|
Submitted by Stephanie Magaro
Repertoire and Resources Chair for Middle School Voices Freedom. Change. Equality. Hope. Dreams. These are common themes that we continue to seek to teach to our children in this era. Combining Langston Hughes’ poetry with rich vocal harmonies and a riveting piano accompaniment, Susan LaBarr has just recently published an SAB version of her best-selling work, “Hold Fast to Dreams.” Although most of her works are published for SATB or for treble voices, this particular piece is accessible for developing voices. Beginning and ending with some unison singing (possible octaves for changed voices), the melodic writing remains simple throughout, although it sounds much more intricate and mature as the phrases go on. The piece will require a piano accompanist with some experience. When I taught this piece to my middle school advanced treble ensemble, we often learned phrases using solfege. This is a key signature (B major) that most of my students had never sung in before, but would work especially well for a middle school choir with a few 8th grade basses in the spring semester! The ranges are reasonable and I love how Susan LaBarr gives the soprano voices the harmony echo in the main section of the piece in the new arrangement for SAB, leaving the Altos and Basses to sing in unison together. The developing baritone voices get to use the lowest notes they might have, they get to sing some (but not solely) harmony, and they get the advantage of lots of unison singing the melody throughout the piece. At the climax of the piece, each voice part is in its “best” vocal range and remains there. If you were to ask my middle school choir what they loved about this piece, surely they would say that they absolutely loved the harmonies in this section. Published by Santa Barbara Music Publishing, this voicing piece is marked with the level “medium.” The SSA version is also “medium,” while the SATB voicing is “Easy.” LaBarr, being an experienced editor of publishing companies (first Choristers Guild and now Walton Music), knows what she is talking about. For a middle school choir or youth chorale, this piece offers plenty of educational and musical value in rehearsal and performance. https://sbmp.com/SR2.php?CatalogNumber=1721 https://www.youtube.com/watch?v=B578691PJWA
Turlutte acadienne montréalaise
Marie-Claire Saindon SSA choir; Publisher ID: S-481 Also available for TTB and SAB Submitted by Kathryn Hylton Repertoire and Resources Chair for Upper Voices “I love traditional music and I also love participating in the culturally rich music French-Canada has to offer. From my family and community, I learned to value our musical cultural heritage as a living art… because it was fun and interactive and something to be shared with others.” - Marie-Claire Saindon, Moving Beyond the French-Canadian Canon: One Composer’s Mission to Retain Elements of the Traditional in Contemporary Composition Franco-Ontarian composer Marie-Claire Saindon’s piece Turlutte acadienne montréalaise brings elements of the French-Canadian folk music tradition into the choral setting in an approachable and authentic way. At the request of the commissioning choir, Adleisia (with whom the composer had sung years earlier), Saindon built the piece on a traditional Acadian and Québécois musical practice called “turlutte” (or “mouth-reel”), in which distinct syllables are used to imitate an instrumental reel. While mouth-reels are popular throughout the world, this particular reel uses a unique “ts” syllable, which sounds like a hi-hat cymbal hit and provides many opportunities for syncopation. These vocalizations are then accompanied by rhythmic foot stomping known as podorythmie (which the composer suggests could be replaced by traditional percussion instruments like wooden spoons). The piece uses Saindon’s original melody, though it is often mistaken for an arrangement of a pre-existing folk tune due to its faithfulness to the folk style. Turlutte acadienne montréalaise opens with the choir singing the first phrase of the reel in unison. With each new phrase, the vocal parts divide out to add a wonderful color and harmonic support for the tune. Once the percussive foot taps begin, the supporting vocal lines likewise begin to build in rhythmic interest and intensity until all parts sing the reel together in energetic, joyful triadic harmony. The piece comes to a close when the melody, once again supported harmonically by long notes, is sung one final time by the sopranos. Saindon’s eclectic musical experiences, including playing the fiddle with folk musicians on a historical steam train, studying film scoring, and singing with a professional upper voice choir give her a unique voice as an artist, and especially as a composer of upper voice music. Please visit her website to explore more of Marie-Claire Saindon’s choral music including compositions for high voice, mixed, low voice, and children’s/youth choirs: https://www.marieclairesaindon.com/ Who I Want to Be
Coty Raven Morris, Arr. Saleel Menon SSA & piano BriLee Music (BL1217) https://www.brileemusic.com/bl1217-who-i-want-to-be.html Submitted by Matt Carlson Children & Community Youth R&R Chair Choral music is a powerful art, building character, confidence, and self-worth in its singers. Coty Raven Morris’s “Who I Want to Be” is an excellent way to create this experience for your choirs. This is an accessible piece for choirs of all ages and ability levels, and will leave a lasting impression on singers and audiences alike. Morris wrote this piece for her high school choir in the fall of 2020. In her notes, she explains that her students “were struggling to cope with the civil unrest around them, in addition to the pandemic. …In our time of focus on our building of community and citizenship, this text and tune came to mind – each phrase highlighting an element of personal and community wellness.” “Who I Want To Be” begins with this beautiful text and tune in a lilting 6/8 meter. The choir sings this melody in unison, followed by SSA harmonies with excellent voice leading that lend themselves well to sightreading on solfege. Arranger Saleel Menon provided this harmony as well as the artfully crafted piano accompaniment. The magic moment of the piece is its middle section. The choir layers fragments of the melody as mantra-like accompaniment, while soloists share their own spoken affirmations. Morris provides words that her students created at Crosby HS in Crosby, TX: Allow yourself grace. I believe in myself – love your truth. I am persistent. I’m lost, just waiting to be found. I am fragile, not broken. It’s okay to not be okay. The only validation I need is my own. I love and I am loved. Morris encourages borrowing from these mantras, or inviting our singers to share their own. Imagine the impact that moment would have with your choir, not only in performance but as a pivotal moment in the rehearsal process. Creating a safe space where you can have conversations about social/emotional/intellectual wellness is an incredibly rewarding experience for our singers. “Who I Want to Be” is one of those special pieces that can help students break out of their shell, let their voice be heard, and cultivate a deep connection between choral music and their own personal growth. It is sure to have a meaningful impact on their lives, and keep them coming back for more!
“Yes, I am your angel” (Gabriel Jackson)
Oxford University Press Submitted by Nate Zullinger R&R Chair for College and University Choirs UK-based composer Gabriel Jackson (b. 1962) wrote this piece at the request of The Crossing and their conductor Donald Nally. It was part of a larger commission known as “The Jeff Quartets” in honor of Jeffrey Dinsmore, a co-founder of the ensemble. Known for his ability to synthesize classical structures and styles with harmonies and rhythms from diverse genres, Jackson has fulfilled many prominent choral commissions in the last two decades. Jackson’s substantial catalogue includes chamber music, instrumental solos, and several large-scale choral-orchestral works. Kārlis Vērdiņš (b. 1979), a Latvian poet and literary critic, regularly contributes texts for vocal music. Ieva Lešinska, a noted writer and translator, prepared the English text. Vērdiņš describes this as a response to Allen Ginsberg’s poem “A Supermarket in California,” in which the question is posed, “Are you my angel?” Like Ginsberg’s original poem, it takes place late at night in a grocery store. “Yes, I am your angel” can be easily divided into six short sections of about twenty measures each. The first describes the monotony of a grocery clerk, surrounded by discounted fruit and meat department specials offered “by installment.” After a brief description of the employee’s attractiveness and appeal, a wheezing, seductive poet-customer appears. Taking a darker turn, the third section hints at the world of casual encounters and seedier possibilities beyond the sterile common ground of the market. Perhaps this offers some foreshadowing of unspoken activities in the subsequent section, when the employee hurries home at the end of the shift. Though there are hints, it is never confirmed if the employee will be returning alone to his “half-empty” apartment. In part five, the employee imagines that a wealthier customer in the checkout line may buy everything – including the supermarket and the employee, too. In perhaps the most revealing passage of the entire poem, the employee’s impatience surfaces, hinting that his attentions might be easily transferred elsewhere. This fantasy is shattered in the brief final section as the original poet-customer becomes rowdy in his drunken state. The employee dismisses him briskly with the perfect retort, “don’t fret, write a poem.” This piece is ideal for a number of educational concepts, including the study of mixed meter with a steady eighth note; proper word stress and attention to detail in a non-traditional choral text; negotiating major and minor seconds between two parts; appreciating the significance of rhythmic and harmonic motives (particularly the “angel” chord); and finally, achieving an effective delivery of a clear, homophonic text-setting. It also offers an opportunity to engage with students’ interest in literature and LGBTQ social history. Though written for a professional choir, it is well within the ability range of many university ensembles. Notably, while there are rhythmic and harmonic challenges, voice ranges are limited, allowing for fluidity between parts if needed.  Submitted by Matthew Klenk
ACDA-PA High School R&R Chair “The Soul of a Tree” - Amy Bernon Santa Barbara recently published this exquisite work by Amy Bernon, which was named a runner-up prize in ACDA’s first ever “Pearl Prize” competition. The competition asked composers to create a work with “the beauty yet simplicity of a pearl”, and this piece truly delivers on that front. In this current school year, we find ourselves a year further removed from the height of the pandemic. While many ensembles are in better shape than they were last fall, they are still dealing with the fallout of decreased numbers, relatively inactive programs, and students who have lacked performance opportunities. Personally, I’ve come to place a high value on pieces that aren’t terribly difficult to teach and learn, but allow my students to sound excellent and grow in their confidence as singers - “The Soul of a Tree” is most definitely one of those types of pieces. The music and the text both serve to give the piece a strong sense of nostalgia. The choir sings of how “the soul of a tree sings an ancient song” while dorian mode harmony is prominently featured, making the music feel both heavy and optimistic. There are two sections that can be sung by an optional smaller group, giving directors some flexibility and control over the texture. The highlight of the piece is a soaring melismatic passage sung entirely on an “ah” vowel that leads the choir to a final restatement of the work’s opening phrases. “The Soul of a Tree” also features a wonderfully written piano accompaniment, which could provide a chance to highlight a pianist within your program. A perusal score and recording can be found on Santa Barbara’s website. I highly recommend giving this piece a look, especially to those high school directors out there! Submitted by Kyle Zeuch
Community Choirs R&R Chair ACDA-PA President-Elect Designate Michael Bussewitz-Quarm has many wonderful new choral works, one of which, Still the Same Love, I enthusiastically endorse and would recommend for your Community Choir. This isn’t your typical love song. This piece reminds us that we must come back to loving ourselves and loving each other when searching for peace in our relationships and wellness in our lives. The captivating text by Euan Tait, concludes with the line “At the beginning of a healing. Still I Love. Still I Am Loved.” The theme could be well suited for a Community Choir spring concert and would fit well with a variety of other pieces to create an impactful overall theme to your concert. Musically, the piece is accessible, diatonic, and contains repetitive patterns, while still offering challenges of divisi, solos, and a few harmonic surprises. The piano accompaniment supports the vocalists but does not often double the voices, requiring singers to be confident. The treble tessitura could be a challenge for some singers but occurs in the louder sections of the piece allowing for supported singing. One of my favorite things about this song is the building of intensity to the climax through repetitive patterns, followed by a subsequent softer section that fades to the end. The patterns become hypnotizing as the words wash over the listener giving a unique experience that fits the text well. I encourage you to listen and see the score here: Still the Same Love From her bio: “The award winning music of Michael Bussewitz-Quarm engages singers and audiences through the soulful exploration of social and environmental themes around the world. Michael is passionate about effecting change through choral music, addressing topics ranging from art in post-civil war Raleigh-Durham, to gun violence, to the global refugee crisis. A centerpiece of each commissioning consortium is the opportunity to work with Ms. Bussewitz-Quarm virtually and through pre-recorded panel discussions with artists, authors, and thought leaders in the area of focus. Additionally, she offers an extensive catalog of existing work through self-publication (www.listenafresh.com) and Peermusic Classical. Ms. Bussewitz-Quarm won The American Prize in Composition (major works) in 2021 and will make her Carnegie Hall debut in 2023 featuring her work, "Where We Find Ourselves".” Learn more about Michael and her music at her website: https://www.listenafresh.com/ 
Submitted by Peter de Mets
Choral Music Development Chair Self-Published Composers R&R Chair Greetings fellow choral artists! Allow me to introduce myself, if you don’t know me yet. I am Peter de Mets and I serve as the Choral Music Development Chair for the Executive Board of ACDA PA, and also serve as the R&R Chair for Self-published Composers and “Boutique Publishers”. When you’re the R&R Chair for self-published compositions, you’re constantly looking at new music. The #singnewmusic concept is pretty much where I always live… so picking just one is a task, but I think I’ve done it… This month’s #SingNewMusic selection is ALLELUIA by Amy Gordon. This is a fantastic celebration suitable for worship (perhaps Easter?), or concert. It is scored for SSAATTBB with piano. The piano part has some tricky spots, but well worth the effort as it adds to the celebratory nature of the work. This piece was commissioned by Choral Arts Initiative for the 2019 PREMIERE! Project Festival. Flowing lines and dramatic swells builds to the final joyous ending. Amy’s piece can be purchased at https://musicspoke.com/downloads/alleluia-3/ More about Amy can be found at https://amygordonmusic.com submitted by Samantha Roberts
Vocal Jazz, Contemporary, & Commercial Music R&R Chair "Everything But You" was written in 1945 by the great Duke Ellington and Harry James, with lyrics by Don George. Kirby Shaw's arrangement of "Everything But You" was published in 2020 and it can be sung with SATB, SAB, or SSA voicings. I think that more advanced high school ensembles would enjoy the SATB/SSA versions. Due to the tight voicings, and 3 part women's splits, a younger, less experienced, high school ensemble would do better with the SAB version. I think this is a great piece for choirs who are working on perfecting tight voicings and tight harmonies because this song is full of them. I really like that there is a pretty significant scat soli section in the middle of the song. Learning a scat soli section like this is a really great way to get students introduced to scat singing and it opens them up to learning new syllables that they can use when soloing. I also really like the range in this piece. Often times in vocal jazz music (especially high school level or higher), the range of certain parts may be outside of what a typical high school student is capable of singing. Sometimes the bass part is really low or the soprano/tenor parts are really high. This entire song is in a really comfortable range for the typical high school student. I also think that it is great that this piece has a couple of accompaniment options. This piece comes with a written piano accompaniment, which is great for ensembles and directors that might not have access to a rhythm section. You also have the option to buy this piece with written drum, guitar, and bass parts. This is a great option for those ensembles that have access to a rhythm section that can play with them. Kirby Shaw website: http://www.kirbyshaw.com/ Score Preview: https://www.jwpepper.com/Everything-But-You/11306522.item#.YkEWaRPMKz1 Reference Recording: https://www.jwpepper.com/sheet-music/media-player.jsp?&productID=11306522&type=audio Submitted by Stephanie Magaro
Repertoire and Resources Chair for Middle School Voices Using William Blake’s 18th century poem, “Tyger” by Elaine Hagenberg is a perfect combination of old and new, familiar and unfamiliar, legato and staccato, and energy and intensity. Middle school voices could use either of the voicings available. A more advanced ensemble or junior high festival choir with changed voices would enjoy the SATB version. At the middle school level, the SA voicing could easily be used for a treble choir of any level, or with changed voices doubling at the octave. An emerging Baritone range would be perfect for the alto part down an octave, and a mid-voice change would sit well on the soprano part an octave lower. As many choirs are in an era of building back up, two part music gives singers the confidence and success they need. Much of the available two-part music that we typically see is too “young” for our teens who are desperate for meaning, depth, and inspiration right now. “Tyger” is contrary to that–musically and technically interesting, and with textual depth to grasp. Elaine Hagenberg, also headlining at our summer conference in 2022, generously provides free score perusal and discussion guides on her website. There is plenty of room for learning and discussion as the students analyze a famous poem and work to personify the beast of the tiger through their performance of this piece, written in 2021. Although you can find many different choral settings of this text, Hagenberg’s arrangement is unique and most fitting for middle school or a young high school level choir. It is fresh and new and with the accompanying materials on her website, it far surpasses other arrangements. She uses powerful unison parts to compliment the thrilling, programmatic piano accompaniment to depict the fierceness of the tiger. The mixed meter setting of the text is a challenge, however, one that middle school students will “buy into” due to the excitement of the rhythms of each phrase. In the middle section, a steep contrast with a legato section pulls the listener in as they beg the question, “Did he who made the Lamb make thee?” If you are looking for a set of songs, it would be a great addition to include Elaine’s setting of “The Lamb” which is written for SSA and would also be conducive to a treble choir or middle school choir with changing voices doubling on octaves. A wonderful, engaging piece that is an even stronger choice because of Elaine Hagenberg’s generous resources available totally free through her website! What a gift of song and great teaching resources! And, an opportunity to thank her in person by signing up for the summer ACDA-PA conference at Messiah University! Her music is available for digital download or print copy through the GIA publisher website. Perusal score: https://www.elainehagenberg.com/_files/ugd/26cb0c_b6ae589af2dd4295bd7a96e9a5bcbba5.pdf Purchase: https://www.giamusic.com/store/resource/tyger-print-geh1008 Resources: https://www.elainehagenberg.com/tyger-satb or https://www.elainehagenberg.com/tyger-sa Free Piano Accompaniment: https://soundcloud.com/elaine-hagenberg/tyger-piano-accompaniment Free Discussion Guide Download: https://www.elainehagenberg.com/form-disc-guide-tyger  photo from Reena Esmail's website Submitted by Dr. Kathryn Hylton
Repertoire and Resources Chair for Upper Voices “Reena Esmail works between the worlds of Indian and Western classical music, and brings communities together through the creation of equitable musical spaces.” www.reenaesmail.com An engaging piece with a wonderful genesis story, the 2021 publication TāReKiṬa by Reena Esmail is this month’s ACDA-PA #SingNewMusic recommendation. TāReKiṬa was born when Esmail was working with the Urban Voices Project in downtown Los Angeles, a choir comprised of individuals who had recently or were currently experiencing homelessness. In 2016, she had the opportunity to lead a workshop with the singers on Indian rhythms. The choir displayed such curiosity and interest that she decided to write a short piece to help them explore this new way of creating musical sounds. What began as a gift for the Urban Voices Project family is now able to be experienced by the larger musical community through new arrangements for SSAA, TTBB, and SATB choirs (available through Oxford University Press). At approximately two minutes long, this quick and lively triple meter piece is an excellent introduction into Indian rhythmic, harmonic, and melodic language. Traditional Indian rhythms are combined with onomatopoeic syllables that imitate the Indian drum, the tabla, to create a unique sound world that blends the Indian and Western musical styles. Harmonically, the work is based on the Jog raga (or Raag Jog), a melodic structure that omits the second and sixth scale degrees, but includes what Western music calls the major and minor third, merging the melancholy with the joyful. The composer has provided several resources on her website to help choirs present an authentic performance of the work, including audio/visual pronunciation lessons, program notes, videos of optional hand gestures (called “mudra”) which may help performers engage with the Indian dance tradition, as well as recordings of performances of the work. Visit Reena Esmail’s website to explore her music for SSAA, TTBB, and SATB choirs and to learn more about her mission to build and bring together communities. Website: www.reenaesmail.com TāReKiṬa resources: https://www.reenaesmail.com/catalog-item/tarekita/. Interview and genesis story: https://www.youtube.com/watch?v=CAITYhQFZmM
Submitted by Shawn Funk
R&R Chair for Children's & Community Youth Choirs It is my pleasure to recommend a wonderful piece by Andrea Ramsey from 2017 that is a great "find" on so many levels. "The Gift to Sing" is available in SA, SSA and SATB voicings with piano. This sensitive gospel like setting of the James Wheldon Johnson text offers an opportunity to gently swing to this text of depth and wonder. I have found this piece to be particularly effective when combining varying levels of choirs, which will hopefully be something that we can look forward to in the not too distant future. Technically, the piece offers a progressively thickening of texture, and it offers the opportunity for young singers to explore varying registers and develop vocal colors throughout the piece. At the culmination point of the piece, an optional decant is included for more advanced choirs or for singers needing an extra challenge. In addition to the amazing career of composer/arranger Andrea Ramsey, student singers will be interested to explore the life of the lyricist James Wheldon Johnson. Many of my singers did not know that he was the composer of "Lift Every Voice and Sing". Many cross curricular discussions are a natural outgrowth of learning this work. Although composed before the pandemic, the text is very appropriate as we emerge. The final page reiterates the important message: "I Can Sing", something most of us will never take for granted again. Information on this piece available at MusicSpoke: https://musicspoke.com/downloads/the-gift-to-sing/ Submitted by Dr. Jeffrey S. Gemmell
ACDA-PA Lower Voices R&R Chair While it's probably too late to program seasonal repertoire for your school or community choir this year, you might consider a new piece by Linda Kachelmeier to add a secular twist to next year’s holiday concert. We Toast the Days was originally written “to be sung at midnight on New Year’s Eve with friends and family as a new kind of ‘Auld Lang Syne.’” So, why wait? Purchase copies to bring to your next holiday gathering(s) as a musical reflection on the past and to sing/toast to a hopeful new year. The composer recommends it for “graduations and other celebrating times” as well. Published by Timothy C. Takach Publications (2021) for the Cantus Vocal Ensemble series, We Toast the Days is exclusively distributed by Graphite. A PDF perusal score (TTBB), video link of 2018 Cantus performance, and ordering information can be found here: https://graphitepublishing.com/product/we-toast-the-days/ It is also available for SSAA and SATB voicings at lindakachelmeier.com. Special thanks to Dr. Christopher Kiver for making this recommendation. The F-major score, marked “like a folk song,” is immediately accessible and indeed reminiscent of traditional English folk tunes. Vocal ranges are typical: low F(2) for Bass II to high F(4) for Tenor I. The a cappella diatonic melodic material reminds one of “Down by the Salley Gardens;” the sonorous vocal harmonies are reminiscent of Vaughan Williams, Holst and others; the melodic ornamentation is evocative of English/Scottish/Irish folk idioms. Changing meter (4/4 to 3/4) from verse to refrain adds variety and lilt to the musical toast. Choral textures are direct, clear, and additive. Voice leading is delightfully consonant, with occasional dissonances that sing well and feel good. The rich harmonic sonorities (lots of thirds and sixths) add warmth and fullness to the choral sound. The piece opens with an optional Tenor I solo before an optional Bass I solo joins for the refrain. The tutti choir (TTB) joins for the second verse and refrain. Voicing continues to expand with a Bass II part during the third verse. The final refrain adds still more variety with the lower voice parts accompanying with a zesty, more contemporary-sounding “doo” in waltz-like rhythms, before all join to sing the final line, “As we stand on the edge of another year, I give a kiss to you.” The text by the composer is as follows: When the clock strikes twelve And another year has gone, I give a kiss to you As remembrance of the past we have shared And the future yet to come. We toast the days, both good and bad, The old friends and the new. When the clock strikes twelve And another year has gone, I give a kiss to you. While the night is long And the bitter cold has come, We lengthen our embrace To sustain us as we mourn our regrets And the fear of days unknown. We toast the days... As we stand on the edge Of another bright new year, I take your hand in mine With assurance of The courage we will find And the hope that leads us on. We toast the days...
Submitted by Matthew Klenk
ACDA-PA High School R&R Chair Most of the conversations that I’ve had with fellow high school choral directors in recent weeks have had a common theme - we’re all trying to find the proper way to reset our programs now that most of us are once again able to sing in our classrooms. After an unbelievably difficult year, many of us are facing similar challenges: smaller numbers, inexperienced choristers, uncertainty about upcoming concerts, and a high level of anxiety amongst our students. In light of these challenges, quite a few of my colleagues have indicated that they’re looking for repertoire that can build confidence among their students, even if their numbers are low or their sections are unbalanced. For that reason, I’d like to highlight a very simple, but effective piece co-written by Jocelyn Hagen and Timothy Takach in 2019 titled “A Path to Each Other”. The work is essentially a 10-measure canon with a short coda. The canon can be performed in 3-parts, and provides an opportunity for a soloist (or soloists) to introduce the melody before the ensemble enters. The canon format provides flexibility for voicings - directors can group their singers however they’d like to create the sound that best suits their ensemble, and it can be repeated as many times as deemed appropriate. In addition, the text is incredibly appropriate for our current times, especially for teenagers who are returning to school for the first time in months and trying to remember how to interact with one another: “Each word a stone, we can build a wall or a path to each other”. The highlight of the piece comes at the point where the director decides to end the canon and proceed to the ending. There’s a single measure with a 2-note melody that can be sung as an ostinato using the text “we can build a path”. The performance direction encourages the singers to progressively add new harmonies with every repetition of this measure, and the composers even recommend asking the audience to sing along before finally proceeding to the ending. A performance would last about 3 minutes, and copies can be purchased for just $1.00 each. A perusal score, sample recording, and purchase link can all be found through Graphite Publishing. For those of us who are trying to rekindle confidence in our students, this piece provides a wonderful opportunity to do something both new and unique, no matter what our ensemble may look like this year. I highly recommend that high school directors give it a try! 
submitted by Kyle Zeuch
Life-Long Choral Music R&R Committee Chair Community Choirs R&R Representative Jen Wagner, Pennsylvania choral composer and teacher, and I had the opportunity to meet up for the first time just a few weeks ago. I was delighted to learn about this wonderful human being and her music right in my own back yard! In addition to writing music, Jen serves as Middle Division General Music Teacher and Choral Director at Milton Hershey School in Hershey, PA. Jennifer received a Master of Music in Choral Conducting from Messiah College and a Bachelor of Arts in Music Education from Bloomsburg University. She is passionate about writing choral music with beauty that challenges singers. The piece I would like to highlight is Jen’s In the Bleak Midwinter. The well-known Christina Rossetti Text and Gustav Holst song is given new life with Wagner’s SATB setting. This accompanied work incorporates baritone and cello solos, both of which give the piece a unique take. Additionally, she includes beautiful original music paired with the familiar melody and text. Divisi is reserved for soprano and a limited amount for basses, with all voice parts given interesting but accessible material. I am particularly struck by her treatment of the words “He reigns,” “A Kiss” (which catapults into a wonderful “Ah section”), and “My heart,” tenderly set at the end. Wagner prides herself in treating all of her texts with particular care with word painting being a priority to her compositional process—a sentiment that is not lost in this piece. I would highly recommend this piece for community choirs as it appeals as both accessible for most, with challenges to bring out the full musical potential for more advanced groups. This piece will be available through GIA publishing this fall—just in time to purchase for your December concert! Please visit http://jenwagnermusic.com/ to learn more about this piece, hear a recording, and get more information about Jen and her works. Let’s support living composers right here in Pennsylvania—especially those as wonderful as Jen Wagner! |
