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Choral Works for Women by Prominent Canadian Female Composers

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Choral Works for Women by Prominent Canadian Female Composers 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 <www.music- centre.ca>. Both Henderson and Telfer are affi liated with the CMC, and their bios are found on its website. In this article, I have chosen to focus on three well-known composers whose work has been highly regarded for many years and is performed internationally. Eleanor Daley, whose composition career had its genesis in music for her church, Fairlawn Avenue United Church in Toronto, has also been accompanist for the Bach Children’s Chorus for many years and thus wrote works for younger singers, as well. Ruth Watson Henderson is recognized in particular for her works for children’s voices as she was long-time accompanist for the Toronto Children’s Chorus, a stellar group for which she frequently composed music, much of which is challenging enough to be sung by mature women’s choruses. Nancy Telfer, long-respected for her emphasis on choral pedagogy, having written books on devel- oping aural and music reading skills, has also composed numerous works that are sung by youth choirs. She has also pro- duced some very challenging works for women’s choruses. Many choral ensembles have commissioned music from all three composers, whose collective output re- fl ects that variety. 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.
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