EXPLORINGE X P L O R I N G A TREASURET R E A S U R E TROVET R O V E Secular Music for Mixed Voices by Ruth Watson Henderson Hilary Apfelstadt
Hilary Apfelstadt is professor and director of choral activities at the University of Toronto
CHORAL JOURNAL Volume 53 Number 4 9 EXPLORING A TREASURE TROVE Secular Music
provide a rich resource for conduc- Although Henderson’s output in- II. Accompanied tors. Many of these pieces, like most of cludes a number of folk-song arrange- Henderson’s music, are commissioned ments for mixed choirs, I have chosen 1. Crazy Times (1988) works. Most are published, but those to include only original compositions 2. The Song My Paddle Sings (1992) that are not, are available from the Ca- in this article, although some of these 3. Sing all ye Joyful (1994) nadian Music Centre. arrangements are cited in the accom- 4. Two Love Songs (1996) The secular SATB works are in two panying discography, for readers’ interest. 5. Laughter is a Simple Thing (2000) categories, unaccompanied and accom- Below is a chronological listing of the panied, the latter primarily by piano. original SATB secular works, followed by 6. The River (2002) Most are fairly short and accessible to a description of each, including musical 7. The Magic of God’s World (2004) strong ensembles at the high school, characteristics and publishers’ informa- 1. Spell of Creation; university, or community levels. They tion where relevant. 2. Barter; require rhythmic acuity and excellent 4. Dream Song pitch, indeed, the biggest challenge likely being the intervallic relationships charac- SSECULARECULAR CCHORALHORAL WWORKSORKS 8. Music Comes (2008) teristic of Henderson’s style. While her FFOROR MMIXEDIXED CCHOIRSHOIRS 9. A Song of the Seasons (2009) compositions are essentially tonal, they are not necessarily predictable melodi- I. Unaccompanied cally or harmonically and singers must DDESCRIPTIONSESCRIPTIONS be very attuned to individual intervals 1. A Sequence of Dreams (1983) in order to sing them accurately. In pre- (optional accompaniment provided) I. Unaccompanied Works paring choirs to sing her works, I have 2. Shades of Love (1995) always found that considerable work on I.1. A Sequence of Dreams (1983) 3. Colours: A Tonal Palette (2003) aural discrimination, intervals, and scales (manuscript) (including chromatic and whole tone) 4. Daffodils (2005) is very helpful in enabling the singers to 5. Spirit of Delight (2008) This work was commissioned by the learn the music successfully. 6. Paths of a Luminous Earth (2010) Ontario Choral Federation for the 1983 Ontario Youth Choir and comprises four movements: I. “Night Thoughts;” II. “The Solo;” III. “Wistful Mistress;” and IV. “Lord of the River.” The text is by Andrew Donaldson. In keeping with the title, the poetry GUIDEPOSTS TO SINGING — CD’S FEATURING is whimsical and the musical setting re- fl ects that, using a variety of vocal effects The such as tongue clicks, speaking, and imi- Manhattan Transfer tative sounds (e.g., in #4, singers make sounds reminiscent of train engines as Share a Voice Lesson with Cheryl, Janis, Alan or Tim one of the characters is about to leave Sop/Alto CD $25 Ten/Bass CD $25 on a journey.) Its duration is 16 minutes. In the fi rst movement, the role of the Tracks 1-6 Cheryl Bentyne Tracks 1-6 Alan Paul Dreamer is sung by a mezzo-soprano Tracks 7-12 Janis Siegel Tracks 7-12 Tim Hauser and that of the Child by a soprano with an appropriately light voice. The chorus Check * Money Order * Purchase Order to: provides harmonic background mostly Please Add Shipping on All Orders Just $5 on neutral syllables with some com- Roland Wyatt Also by Mr. Wyatt, Guideposts to Singing Chronicles P. O. Box 33 mentary in text. There is a brief spoken A soft-bound book with practical and specific exercises Loveland, CO 80539 solo for a tenor. In II, the optional piano With useful instructions to help solve vocal issues. $35 hƩp://rolandwyaƩ.com part can be quite helpful in securing pitches, as there are key changes and
10 CHORAL JOURNAL Volume 53 Number 4 for Mixed Voices by Ruth Watson Henderson
some dissonant intervals. Movement III triplet fi gures). Laura Lane, conductor, and comprises begins as a conversation between the This is a challenging and engaging fi ve pieces, which may be performed Dreamer and a bass soloist, accompa- work with reasonable ranges and excel- separately or as a set (duration approxi- nied by the chorus. This is followed by lent musical variety that would appeal to mately 16 minutes). Given freedom to an unaccompanied SATB section that singers and audiences alike. It deserves choose the topic and text, the composer leads to a brief solo by the Dreamer, to be performed and its availability in read many poems until she was satisfi ed followed by a choral coda. As with all of Finale (pending) should make that more with the particular combination she se- Henderson’s writing, the rhythm of the likely. lected. Regarding the music, Henderson text dictates the rhythm of the music, writes: which fl ows naturally. Movement IV includes solos for a small ensemble of I.2. Shades of Love (1995) The path of love is not always eight SA and four men, two B1 and two (published in 1997 by Boosey and sunlit. In Shades of Love, the music B2. The choral parts comprise rhythmic Hawkes, OCT6925-2929) expresses a variety of emotions brought on by diverse stages of syllables imitating sounds of a train and love: ecstasy, tenderness, bitterness, later, neutral syllables that conjure up im- This set of pieces was commissioned wistfulness, (and) eternal devotion. ages of the fl owing river (e.g., undulating by the Nova Singers of Galesburg, Illinois, The colours and harmonies shift to
ndsu choral symposium
of the americas call for papers headliners The North Dakota State University Department of Music and the American Choral t %BMF8BSMBOE Directors Association announce the NDSU Choral Symposium: Music of the Americas, t *NBOU3BNJOTI May 3-5, 2013, Fargo, N.D. This event will showcase the choral music and traditions t )JMBSZ"QGFMTUBEU of North, Central and South America. t #SBJOFSE#MZEFO5BZMPS t .BSJB(VJOBOE The symposium will focus on the choral repertoire of the Americas and the cultural and t 8JMMJBN#FMBO social influences that have guided the development of this music. The symposium also t+PSHF$Ózatl will include discussion of what the choral traditions have in common, and what makes each of the choral traditions unique and representative of its respective culture. keynote speaker 5JN4IBSQ "$%"&YFDVUJWF%JSFDUPS NDSU and ACDA invite proposals for papers, presentations and poster sessions. Proposals should relate to the focus of the symposium. Please include a one- to two- ndsu.edu/finearts/cmota page abstract, equipment requirements and a short résumé.
Send proposals to Jo Ann Miller, NDSU Director of Choral Activities, by email attachment in Word format: [email protected]. The proposal evaluation committee consists of Jo Ann Miller, William Belan and Hilary Apfelstadt. The submission deadline is Jan. 15, 2013.
CHORAL JOURNAL Volume 53 Number 4 11 EXPLORING A TREASURE TROVE Secular Music
match the mood of the poetry as conversation with the composer, January 2. “She Walks in Beauty” (text by Lord each song portrays a different aspect 29, 2012.) Byron). The gently fl owing lines support of love. (Notes from front inside the tenderness implicit in the text, and cover of each of the pieces.) 1. “Awake, my Heart” (text by Robert the homophonic texture allows the Bridges). Although the poem is strophic, words to be clearly communicated. This Because of the nature of the texts, the musical setting for each stanza is is harmonically quite straightforward this complete work might be best suited unique, albeit unifi ed by the repetition although never predictable, and the fi nal for a community or university choir of a dotted rhythm pattern on the word word, “innocent,” is aptly scored on a whose singers can bring to the poetry “awake,” emphasizing its fanfare-like simple F major chord. a maturity of expression. Because Hen- quality. The words “heart” and “love,” derson knew that the commissioning however, are “always extended with 3. “When We Two Parted” (text by ensemble consisted of strong musicians suspensions”, (composer’s notes) yet Lord Byron). Bitter emotion is evident with excellent reading skills, she felt they another example of Henderson’s sensi- in the jarring dissonances throughout could handle challenging unaccompa- tivity to text meaning. this piece. Opening in unison, the music nied literature. (Comments are from a moves immediately in contrary motion to highlight the “parting” of ways that occurs between the lovers. Equally ex- pressive is the unresolved dissonance that ends the piece on the word “tears” implying the separation may also never resolve.
Copying music? 4. “Remember me” (text by Christina Rossetti). Much of the text is assigned to Projecting lyrics? the sopranos, with ATB voices echoing Creating worship aids? the word “remember.” Harmonically, the music is deliberately vague and “hazy” in this accompaniment as though to Did you know you need highlight the sort of haze one might feel a license for that? in looking back on an earlier period of one’s life. The gentle ending colours the sadness of the mood with nostalgia.
Comply with copyright law and enjoy 5. “Annabel Lee” (text by Edgar Allan access to an extensive Poe). This is the most accessible of the digital store of resources—including set, due to its tonal nature and repeti- FREE congregational editions— tive straightforward rhythms. The original to serve the worship needs melody is treated as a folk song, with of your community. each stanza highlighting a different voice part on the melody. Each part is melodic, Start an annual license today! even in the accompaniment role, so there is considerable interest.
(As conveyed to the author on January 29, 2012, the composer suggests that it is acceptable to take pitches from the piano between the movements.)
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12 CHORAL JOURNAL Volume 53 Number 4 for Mixed Voices by Ruth Watson Henderson
I.3. Colours: A tonal palette (2003) interpolation of neutral syllables (“doo the language. Because the setting is vir- (manuscript) doo”) in 5/8 meter that signifi es the tually all syllabic, singers must articulate “sprightly dance” of the daffodils. This the text very clearly to convey the text This short work (4 minutes) was brief composition (3 minutes’ duration) and be sensitive to phrasing in order to composed for the Vancouver Chamber is a charming setting of this joyful text. do justice to the expressive lines. Dura- Choir, Jon Washburn, conductor, and Limited divisi writing and appropriate tion is six minutes. represents somewhat of a departure ranges make this very suitable for a good from Henderson’s typical style. It was high school or youth chorus. Henderson an experimental work composed for said the following in her program notes I.6. Paths of a Luminous Earth (2009) a workshop with the VCC in Toronto, for the April 28, 2006 program: (manuscript) premiered on November 14, 2003, and involves some improvisation by the Wordsworth’s lovely poem about This nine-minute work consists of singers. It comprises sustained tones daffodils was a pleasure to set to three movements on a text by Canadian music. I used an a cappella setting poet Carol Lechner: 1. “Fragrance of on the names of various colours, each to create the atmosphere I wanted meant to be sung “with only one voice to capture with pure choral sounds. Life;” 2. “Freely Given;” and 3. “The Truth, on each note, unless there is a long note To convey the pictures described by the Light and the Way.” The Elmer Iseler which requires more voices to stagger the poet I have tried to use musical Singers premiered the work on March breathe—e.g., White and Black at the colours and harmonies that match 28, 2010, having commissioned it with end. Although White is in the alto range, his imagery. a grant from the Ontario Arts Council. it should be sung with almost no vibrato. As much as possible, voices singing in the 1. “Fragrance of Life” begins with simul- same colour should have voices that are taneous major seconds (SA; TB) and very similar—e.g., Red, a bright, strong I.5. Spirit of Delight (2008) minimal pitch movement, giving the colour; Blue, a pure, cool sound. Mixed (manuscript) sense of hovering as the “mist settles colours like Green and Brown may have over the farm.” The texture is simple a warmer, less blended sound than the The Vancouver Bach Choir pre- four-part until the coda, and primarily primary colours. Some notes are held miered this work for double choir in homophonic with syllabic text setting. over briefl y at the ends of phrases to 2008. The text is from “Song” by Percy As usual, the rhythm refl ects that of overlap with the next colour and pro- Bysshe Shelley, the English Romantic the text, thus has a variety of duplet, vide some continuity.” (Composer’s poet. Choir I carries the text, with Choir triplet and dotted fi gures, ending in notes) II playing the role of commentator, punc- compound time to fi t the words, “lift in tuating the text with occasional phrases passionate song.” Each voice part has its on neutral syllables or with phrase own melodic interest. When the words I.4. Daffodils (2005) (published in 2006 fragments. As such, a small ensemble “humming softly” appear in the poem, by Santa Barbara Music Publishing, could sing the Choir II part compared the composer assigns them to the so- SBMP665) to a larger ensemble singing Part I. The pranos while the other voices hum an composer indicated that separating the accompaniment (mm.23–30). Henderson was one of ten Cana- choirs physically is important to achiev- dian composers commissioned by the ing the antiphonal effect she seeks. 2. “Freely Given” is notable for frequent Central Bucks High School West Choir, (Comment made in e-mail, August 10, modulations although it begins and ends Joseph Ohrt, conductor, for a tour to 2012.) around G natural minor. Meter changes Toronto. The music begins with the text Each of the seven stanzas of the include 3/4 to 6/8 ending in 4/4 with in the soprano line, accompanied by poem is set differently with variety in half-note triplets. The texture thickens to SATB humming. At the mention of a texture, key, tempo or meter, all unifi ed six or seven parts as the music comes “crowd” or “host of daffodils,” all parts by the consistent relationship between to the end, and phrase climaxes on the sing the words in homophonic texture, the two choirs. In the coda (mm. 138– most important words are marked yet another example of the composer’s 160), both choirs join forces in a unifi ed by loud dynamics and widely pitched sensitivity to text. “Fluttering” is given its homophonic divisi statement. Again, the chords. True to form, the composer as- natural short-short-long (two 16ths and text setting is always sensitive and ap- signs the most extreme ranges to these an 8th) rhythm, and there is an interesting propriate, highlighting the meaning of expressive peaks.
CHORAL JOURNAL Volume 53 Number 4 13 EXPLORING A TREASURE TROVE Secular Music
3. “The Truth, the Light and the Way” ing the music. The composer’s goal was texture. There is some speaking as well, begins in a lilting 6/8 meter, expanding to fi nd appropriate Canadian poetry for providing timbral variety and highlighting from the unison opening to four parts a young ensemble, something that they the humorous text. Clarity and precision on the word “parted,” another example would enjoy, and Henderson created are challenges here, along with accuracy of the composer’s text painting. She uses the “set” of poems. of the vocal intervals. the same melodic material and voicing at mm. 17 and 18 on the words, “the 1. “Crazy times” is the title poem and This set is challenging but would be sun does not alter,” saving the four-part the composer sets off the contrasts in quite enjoyable for an audience and voicing for “alter.” Rhythmic shifts revolve ideas by assigning successive phrases to satisfying for singers to rehearse. Piano about an equal relationship between the different voices. (e.g., “When the rains accompaniments provide rhythmic and dotted quarter and the quarter, as the blow” (SA) is completed by the TB sing- harmonic punctuation. As always, they music moves from compound to simple ing “and the winds pour” in mm. 5–6.) require a facile player. As a skilled pianist time. The eighths are not equal here. This is rhythmically straightforward and herself, Ruth Watson Henderson writes This movement becomes quite thickly the vocal ranges are relatively narrow. very effectively for the keyboard and textured in places and harmonically dis- pianists need good technique to play her sonant, requiring singers to listen care- 2. “Horoscopes” uses a variety of meters accompaniments successfully. fully for tuning especially as the texture including 7/8, 4/4, 3/8, 6/8, all in the inter- Henderson says that from working is primarily homophonic. est of allowing the rhythm to enhance with the Toronto Children’s Chorus and Written for a professional ensemble the natural fl ow of the text stress and the Ontario Youth Choir, she discerned of twenty solo singers, this music is chal- provide momentum. This is a common that: lenging and would be appropriate for feature in Henderson’s writing. Although an auditioned community group or an the key signature of three sharps re- When kids are learning to sing they advanced university chorus. The texts mains the same, the tonality does not should be able to have some fun and are particularly colourful and the musical settle into F-sharp minor until the end. do some things that aren’t serious because they have so many classical settings varied and expressive, making things that are serious …. This is not for an excellent example of challenging 3. “Lullaby” is appropriately legato and meant for an adult choir—it’s meant unaccompanied choral writing. smooth with a variety of rhythmic for young people.” (Comments are patterns within the mostly compound from a conversation with the author meters. These patterns comprise triplets, on January 29, 2012). II. Accompanied works duplets, and occasional dotted rhythms, making the text stress fl ow naturally. Speaking the text is helpful in learning II.1. Crazy Times (1988) (published by to sing the rhythms correctly. II.2. The Song my Paddle Sings (1992) Gordon V. Thompson in 1990 and the (published in 1994 by Gordon V. Thomp- copyright reassigned to the composer 4. Although “Laughter” is written in triple son, VG-473) in 2003) meter, it is felt in one beat per measure. The composer makes frequent use of The Ontario Choral Federation The Toronto Mendelssohn Youth duets (SA; TB) and some unison writ- (now known as Choirs Ontario) com- Choir commissioned this set in 1986 ing to give the sense of a thin texture, missioned this piece for a conference in and premiered the pieces in 1989 under supporting the delicacy of the text. This 1992. Four minutes long, it is a setting the direction of Robert Cooper. Cana- movement resides primarily in D major. of a poem by Canadian poet E. Pauline dian poet Miriam Waddington wrote the Johnston, who was known for her First texts, which were published in her Col- 5. “When the Shoe is on the Other Foot Nations heritage, as her father was a lected Poems by Oxford University Press. for a Change” is a humorous poem in Mohawk chief. Although the pieces were written as a which the speaker lists all the reasons Written in compound meter, this has set, they can be performed separately. for not being attracted to someone a lilt that makes one think of the rhythm The entire set is about 12 minutes in (e.g., “you’re too old; your body is dry of the paddle or the lapping of the duration. as old clay”). Henderson sets this in waves against the canoe. As the words Henderson met with the poet to get a very rhythmic spirited manner with convey more urgency (e.g., “we’ve raced to know her and her work before writ- frequent antiphonal fragments in the the rapid”), the music becomes more
14 CHORAL JOURNAL Volume 53 Number 4 for Mixed Voices by Ruth Watson Henderson
agitated in the voice parts, with frequent then “fi lls these in later; the accom- The Independent Schools of Toronto accents, and the piano accompaniment paniment ties (the work) together. It’s commissioned this piece for their 1994 features continuous 16th note triplets. an equal voice but doesn’t double; it’s Music Festival. Both piano and orches- Key changes support the sectional text. independent. The piano part has to tral accompaniment are available, the lat- Most of the melodic material is conjunct keep things going, so uses arpeggios and ter from Counterpoint Musical Services. with relatively few leaps. There are few broken fi gures to give speed when the This 4-minute work was premiered in accidentals and the diffi culty level is choral parts can’t.” (Comments are from April 1994 under the direction of Peter moderate. The soprano and B1 parts are a conversation with the author, January Merrick. The composer chose the text, high at the end of the piece (A above 29, 2012). believing it would appeal to the young the staff for S), but the B1 part could be singers, coming as it does from The Hob- covered by T2’s. This piece is certainly bit, by J. R. R. Tolkien. accessible to a high school or commu- II.3. Sing All Ye Joyful (1994) (published Henderson sought to “get across nity choir of amateur singers. in 1994 by Roger Dean, 15/1961R; the idea of dance, in 3/4 time” and the Typically, as here, the composer orchestra score and parts are available music moves along in one beat per writes the choral parts fi rst. She has separately, 30/1967R) measure with a sense of fl ow and exu- “some ideas for accompaniment” and berance. (“Sing all ye joyful, now sing all
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CHORAL JOURNAL Volume 53 Number 4 15 EXPLORING A TREASURE TROVE Secular Music
together!”) This phrase begins the music in this context. (Quotations are the The Mount Royal Youth Choir, David and is repeated again at m. 168, giving a composer’s, in conversation with the Ferguson, conductor, commissioned sense of closure in a kind of ABA’ form. author on January 29, 2012.) these pieces which are intended to To “give the singers a chance to sing be sung as a set of six minutes dura- independently,” the composer incor- tion. In the performance notes (inside porated a brief improvisatory section II.4. Two Love Songs (1996) (published cover of the published edition), the where each singer repeats a phrase in 1998 by Boosey and Hawkes, composer describes the fi rst piece as “a individually for about 15 seconds; the OCTB6989 and 6990). light-hearted song in 6/8 time in which effect is to highlight the text (“hushed the shepherd describes to his love the be all water”) by emphasizing the “sh” 1. “The Passionate Shepherd to His many pleasures they will enjoy in a (sic) sounds as well as implying a sense of Love” (text by Christopher Marlowe) idyllic, pastoral setting if she will come constant motion in the water. This is and live with him.” By contrast, “in ‘The not a common technique in Hender- 2. “The Nymph’s Reply to the Shepherd” Nymph’s Reply to the Shepherd,’ we are son’s work but is particularly effective (text by Sir Walter Raleigh) told of the manner in which the things described by the Passionate Shepherd will be changed with the passing of time; only if youth and love prevail will the nymph accept the shepherd’s proposal.” The contrasting texts are set differ- ently. The fi rst piece is primarily homo- phonic with rare instances of antiphonal voicing. The structure is like a mirror with stanzas 5 and 2 and 6 and 1 using comparable material. The key changes Let us from D major to E major, leading directly to the second piece, which is more chal- Showcase lenging both in pitch and rhythm than the fi rst. “The music in this song is based your Choir on the same material as “The Passionate Shepherd to His Love,” but is altered In the Great to portray a more cynical picture by the use of a minor key and a 7/8 meter. Harmonies become more dissonant Venues and melodic lines are reconstructed to create dark colors in the middle verse. of the World The last verse, however, brings a change in mood and shift to a strong bright ending in C-sharp major.” (Composer’s notes on the inside cover of the edition.)
II.5. Laughter is a Simple Thing (2000) (manuscript)
This music is a commission from the Tel: 800-300-8841 Nepean Choir and Denise Hawkins, [email protected] conductor, for their 25th anniversary in 2000. They premiered the work in No- vember of that year. It is three minutes in duration. The text is by Isabella Valancy
16 CHORAL JOURNAL Volume 53 Number 4 for Mixed Voices by Ruth Watson Henderson
Crawford, an Irish-born Canadian poet which syllables to put on the top of the this work occurs at m. 36 on the word who lived in the 1800s. staff for sopranos as well as considering “light” which she felt needed not only Perhaps, in keeping with the text the tenors’ high part. One such peak in height but an harmonic shift, so she meaning, the setting is quite straight- forward, without divisi part-writing, containing simple rhythms, and uncom- plicated harmonies. The fl ute part pro- vides momentum through its rhythmic interplay with the piano accompaniment. Occasional meter changes support both mood and text stress and meaning (e.g., augmentation in m. 131 emphasizes the word “music”). Voices are frequently paired (SA; TB) but the beginning and ending of the piece are homophonic. This is well within the range of a high school or community chorus and would make a delightful addition to a program.
II.6. The River (2002) (published in 2006 by Hinshaw Music, Inc., HMC2021; also available for SSA)
This music was written for the Elmer Iseler Singers to perform at a memo- rial service for John Ford, a well-known Toronto choral conductor, who died in 2002. The text is by Winston Harrison, Talent. Passion. Community. John Ford’s partner. Henderson learned of Ford’s death just prior to a tour of Westminster Choir College of Rider University is pleased to California with the Iseler Singers, so she announce the appointment of new faculty members requested a text and wrote the music Alan Morrison, Associate Professor of Organ during the trip. Tom T. Shelton, Assistant Professor of Sacred Music According to the composer, the use of compound time came from UNDERGRADUATE DEGREES IN ORGAN & SACRED MUSIC the words, which fl ow naturally in that Bachelor of Music in Organ Performance triplet rhythm. She discovered this fact Bachelor of Music in Sacred Music by repeating the text over and over to feel the gentle fl ow of the natural word GRADUATE DEGREES IN CONDUCTING, ORGAN & SACRED MUSIC stress. At some points, she shifts from Master of Music in Choral Conducting compound time to 3/4 meter “where Master of Music in Organ Performance the words seem to fi t better in that feel.” Master of Music in Sacred Music In our discussion of this piece, Hender- son said, “Text governs everything that is rhythmic and also shows you where To learn more, visit our Web site: www.rider.edu/wcc the climaxes are.” She plans for the climaxes and “saves the highest notes Princeton & Lawrenceville, NJ in the melody for the most important words.” This necessitates thought about
CHORAL JOURNAL Volume 53 Number 4 17 EXPLORING A TREASURE TROVE Secular Music
went from an F major 7th chord into an #3, titled “Leisure” is for children’s choir again because the commissioning choir E major chord with the 9th; at this point only, so is not included, and #5, “God’s was large. The music is harmonically the “chord needs to be thick so divisi World” is sacred, thus omitted here.) rich and demands good aural skills to became essential.” Immediately following manage pitch accuracy. “Barter” is three “light” comes the word “darkness” with The entire set of pieces was com- minutes long. an implicit change of colour, hence the posed in celebration of the 100th an- lack of divisi and the slightly lower range. niversary of the Bach Elgar Choir of 4. “Dream Song” (SATB) The piano accompaniment serves Hamilton, Ontario. They performed a to support the rhythmic fl ow through- gala concert with the Hamilton Chil- Walter de la Mare wrote the imagi- out, but is effectively suspended at the dren’s Choir on May 28, 2005, at which native text for this short piece (1:30), overlapping statements of “come to the they premiered these pieces. which the composer sets in 6/8 meter river” (mm. 43 ff.), highlighting the text. to fi t the text rhythm (e.g. , “lanternlight,” It stops again, two measures before 1. “The Spell of Creation” “taperlight”). When the text rhythm the end, where the choral parts sing a (SATB and children’s choir) shifts, the meter moves to 2/4 and the homophonic hemiola before the piano texture becomes thick and homophonic. reaffi rms the triple meter. Duration is The poetry for this music is from a Despite the many accidentals, the key four minutes. poem, “Spell of Creation,” by Kathleen signature is constant and the fi nal page Raine, which was published in The Year is solidly in A-fl at major and the meter One in 1952. The opening melody, in D in 6/8 again. The form is ternary with an II.7. The Magic of God’s World (2004) major, is introduced by the children’s ABA’ structure, both rhythmically and (published in 2007 by Roger Dean, choir, which is answered by TTBB in melodically. 15/2320R; 15/2175R; 15/2176R) A major. An SSAA segment follows, in keeping with the large choir for whom 1. The spell of creation (4:30) the music was written. The children’s II.8. Music Comes (2008) 2. Barter (3:00) choir has two more “solo” spots in the (published in 2009 by Roger Dean, 4. Dream song (2:00) piece, in addition to a brief descant in 15/2597R; also available for SSA, (These three texts do not contain the coda. Some of the same techniques 15/2331R) overt references to God, and could be mentioned in regard to “The River,” such interpreted as humanistic poems, hence as divisi and higher ranges at peak mo- The Syracuse Children’s Choir and their inclusion in this article. Note that ments, are used here as well (e.g., “sun” their conductor, Barbara Tagg, commis- at mm. 87 and “fi re” at m. 93). The music sioned this for their 25th anniversary is expressive and lyrical with sensitive celebration. Poet John Freeman was text setting. The children’s vocal range a British Romantic and published this spans E above middle C to A above the poem as part of an anthology in 1921. staff. This work is four minutes and 30 The use of oboe and fl ute come di- TThehe ddeadlineeadline fforor tthehe seconds in duration. rectly from the text, and the composer MMusicusic iinn WWorshiporship FFestivalestival CChoirhoir sometimes uses the instruments to hhasas bbeeneen eextended.xtended. 2. “Barter” (SATB) echo vocal lines, while at other times, to double the voices. The piano part, mov- SSeeee
18 CHORAL JOURNAL Volume 53 Number 4 for Mixed Voices by Ruth Watson Henderson
instrumental parts as they, too, are writ- highlight the text’s proclamation (“at fi nal D major chord uses an added 6th ten idiomatically in reasonable ranges. home with higher majesty”). The texture for harmonic impact. This movement The work is about four minutes long. here expands to eight parts, and the features antiphonal effects between the
II.9. A Song of the Seasons (2009)
This fourteen-minute, four-move- ment work was commissioned by the Richard Eaton Singers, Leonard Ratzlaff, conductor, for large choir and chamber choir with piano. It premiered on March 9, 2010 in Edmonton, Alberta, with the Richard Eaton Singers (Choir 1) and the Vancouver Chamber Choir (Choir 2). The text is by E.D. Blodgett, Alberta’s Poet Laureate, 2008 – 2009.
1. “Spring” (duration 3:00) begins with the two choirs in unison. As usual, the “ NATIONS UNITED IN SONG: composer’s text setting is expressive th (e.g., “dancing” is set as an 8 /dotted INTERNATIONAL CHORAL FESTIVAL quarter pattern, with staccato on the NEW YORK CITY JUNE 12 - 20, 2013 fi rst syllable 8th note). In stanzas 2 and Celebrate Cultural Diversity & MutualMt l Understanding thru Choral Singing! 3, the choirs alternate, only to return to Open to Choral Ensembles and Choristers the combined voicing in stanzas 4–6. from every corner of the globe! For info, [email protected] The effect is of lightening the sound in the two stanzas. There is considerable “ !" ( !0 $#!1&! !# # !# #" $$! $" divisi in this movement, a tribute to the "#% & !,% #&"& size and ability level of the combined ! ) ! "" #" ( ! !# ! $ !,' ! choirs. ! ! #%!("! 0 #!1 # # " ! "" ( & ! # #! #(&# $!! $ ,""#% " $# $## " $!$ #$! 2. “Summer” (duration 3:00) follows a ! " $"/# #!*" !# & ! ##! "####( ! % similar pattern of the two choirs open- &!# !#"## !#"&. !# $"&# !#"+& !" "+ "" !% #" " ' ", # (! #"' ! # !" % "/ ing in unison. This movement is set in ( $! # " *****- 6/8, marked con anima, and begins with .! ! !$!+!# !+ !" ( !! $#! a 6-part (SSATTB) texture. Because the text is so descriptive, the composer utilizes a variety of rhythmic patterns, Join FAF on a land-only free trip for directors to OUR Ireland & Scotland. coupled with rich harmonies, to bring Discover what our group leaders have known for years: it to life. Alternating choirs should be “Beyond the Beyonds” D. McNamara, West Virginia Wesleyan College November 2012 5 nights; spouses welcome placed at some distance apart in order Contact us for details: [email protected] to amplify the antiphonal effects. Many of
the chords in this frequently homopho- nic texture are dissonant and challenge singers’ pitch acuity.
3. “Fall” (duration 4:00) is written in 7/8 meter with brief excursions to 6/8 and 4/4, the latter mainly at the end to
CHORAL JOURNAL Volume 53 Number 4 19 EXPLORING A TREASURE TROVE Secular Music
two choirs, thick texture, and the close grows from the simple opening to a SSUMMARYUMMARY harmonies that signify the “brilliant hues literal “grand fi nale” with an eight-part of fall.” texture culminating on an A major chord The compositions described in this voiced widely. article are but one segment of Ruth 4. By contrast, “Winter,” (duration 4:00) Watson Henderson’s complete choral begins with a simple chordal piano As a set, the four pieces pay homage oeuvre. She is a versatile composer, introduction in half notes, leading to a to colourful poetry with a range of effec- writing not only for chorus but also for unison choral opening comprising two tive compositional techniques, the most piano, organ, and orchestra. Her choral pitches only in a chant-like statement. striking being the imaginative text paint- works, however, constitute the majority The two choruses sing together for ing for which the composer is known. of her output and the secular works the entire movement in simple SATB described above deserve to be sung and voicing, and not until the sixth and fi nal shared with audiences in many commu- stanza does the texture expand beyond nities. They are well-crafted, expressive four parts. The entire movement thus compositions that challenge performers’ musicianship. Celebrating her eightieth birthday this month, in November 2012, Henderson remains an active musician and composer. Much of the unpublished choral music described in this article can be accessed through the Canadian Music Centre
Note of Thanks
I wish to express my deep appreciation to Ruth Watson Henderson for discuss- ing her works with me, and to Linda Locke, her assistant, who was most helpful in procuring scores, verifying information, and providing both the discography and also the catalogue of the composer’s work. Scholarship awards are available for accomplished singers who desire to major in one of more than 50 undergraduate or 14 graduate programs at HPU.
For more information, contact: Dr. Esther S. Yoo, Director of Choral Activities Dr. Esther S. Yoo 808-544-1127 or [email protected] www.hpu.edu/choral
HPU admits students of any race, color, national and ethnic origin, religion, gender, age, ancestry, marital status, sexual orientation, veteran status and disability.
20 CHORAL JOURNAL Volume 53 Number 4 for Mixed Voices by Ruth Watson Henderson
RRuthuth WWatsonatson HHendersonenderson – DDiscographyiscography ooff SATBSATB SSecularecular WWorksorks
SSongong TTitleitle – PPerformerserformers TitleTitle ofof DiscDisc CompanyCompany DateDate VoicingVoicing aandnd OORIGINALRIGINAL MMUSICUSIC bbyy RRWHWH & CodeCode InstrumentationInstrumentation
Awake, My Heart, Choral Arts Ensemble Seasons of Love CAER 52007 2007 SATB from “Shades of Love” Michael Culloton, cond. a cappella
Daffodils Central Bucks H.S. West Choirs Central Bucks Travelling 2006 SATB Joseph Ohrt, cond. H.S. West Choirs Tracks a cappella
River, The Elmer Iseler Singers Sing All Ye Joyful CBC Records, 2004 SATB Lydia Adams, cond. MVCD 1167 piano
River, The Mount Royal Kantorei Canadian MRK 2001 2001 SATB David Ferguson, cond. Choral Gems piano
Shades of Love Bell’arte Singers Awake, My Heart Audio Ideas 2004 SATB Lee Willingham, cond. A1-CD-010 a cappella
Sing All Ye Joyful Elmer Iseler Singers Sing All Ye Joyful CBC Records, 2004 SATB Lydia Adams, cond. MVCD 1167 piano
The Song My Paddle Sings Elmer Iseler Singers, Sing All Ye Joyful CBC Records, 2004 SATB Lydia Adams, cond. MVCD 1167 piano
Two Love Songs: Elmer Iseler Singers, Sing All Ye Joyful CBC Records, 2004 SATB “The Passionate Shepherd Lydia Adams, cond. MVCD 1167 piano to the Nymph” “The Nymph’s Reply”
SSongong TTitleitle – P Performerserformers TitleTitle ofof DiscDisc C Companyompany DateDate VoicingVoicing aandnd AARRANGEMENTSRRANGEMENTS bbyy RRWHWH & CodeCode InstrumentationInstrumentation
Five Ontario Folk Songs: Guelph Chamber Choir, Songs of IBS 1032 1996 SATB, Piano, 1. Come All You Bold Canadians Gerald Neufeld, cond. the New World Optional snare 2. The Maggie Hunter drum in #1 & 3 3. The Banks of the Don
Five Ontario Folk Songs: Amabile Chamber Choir Wrapped in Song ACC 001 2002 SATB, Piano, The Banks of the Don John Barron, cond. snare drum
Les Raftsmen Guelph Chamber Choir Songs of IBS 1032 1996 SATB, Piano Gerald Neufeld, cond. the New World
Les Raftsmen Mount Royal Kantorei Canadian MRK 2001 2001 SATB, Piano David Ferguson, cond. Choral Gems
CHORAL JOURNAL Volume 53 Number 4 21