. Parts often function in pairs with S1 and A1 together, and S2 and A2 to- gether. There is more polyphony
CHORAL JOURNAL Volume 54 Number 5 29 CHORAL WORKS FOR WOMEN BY PROMINENT CANADIAN FEMALE COMPOSERS
than in prior movements and it is used niment support the energetic mood by plays a crucial role throughout the entire consistently throughout, helping to en- providing constant motion in this section movement while the chorus serves as ergize the text. The "Hosanna" section (Figure 30 mm. 30 – 37). commentator in some respects. Gener- begins in two parts, gradually evolving The last movement, “Agnus Dei,” ally speaking, the entire piece is very into a true SSAA texture. The constant begins with an unaccompanied solo accessible in terms of rhythm and pitch 16th note fi gures in the piano accompa- to set the refl ective mood. The soloist and has variety of texture, dynamics,
30 CHORAL JOURNAL Volume 54 Number 5 and articulation that give interest and contribute to expressivity. This is a challenging and interesting piece that would suit a university or community women’s chorus very well. The text fi ts effectively with a program focus on the environment, and the extended length, relative to short octavos would make a welcome contrast to a concert of multiple short pieces. In addition, the use of percussion and piano provides a broader timbral palette than would exist with piano only.
I had originally suggested to Telfer that this article include The Blue Eye of God, an unaccompanied SSAA piece pub- lished by earthsongs and a particular favorite of mine. It is a haunting text that reminds us of our responsibilities to care for living creatures, and the writing is evocative and expressive. Since the “Requiem aeternam” addresses a simi- lar theme, but within a more extended context, however, Telfer suggested we include that instead.
3. Sicut Cervus Desiderat (Edition Music per parts spread out, similar to the est and the ranges are reasonable – Contact EMC 301528); SSA unac- beginning of the “Agnus Dei” from the throughout the entire piece. Although companied Missa Brevis. Meter changes are simple, the altos drop to a low A at several keeping the quarter note pulse constant. points, their tessitura is actually closer This four-minute work was written The music fl ows throughout because to a middle C or D above. Likewise, the for the Seoul Ladies’ Singers in 2000, melodic material is often embellished S1 part, despite a high G, stays closer and, according to the composer, “Is per- with 8th notes, as seen here (Figure 31 to the middle of the staff, making this formed a lot in Europe, particularly for mm. 1 – 10). piece very accessible to young singers competitions.” Indeed, when I searched At many cadence points, the use of as well as to adult women. There is one on YouTube, the performances of this seconds is present (See m. 10 above). signifi cant tempo change at m. 38, and piece were by European choirs. This challenges singers’ intonation, as then the music returns both in tempo This music is almost completely do occasional unison passages (Figure and pitch material to the original key, homophonic, and very tonal. It begins 32 mm. 28 – 30). giving it an ABA’ form. As with Telfer’s on a unison note from which the up- Each voice part has melodic inter- other works, the dynamic range is fairly
CHORAL JOURNAL Volume 54 Number 5 31 CHORAL WORKS FOR WOMEN BY PROMINENT CANADIAN FEMALE COMPOSERS wide and contrasts are carefully marked, Summary longer works. encouraging expressive singing. Each of these composers has a dis- As a conductor of a select women’s Amongst the three pieces Telfer sug- tinct style, and trying to defi ne those ensemble, I am fortunate to have sing- gested, there is a lot of variety. She uses styles in a few words oversimplifi es ers who thrive on challenging reper- the voice in multiple ways, for speaking things, but based on my experience toire and embrace the music of these as well as singing, and overlapping tim- teaching and performing music of all composers equally enthusiastically. bres and musical ideas (as in Requiem three women, I offer the following The teaching and learning potential of Aeternam, movement I) present unique summary. The common characteristics each composer’s music is tremendous. challenges that develop independence of Eleanor Daley’s choral music are These are prolifi c composers, writing in singers. Frequent modulations in the these: it is melodic and lyrical, harmoni- sacred and secular, serious and light, a cappella writing require diligent listen- cally based, and expressive in its text short and more extended works. Each ing of singers and conductor, and her declamation. It reads well. I fi nd often understands and respects the voice, is penchant for homophonic textures ne- that singers are able to learn the notes committed to expressive sensitivity, and cessitates keen attention to balance, as fairly readily but then must work care- challenges participants’ musicianship. well as to text stress and phrase shaping. fully to refi ne their sound and shaping In seeking repertoire, I look for good to do the music justice. Ruth Watson quality (music that is well-constructed Henderson’s choral pieces demonstrate and expressive), for musical content more angularity in melodic material and (teachability), and for appropriateness to AACDACDA can be harmonically surprising. That is, the needs of the singers in the ensemble MMONOGRAPHONOGRAPH NO.NO. 1616 the melodies do not always seem to (relevant context). In the music of these go where the traditional ear expects, three composers, I fi nd all three charac- TThehe BBoyoy CChoir:hoir: A PPracticalractical but they are shaped meticulously, as are teristics without limitation. GGuideuide fforor DDirectors,irectors, the rhythms, to fi t the text. Henderson’s Both Henderson’s and Telfer’s music AAdministrators,dministrators, BBoardoard MMembers,embers, music is text-driven, particularly rhythmi- are readily accessible through the Ca- CChoristers,horisters, aandnd PParentsarents cally, and she often favors odd meters, nadian Music Centre, as noted at the ((RandallRandall Wolfe)Wolfe) particularly 7/8. Both Eleanor Daley outset of this article. Much of Daley’s and Ruth Watson Henderson write idi- work is published by Alliance Music UUnlikenlike cchoralhoral eensemblesnsembles iinn a omatically for the keyboard as they are Publications, as well as by Hinshaw and sschoolchool system,system, a community-community- fi ne pianists themselves, and thus their Oxford University Press, and is also easy bbasedased eeducationalducational cchoirhoir ffacesaces accompaniments can be challenging. to fi nd. These are but three of Canada’s cchallengeshallenges ssuchuch aass fi nndingding a There is true partnership between the fi ne women composers writing for pphysicalhysical rrehearsalehearsal llocation,ocation, accompaniments and the choral parts. women’s voices. For further examples ddesigningesigning a ggoverningoverning Relative to the examples selected for of other excellent Canadian composers, sstructure,tructure, aandnd ppayingaying ttheirheir this article, Telfer’s music seems to be both male and female, writing for treble oownwn ttaxes.axes. TThoughhough wwrittenritten harmonically driven, and is somewhat voices, see "Music for Women’s Choirs ffromrom hhisis eextensivextensive eexperiencexperience more vertical than the examples of the by Canadian Composers" in Conducting aass a cconductoronductor ooff bboychoirs,oychoirs, other two composers. There is more Women’s Choirs: Strategies for Success, RRandallandall WWolfe’solfe’s mmonographonograph homophonic texture in these pieces, Debra Spurgeon (editor), Chicago, IL: wwouldould pproviderovide vvaluablealuable and this characteristic, coupled with a GIA Publications, Inc., 2012. iinformationnformation fforor aanyny cconductoronductor cappella writing, makes these pieces lleadingeading oorr hhopingoping ttoo lleadead ttheirheir challenging to tune. On the other hand, oownwn ensemble.ensemble. they are essentially tonal and well within the skills of traditionally trained musi- AAvailablevailable ffromrom tthehe cians. Again, text setting is an important AACDACDA SStoretore aatt element of this composer’s music with wwww.acda.org/shop.asp.ww.acda.org/shop.asp. attention to word stress evident in all examples. Two of the works described here are extended and particularly wel- come to conductors wishing to program
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