LITERATURE FORUM

Works for Treble Voices by Brahms, Mendelssohn, and Schubert by Marie Stultz

HIS YEAR we celebrate the 100th Sacred Music women has never been found. The two anniversary of Brahms's death, the Ave Maria, op. 12, Latin text, Peters, modern editions for treble voices are ad­ T 150th anniversary of Mendelssohn's 3651, SSAA, orchestra or organ; Kalmus, aptations of the SATB version. The Uni­ death, and the 200th anlllversary of 06103, SSAA, organ. Written in 1858, versity of Pennsylvania version of the Schubert's birth. All three composers this elegant work was first performed with original six movements has been trans­ wrote significant, musically intriguing organ by singers of the Schloss-Chor of posed up a full step and contains only an compositions for treble voices. German Detmold. Its first public performance was English translation. The compositional Romantic music has long been a staple of on September 26, 1859, with Brahms style of these pieces (particularly 1, 2, 3, the vocal studio for both literary and peda­ conducting the Hamburg Frauenchor. and 7) is influenced by a Berlin folk mu­ gogical reasons. When conductors include The motet's harmonies are typical of sic publication of 1840 (German Folksongs this music as a regular part of their choral Brahms's lush Romantic style. The me­ with Their Original Tunes). Skillfully writ­ repertory, singers improve vocally. These lodic line contains numerous accidentals ten in a terse, strophic style, the settings settings use texts of Germany's finest po­ that are challenging to tune. The simple require adroit skills in German pronun­ ets, which demand inspired declamation. accompaniment, written independently of ciation. The complex harmonic writing is the voices, is supportive. The work, four mostly homophonic, with some simple minutes in length, is appropriate for an contrapuntal sections. These pieces are Johannes Brahms advanced children's or women's choir. difficult for children's chorus because of Brahms wrote prolifically for treble Marienlieder (Songs of Mary) , op. 22, extremes in vocal tessituras and complex voices, composing most of his major University of Pennsylvania, Series No. 75, harmonic structure. They are ideal for works early in his career. During this pe­ English text; E. C. Schirmer, 2477, 2478, advanced high school or collegiate riod he arranged and compiled two vol­ 897, 1680, 2480, 2230, 2481, GermanI women's choruses. umes of folk songs, one containing English texts, SSAA; C. F. Peters, 3658, Psalm 13 (Lord How Long Wilt Thou forty-nine pieces, and a set of ten children's German text, SATB. These seven songs Forget Me) op. 27, GermanlEnglish texts, songs dedicated to Robert and Clara to the Virgin Mary were written for the Carus-Verlag, 40-182/03, SSA and or­ Schumann's children. Living in and Hamburg Frauenchor and premiered in gan; 40.182, SSA and strings. This five­ around Hamburg from 1856 to 1862, he 1859. Brahms adapted the set for SATB minute work alternates between homo­ began sharing these folk-song arrange­ voices at the time of publication in 1862. phonic passages and sections of simple ments with a group ofyoung women who Originally conceived in six movements, a counterpoint. Open fifths, modal ca­ dences, and imitative structure resemble eventually became the famous twelve­ seventh movement ("Maria's Wallfahrt," the settings of seventeenth-century Italy member Hamburg Frauenchor. The choir no. 3) was added in the mixed chorus publication. The original version for or Heinrich Schutz. The sopranos are quickly expanded to forty members, dedi­ cated to singing works he composed for the group. The ensemble provided Brahms The perfect solution for a perfect performance! one of his earliest opportunities to write for treble voices. Unfortunately, much of SONG-LEARNING TAPES© his treble music from this period has been © 1988 by Hammond Music Service either lost or revised for SATB voices. Rehearsal tapes help choirs learn music 5 times faster! Perfect for learning oratorios, requiems, and cantatas! Also - rehearsal tapes for All-State, Regional & Honor Choirs! Each tape has a grand piano playing its voice part loud in the foreground, Marie Stultz is founder and artistic all other parts soft in the background. director of the Treble Chorus of New Call or write for a FREE catalog, demo packet/tape, and prices: England and Artistic Director of the Merrimack College Concert Choir at HAMMOND MUSIC SERVICE Toll-Free: 1-800-628-0855 Merrimack College, North Andover, P.o. Box 585 Idyllwild, CA 92549 FAX: 909-659-0798 E-mail: [email protected] Massachusetts. Visa and MasterCard Accepted

OCTOBER 1997 PAGE 27 required to sing a number of Its and an much like the linear counterpoint of the Kanons, op. 113, German text, Peters, 2 occasional a • The alto part is not very medieval period. In "Regina coeli" two 2648; English text, Peters, 6860, SSA­ low. The widely spaced harmonies would accomplished soloists sing canonic parts SSAA. These thirteen pieces, written be­ be difficult for children to learn and con­ against homophonic writing in the four­ tween 1860 and 1863, cover a wide trol. The work, as simple as it appears, is part chorus. The piece opens with the melodic range. Composed for various more appropriate for adult choruses. The soloists singing an inverted canon, while celebratory occasions, they are great exer­ English text, translated by Jean Lutton, the chorus sings "alleluia." In the second cises for fostering vocal development in works beautifully. responsory section, the chorus sings two all levels of treble voices. Use a combina­ Three Sacred Choruses, op. 37, Latin/ canons of similar character, as the soloists tion of sopranos and altos on each part to English texts, Broude Brothers, B.B. 136- sing their canon in inversion. The piece ensure a balance between the canonic lay­ 1; Peters, 66141 (Latin), SSAA, SA soli, ends in a brilliant set ofstretto-like phrases ers. These pieces are appropriate for a unaccompanied. All three pieces are writ­ on "alleluia." This opus is accessible to variety of ensembles. ten in a challenging, strictly canonic style. advanced children's ensembles but is more Three Brahms Songs for Women's "0 bone Jesu" is a canon in which the appropriate for advanced women's or col­ Choir, German/English texts, Gentry, second part is in contrary motion to the legiate choruses. JG2180, SA, piano. Funf Duette (Five first part-eighteen measures of canon in Duets), op. 66, was composed in 1874 inversion. The piece requires an alto sec­ Secular Music and published in 1875. Originally writ­ tion that can sing £ "Adoram us" is a strict In stiller Nacht (In Still of Night), ten for solo voices, the three duets edited four-part canon in Aeolian mode. The German/English texts, G. Schirmer, here by Raymond Sprague are the most piece contains many octaves and complex 11848, SSAA. This quiet, peaceful ho­ adaptable to the choral medium. "Aus der intervalic relationships between the parts, mophonic setting is from a set of seven Erde quellen Blumen" and "Wenn ein songs originally written for women's Miider Leib begraben" set texts by Groth. voices. The first in this group of songs, The third piece, "lch weiss ein Madiein SEARCH for MUSIC DIRECTOR published in 1864 for SATB voices, hiibsch und fein," draws its text from Des ATLANTA YOUNG SINGERS OF Todtenklage or In stiller Nacht, was origi­ Knaben Wunderhorn. The pieces are CALLANWOLDE nally arranged for SSA or SSAA voices. folklike in style, containing a great deal of Though Brahms labeled this original wry humor. The last piece in the set is Children's & Youth's Concert Choirs melody as a folk song and subsequently strophic. All three contain contrapuntal Send only Letter ofApplication and Resume arranged it for solo voice and piano, he and melismatic challenges. A few dynamic by December 1, 1997, to: confessed later in his life that the melody marks and articulations have been added Search Committee was his. The homophonic, lush harmo­ by the editor, who also offers excellent Atlanta Young nies can be sung by an advanced treble Singers of Callanwolde ensemble. This edition, adapted from the translations of the text. 980 Briarcliff Road, NE Vier Gesiinge (Four Songs), op. 17, Atlanta, GA 30306 SATB version, requires altos to sing numerous f's. English/German texts, Peters, 6617, SSA­ SSAA, two horns, harp or piano. This extended work in four movements pre­ miered in Hamburg in 1860. The harp's and horns' declamatory accompaniment sets the scene for the poetry by Ruperti, Eichendorff, Ossian, and Shakespeare. T~t'~mpete Lush harmonies and brilliant text paint­ Check us out for competition caliber ing mark the first movement, "The Harp designs at affordable prices. We have Resounds with Wild Refrain." As the the freshest approach in the market voices sing oflove and love lost, the harp with the largest selection of plays florid thirty-second notes under the innovative trendsetting styles French horns' love-motive. The second each season. movement, "Song from Twelfth Night," opens with the horns playing a sixth in a Call for a copy of our 76 pg. catalog of dynamic looks for dirgelike refrain that perfectly paints the concert and show and find out text, "Come away, come away death." The why more and more performers third movement, "The Gardner," is stro­ are turning to Stage Accents for phic and set to a quick ~ tempo that must their costume needs. be carefully established by the harpist, FREE CATALOG who plays rapid sixteenth notes. The 1.800.631.161 1 fourth movement (SSAA) opens like the visit our website at second, with the French horns pronounc­ www.stage-accents.com ing the call. The two-part writing is

PAGE 28 CHORAL JOURNAL harmonized in thirds, fifths, and octaves, with a girl's ensemble. A good concert from op. 52 and op. 65 are wonderful for with some occasional sixths. Some ex­ closer, this strophic duet can be staged building secure part-singing. The two tremely advanced children's choruses can with lollipops, hats, and matching dresses. from op. 52, "Vogelein durchrauscht die handle this powerful work, but the colors Crossing voices, articulation marks, and Luft" and "Wie des Abends schone Rate," and texts lend themselves to more mature unusual intervalic relationships make the are strophic, with the voices moving choirs. piece a real challenge. The musical rhythm homophonically, mostly in thirds. "Nein Zwo/f Lieder und Romanzen, op. 44, matches the prosody of the text in either Geliebter, setze dich" from op. 65 is German text, Peters, 3669a & b, SSAA, English or German. Set in ~ meter, the through composed. Traditionally sung by keyboard. This collection of twelve love piece is homophonic, with some moving women or solo voices, all three produce a songs was written b,etween 1859 and notes in the alto line. Major seconds and ringing tone quality in children's voices. 1866, setting texts by various poets. The octaves between the parts make this a Sandmannchen (The Little Sandman), most famous of these, "Minnelied" and challenge to learn. German/English texts, MorningStar, "Die Brautigam," were premiered by the Johannes Brahms Geistliche Chormusik MSM-9914, unison or SA, piano. Hamburg Frauenchor on January 15, (Gesamtausgabe der motettischen "Werke), Adapted by Marie Stultz from the origi­ 1861, probably in a three-part version. German/English/Latin texts, Carus­ nal unison version, it is the fourth song in The vocal range is demanding, requiring Verlag, 40.179/02, SSAA, SSA, SATB, a collection published in 1858, titled altos to sing down to e. Some movements keyboard or orchestra. This collection of Volks-Kinderlieder mit hinzugeJugter can be done by children's choruses, but motets is presented in chronological or­ Klavierbegleitung. The piano part has been they are more appropriately performed der, with the short exercise pieces and abridged in the unison version but is true by women's choruses. studies treated as seriously as the full to the original in the two-part setting. motets. The edition contains an extensive The arrangement contains warm, gentle Solo Songs/Chamber Duets foreword and historical information in both harmonies in the second verse and a des­ Brahms Duette, opp. 20, 61, 66, and German and English by Karl Michael Kornma. cant in the third verse. The long phrases 75, German text, Peters, 3909, SA, key­ Liebeslieder Waltzes (Three Love tell the story of the sandman's visit and lie board. This edition is one of the few schol­ Songs), English/German texts, ECS, in an easy tessitura that is simple to control arly editions available in the U.S. The 1055, SA, piano four-hands. These waltzes and sing with an effortless tone quality. publication is without foreword or En­ glish translation. Complete Songs for Solo lilice and Pi­ ano, German text, Dover Publications. This series of four books contains an ex­ THE SINGER'S REPERTOIRE tensive foreword, guide to German terms, Berton Coffin and translations of the text. Series One, A timeless classic. Includes 8,200 songs in 818 lists for nine voice classifications 23820-2, includes opp. 3, 6, 7, 14, 19, indexed by composer, title, vocal range, and publisher. The complete work repre­ 32, and 33; Series Two, 23821-0, includes sents the living song repertoire drawn from recital programs, recordings, broad­ opp. 43,46, 47, 48,49, 57, 58, 59, and casts, telecasts, and other sources. 63; Series Three, 23822-9, contains opp. 69,70,71,72,84,85,86,91,94,95,96, and 97; Series Four, 23823-7, includes Complete Set Part III: Lyric and Dramatic the folk songs and opp. 105, 106, 107, 1960 0-8108-2023-4 $142.00 Tenor 121, and 103. This series of books is 2nd Ed. based on the Breitkopf and Hartel Part I: Coloratura, Lyric and 1960 210 pp. 0-8108-0190-6 $35.00 Complete Works, edited by Eusebius Dramatic Soprano Mandyczewski, and contains a new prose 2nd Ed. Part IV: Baritone and Bass translation of the texts by Stanley 1960 321 pp. 0-8108-0188-4 $35.00 2nd Ed. Appelbaum. 1960 223 pp. 0-8108-0191-4 $35.00 Deutsche lillkslieder, German/English Part II: Mezzo Soprano and texts, International Music, 1022 and Program Notes Contralto 1962 230 pp. 0-8108-0169-8 $29.50 1023, voice, piano. This collection con­ 2nd Ed. tains all forty-two folk songs and offers a 1960 222 pp. 0-8108-0189-2 $35.00 translation under the German text. No edi­ Vowel Chart torial comments are offered. 1987 0-81 08-2028-5 $10.00 Die Schwestern (The Sisters), op. 61, no. 1, German/English texts, Kjos, 6166, I TO ORDE~ GALL SCARECROW PRESS SA, keyboard. Edited by Linda Anderson, 1-800-462-6420 4720 Boston Way' Lanham, MD 20706 this amusing duet about sisters who look I alike but are "crazy in the head" is effective

OCTOBER 1997 PAGE 29 The gentle melody develops beautiful are beautifully layered. Following a change requiring pure, even vowels and controlled legato singing. The piece is appropriate of key, the work becomes more complex, dynamics. The vocal parts are supported for a young ensemble but also would be with difficult melismas in the middle sec­ by a florid, eighth-note accompaniment. effective for women's voices. tion. The C section, set for chorus and Most editions and recordings of this work Wie Melodien zieht es mir (Like Melo­ soli, is more homophonic in nature, much exclude the second part. The Carus-Verlag dies My Thoughts Come Drifting), like a chorale. This psalm works well with edition is expensive, but an excellent re­ op. 105, no. 1, German/English texts, an advanced treble ensemble or women's source for study because the entire piece Plymouth, HL-524, unison, piano. This chorus. is included in the publication. The sec­ elegant, reflective legato melody is set to a Three Motets, op. 39, were written in ond section, an adagio in ~ meter, is set text by Groth. It is the first in a series of December 1830 and were influenced by antiphonally for solo voices and chorus. five solo songs published separately. Writ­ the church music Mendelssohn heard dur­ Filled with brilliant, almost bone-chilling ten in 1886, the melody requires good ing a brief trip to Italy in May 1830. harmonies, this section brings the motet breath control and sophisticated phras­ "Veni, Domine" (Lord, Descend to to a quite joyful conclusion on aforte, six­ ing. This edition by Henry Leck has been Us), op. 39, no. 1, LatinlEnglish texts, voiced AI>-major chord on the text "Beati transposed up a minor second from the Carus-Verlag, CV 40.703/10, SSNSSA omnes, qui timent Dominum." Another original key of A. soli, organ. Written when Mendelssohn edition that includes the Terzetto was pub­ was twenty-one years old, this dramatic lished in 1958 by Edward B. Marks, motet is through composed in four sec­ 00007855. This publication, handled by Felix Mendelssohn tions. The short opening grave in cut time Hal Leonard, is currently out of print, Mendelssohn's limited output of choral contains dark homophonic harmonies in but permission to photocopy can be ob­ works for treble voices contains three motets G minor. The second section begins in ~, tained from the publisher. specifically written for "frauenchor," one with a con moto tempo marking. The "Surrexit pastor bonus" (The Shep­ extant motet (0 beata et benedicta), and voice parts are more contrapuntal, with herd Blest Is Risen), op. 39, no. 3, LatinI one psalm setting. The remainder of his short homophonic sections. The andante English texts, Carus-Verlag, CV 40.703/ music for trebles is found in his larger section in ~ meter can be sung byaccom­ 30, SSAAISSAA soli, organ. Composed works for SATB chorus and orchestra and plished soloists, with a soprano who can in four sections, this nine-minute motet his two sets of vocal duets: six published sustain a g;. The work returns to ~ meter, requires an accomplished chorus. The in 1845 and three composed in Berlin at concluding with brilliant harmonies that opening movement in ~ meter is homo­ an unknown date. cadence in G major. The organ accompa­ phonic and alternates between soli and Der 66. Psalm (Psalm 66), GermanI niment supports the vocal parts. An En­ chorus. The organ accompaniment pro­ English texts, Boosey & Hawkes, glish language edition is available from vides interludes between the soli and cho­ OCTB6883, SSA, SSA soli, keyboard. Broude, AB 166. ral sections that are often unaccompanied. Written when Mendelssohn was thirteen "Laudate pueri" (0 Ye that Serve the The first part concludes with a breath­ years old, this lesser-known work was Lord), op. 39, no. 2, Latin/English texts, taking "alleluia' in seven parts. Part two is found in manuscript in the Staatsbibliothek Carus-Verlag, CV 40.703/20, SSA, or­ a spirited duet for two sopranos, and a in Berlin by James H. Laster. Laster has gan. This popular piece for trebles is com­ brief alto solo set in plainchant style sets realized a keyboard part from Mendelssohn's posed in two parts: part one (Coro) for off the final spirited chorus in cut-time. figured bass. This contrapuntal setting in chorus and part two (Terzetto) for trio The contrapuntal, melismatic passages are ABC form displays the young composer's and chorus. Part one contains warm difficult. This work is appropriate for an knowledge of the voice. The melodic lines harmonies and legato contrapuntal lines advanced treble ensemble. Duets Edited for Choral Performance Choral Music for Rent Abendlied (An Evening Song), Ger­ Reasonable Rates man/English texts, National Music, NMP-l44, SA, piano. This poco tranquillo folk song is set to a reflective, dreamlike Most of the standard and many "off-beat" titles text by Heine. Written in homophonic from the eighteenth to the twentieth century. style this peaceful duet is wonderful for Symphonic choral music a specialty. developing fine tuning, as singers learn to Most in quantities of 150 or more. produce a restrained yet ringing tone qual­ ity. Perfect for closing a concert, this piece Low cost. is appropriate for intermediate to ad­ Catalog with prices available. vanced treble ensembles. Gruss (Greeting), GermanlEnglish Phone: (212) 247-3878 Fax: (973) 948-4878 texts, National Music, NMP-211, SA, pi­ ano. This duet begins, "I greet you a thou-

PAGE 30 CHORAL JOURNAL sand times, a thousand times more." Set­ The homophonic part-wntmg sets off piano. From act II, scene 3, "You Spotted ting a text by Eichendorff, the piece fea­ brief imitative sections. The piece is ap­ Snakes, with Double Tongue" is scored tures a flowing legato line and dramatic propriate for intermediate children's or for SSAA, SS soli, speaker, and orchestra counterpoint. The duet will sound pow­ women's choirs. or plano. erful when sung by advanced treble en­ MaiglOeken und die Bliimelein (The In Elijah the ever-popular SSA sembles. Maybell and the Flowers), German/En­ unaccompanied piece "Lift Thine Eyes" was Herbstlied (An Autumn Song), Ger­ glish texts, National Music, NMP-193, originally written for boys' chorus, but man/English texts, National Music, SA, piano. This charming duet tells the works superbly for women's voices. There NMP-146, SA, piano. This warm, glow­ story of fragrant flowers that are harmed are two duets for solo voices from St. ing setting of a text by Klingemann was when cruel Jack Frost enters their safe Paul one duet from Hymn ofPraise, one written in 1844. The opening, set in domain. Composed in 1845 on a text by duet from the Ninety-fifth Psalm, and one thirds, expands to harmonies dominated Fallersleben, the piece requires superior piece scored for two sopranos and piano by sixths in the second part. This duet, German diction skills, particularly at the from op. 39. sung at the challenging tempo of allegro tempo of allegro vivace. The duet poses a agitato, will work with advanced children's challenge for the sopranos, who must sing choirs but is more suited to collegiate or g2. This piece is good for all advanced community women's choirs. treble ensembles. InCH~~,1';},!r~EB feh wollt: meine Lieb' (I Would That My Love), German/English texts, Na­ Excerpts from Larger Choral http://wwvv.ChoraIWeb.com (208) 882-6760 tional Music, NMP-146, SA, piano. Works Composed in December 1836 on a text A number ofpieces from Mendelssohn's Choral Music Through the Internet by Heine, this love duet offers some oratorios can be extracted for choral per­ View, Usten, Purchase and Download Choral Music over intervalic challenges between the two formance. The finale from A Midsummer the Internet parts. Harmonized with many major and Nights Dream, "Through the House Give • Quality Music minor thirds, the lilting rhythms set in ~ Glimmering Light," is composed for SSA, • Lower Prices meter inspire a clear, ringing tone quality. S solo, two speakers, and orchestra or • Immediate Computer Delivery

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OCTOBER 1997 PAGE 31 Two editions of Mendelssohn's duets the Lake. The straightforward harmonies many accidentals that add to the interest are great resources for treble choirs. An and accessible rhythms make this a simple of this short sacred piece appropriate for edition by Peters (Nr. 1747), Duette for work to learn. The range of the vocal women's or children's choruses. zwei Singstimmen, is published without parts is ideal for an intermediate children's Gesang der Geister uber den Wassern translation or foreword. The G. Schirmer chorus or beginning women's chorus. The (Song of the Spirit over the Waters), publication Sixteen Two-Part Songs con­ harmonies in F minor are mysterious, with op. 167, (D538), German/English texts, tains an English translation by Theodore the contrapuntal fabric containing cross­ National, NMP-219 (1817 version), adds Baker. ing voice parts. The piece also contains violas and two cellos, four equal voices. numerous unisons and surprising octaves. Originally written for men, this piece eas­ The short work ends with all voices on a ily adapts to treble voices. Composed in Franz Schubert 1 unison c , as the pianist plays octave During his compositional career 1817, with a final version completed in Schubert revised his choral music numer­ thirty-second notes on C in the bass. With 1821 for four tenors, four basses, two ous times, often based on the availability a tempo marking of langsam, the piano violas, and two cellos, this is one of sev­ of vocal forces and performance venues. accompaniment ~s quite accessible and eral settings of this spiritual poem by His output for female voices is limited, could be played by an accomplished stu­ Goethe. Composed in 1 meter, in the with many opus numbers rescored from dent. keys of A and G major, close harmonies their original male chorus versions. Five Das Grosse Hallelujah (Glory unto in the homophonic sections contrast pieces written specifically for "ftauenchor" God Almighty), (D442), German text, sharply with imitative sections. The piece have survived, with other pieces adapted Peters, 5415 (collection), SSA, piano. Set contains simple melismas and crossing by modern editors and arrangers. to a text by Klopstock, this piece was voice parts. National Chamber Music Coronach (He Is Gone on the Moun­ written in June 1816. A chordal accom­ Series, CMS137, is appropriate for ad­ tain), op. 52, no. 4, (D836), German paniment over a staccato eighth-note bass vanced treble ensemble or men's chorus. text, Peters, 5415 (collection), SSA, piano. line supports the homophonic choral parts Three Partsongs for Upper Voices, Ger­ This strophic piece in three verses, writ­ filled with thirds and major-second man/English texts, Faber, 08718008, ten in 1825, sets Sir Walter Scott's Lady of suspensions. The harmonic fabric contains SSAA, piano. This publication includes

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For further information contact: Director of Choral Activities, Michigan State University, East Lansing,. MI ;48824-1 043 517/355~2140, http://www.msu.edu/uniVmusic

PAGE 32 CHORAL JOURNAL Elektra Women's Choir's fIrst Christmas recording three of Schubert's part-songs for female The story of the little boy who pricks his "... vocal purity ... glorious sound... " voices. Del' 23. Psalm, (D706), written in finger on the rosebush stimulates the - Robert Jordall, The Georgia Straight 1820; Gott in del' Natur (God in Nature), child's imagination. Editor Henry Leck (D757), composed in 1822; and Standchen provides a German translation and teach­ NOW AVAILABLE (Serenade), (D920b), set in 1827. All ing suggestions. The piece is tran?posed three pieces were composed for singing down a major third from the original key ELEKTRA WOMEN'S CHOIR teacher Anna Frolich, who taught at the of G major, a key more appropriate for WITH RITA COSTANZI,I!ARP Vienna Konservatorium. They were tre­ children. mendously popular during Schubert's day, An die Musik (To Music), (D547), often performed at impromptu musical German/English texts, Boosey & Hawkes, gatherings. 6366, unison, keyboard. Written in 1817 Del' 23. Psalm received its premiere in this art song is perfect for building a beau­ 1821 by Anna Frohlich's eight-member tifUl, gentle, unforced unison tone qual­ voice class. It later became an examina­ ity. Filled with elegant legato lines on a A CEREMONY OF CAROLS tion piece for the Vienna conservatory. moving text by the Swedish dilettante, The piano part is filled with gentle float­ Franz von Schober, the piece rings when ELEKTRA WOMEN'S CHOIR ing triplets in the right hand against eighth sung by young voices. Another wonder­ WITH HARPIST RITA COSTANZI notes in the voice parts. Written with rich ful edition, arranged in two parts by Britten - A Ceremony of Carols; Csonka - homophonic chords, this lengthy piece is Concierto di Na'llidad; Rutter - Dancing Day Henry Coleman, is available from Ox­ a challenge, requiring the singing oflong, ford, OCS1663, in an English version. 1:I,EKTH.\ wmIEN'S CllOlH quiet, legato phrases. The piece is also The unison edition is effective with very available in an English edition edited by young choirs, while the two-part edition W G. Whittaker from Oxford, OCS1405. works much better with mixed voices. Gott in del' Natur alternates stately cho­ Der Mllsensohn (My Flute and I), ral writing in homophonic phrases with FHOIiI THE HEART op. 92, no. 1, (D764), English/German sections of counterpoint set over a florid texts, Novello, 2093, unison, keyboard. FROM THE HEART piano part. The ~ section, marked allegro Jeffirs, KaldOl; MacGillivray, MacIntyre & others giusto, is a choral fanfare written to imi­ Written in 1822 on a text by Goethe, this tate the sound of hunting horns. exciting strophic piece in ABAB form is Standchen in its choral setting is quite perfect for teaching major and minor key different from Schubert's solo song. It is a relationships. It has been transposed down hasty reworking of a piece originally writ­ a major second from the original. Ideal ten for male quartet. The alto (baritone) for a children's choir or training chorus, solo is set over sonorous choral parts that this animated piece with a spirited piano CI.ASSIC ELEI"Tln part helps build a glittering tone quality contain suspensions and crossing voices. CLASSIC ELEKTRA The piece ends triple piano as the voices in the upper tessitura. Conte, Hal/ey, Rauta'llaam, Tefft:1; Tonnis & othm urter the translated words, "softly steal Die Forelle (The Trout), (D550), En­ away unheard." This piece is available glish text, Novello, 16 0065 06, unison, separately in a German edition from keyboard. Schubert wrote four versions Schott, full score, 4339; choral score, 4339-02. These part-songs are edited with fore­ word by Judith Blezzard, and all three "Professionally tailored gowns pieces would be effective with an accom­ of lasting beauty." ELEKTRA WOMEN'S CHOIR plished small chorus or solo ensemble. Kidd, Schafel; Tor",is, von Bingen & others This score, while cost-effective, may be FREE catalog and Available from troublesome because of print size. fabric samples. Allegro Corporation (Portland) Solo Songs Edited for Chorus Since 1955 ... 1-800-288-2007 Heidenroslein (Hedge roses), op. 3, LYRIC or directly from CHOIR GOWN co. no. 3, (D257), German text, Plymouth, Elektra Women's Choir 7061 Cypress Street, Vancouver, BC HL 500, unison, keyboard. Composed in P.O. Box 16954-AZ Jacksonville, FL 32245 Canada V6P 5M2 August 1815 this charming strophic song CALL TOLL FREE phone: 604-261-2670 • fax: 604-264-0027 is delightful to teach to young singers. 1-800-847-7977 email.·[email protected]@axionet.com

OCTOBER 1997 PAGE 33 of this art song composed between 1817 semble tells the story of the angler and an for teaching headtone singing and per­ and 1820, which became the basis of his artful trout who meets an untimely fate. fectly blended vowels. The florid, inde­ popular "Trout" Quintet. The difficult This art song will work with an interme­ pendent accompaniment supports the piece is filled with intervalic challenges of diate children's ensemble or high school intervalic challenges in the ascending dramatic beauty, offering the conductor women's chorus. melody line which includes an a2• Edited an opportunity to develop singers' ana­ Du bist die Ruh (My Sweet Repose), for children, this art song requires singers lytical skills, as they learn to control phrase op. 59, no. 3 (D776), German text, Gor­ to control the elegant legato lines. This shapes of varying length and difficulty. don V. Thompson, GG-I002, unison, piece works well with all treble ensembles The second section of the song is filled keyboard. This song written in 1823 sets striving to develop a perfect unison. with more complex rhythms as the en- a text by Freidrich Ruckert and is ideal -C]-

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PAGE 34 CHORAL JOURNAL