Title: Welcome All Wonders
Composer/Lyricist: David Brunner
Publisher: Boosey & Hawkes (distributed by Hal Leonard)
Catalogue #: M-051-47715-9 (48019534)
JW Pepper Cat. #: 10040100
Price: $1.80
Duration: 2:30
Voicing: 2-part
Obligatto: None
Key: C
Tessitura: Pt. 1: c-e', Pt. 2: a-e'
Piano Difficulty: Moderate
Recording Available:
Notes: I am not usually drawn to the works of David Brunner, but this little gem is so brilliantly simple and beautifully lyrical that you can't help but fall in love with it immediately. The text is quite old and is alternately set by Wayne Dirksen for SATB choir. That setting is more celebratory, while Brunner's is much more reflective and contemplative.
The piano part is relatively uncomplicated and almost always follows the voices. When it does not, it is the harmony line that is left unsupported - however, this happens on 3 times. The first time through the text is in unison and provides a great opportunity to practice solfege above an octave (Mi'-Re'-Do') in m. 17 and m. 20. The challenge will be in the opening phrase - skips of a descending 5th, ascending 5th, descending again, an ascending octave, and a descending 4th in the space of a 4-beat measure. This, however, is a fantastic opportunity to introduce "uncommon" solfege patterns (Fa-Re, Sol-Re, Mi-Ti, Fa-Do', etc.)
The second time through the text starts in unison and splits to harmony at m. 29. Both parts stay separate until the final measure of voices in m. 42. The middle of the second "verse" also has a slightly complex molto rit. section that will require special attention in m. 34.
Rhythm will be the most challenging aspect of this piece, btu should be easily manageable. It will prvide a good opportunity to practice switching between duple and triple rhythms and starting a prhase on the upbeat of beat 1. Again, the most challenging thing will be m. 24, where Part 2 has 2 quarter notes on beats 3&$, while Part 1 has a dotted quarter note follwed by an eighth note, with fermatas over the last note of each part. Conducting it will be easy - getting the singers, especially inexperienced ones, to truly understand it will be more difficult.
Though intended for beginning choirs, any choir (including men's chorus) will enjoy this very delightful and thoughtful setting of a classic (technically Baroque, but who's counting) text. Highly recommended for middle school choirs or sufficiently advanced elementary choirs.
Saturday, August 8, 2009
Hymn To Freedom – Oscar Peterson, arr. by Hovi
Title: Hymn To Freedom
Composer/Lyricist: Oscar Petersen, arr. by Seppo Hovi
Publisher: Walton Music Group
Catalogue #: WW1135
JW Pepper Cat. #: SSA (reviewed) 3118130, SATB 3118155
Price: $1.75 SSA, $1.85 SATB
Duration: 2:30
Voicing: SSA (reviewed), SATB
Obligatto: None, but inclusion of jazz trio is recommended
Key: C
Tessitura: Pt. 1: c-e', Pt. 2: c – d', Pt. 3: G-a'. All parts: c-c'
Piano Difficulty: Easy/Moderate
Recording Available: http://www.jwpepper.com/sheet-music/mp3player.jsp?song_url=3118155.mp3&song_title=HYMN%20TO%20FREEDOM&filename=/dbload/C/C_3118155.xml
Notes: Classic music of jazz pianist Oscar Peterson and an inspiring text combine wonderfully in this octavo. Detailed notes (by Doreen Rao) on the inside cover of the octavo provide some illuminating light on the history of the arrangement. It is accessible for older treble choirs – I'd hesitate to add anything other than the descant to the melody with an younger/inexperienced choir. This feels more like a true SSA arrangement, rather than a 3-part as in indicated by the publisher. Middle school and High School treble choirs will be very successful with this.
Rhythmically, there is not much challenge here – no changing meter, written in 4, consisting mostly of eighth notes and quarter notes. The only potentially problematic construction may be the quarter note followed by an eighth note, followed by an eighth note tied to a half note in mm. 8, 16, 24, 32, and 35. It will be problematic only at first sight, as it feels very comfortable in performance.
The part writing is what makes this piece so challenging and appropriate for older/experienced choirs. As written before, this is much more an SSA arrangement than a 3-part arrangement. Fortunately, the melody sings itself and will be mastered very quickly. This could be a problem for younger/inexperienced choirs who do not discriminate parts well. The most obvious areas of concern are the parallel ascending 3rds in mm. 9-10, and 25-26, and the close harmonies in mm 22-24 and 27-40. The third (alto) part goes very low for young adolescent (read: middle school), but if you're in a middle school and are blessed with a group of girls who can sink low into their chest voices, then you should bring the part out proudly! The parallel thirds in descant in mm. 19-20 between Parts 1 and 2 will need some special attention as well. The ending (mm. 36-40) will also require more dedicated rehearsal time than other places. I personally find the a bit cheesy, but that's in keeping with the tone of the piece. As a matter of personal taste, I'd eliminate the piano roll in m. 40 and replace with a good strong chord on the downbeat and another one at the cut-off.
As a final note to educators, the melody is very easily solfeged and the 2nd and 3rd parts allow for exploration of chromatic solfege or can be taught by rote. This also makes a very effective closer for any concert, or a stand-alone piece for special performances for school groups.
Composer/Lyricist: Oscar Petersen, arr. by Seppo Hovi
Publisher: Walton Music Group
Catalogue #: WW1135
JW Pepper Cat. #: SSA (reviewed) 3118130, SATB 3118155
Price: $1.75 SSA, $1.85 SATB
Duration: 2:30
Voicing: SSA (reviewed), SATB
Obligatto: None, but inclusion of jazz trio is recommended
Key: C
Tessitura: Pt. 1: c-e', Pt. 2: c – d', Pt. 3: G-a'. All parts: c-c'
Piano Difficulty: Easy/Moderate
Recording Available: http://www.jwpepper.com/sheet-music/mp3player.jsp?song_url=3118155.mp3&song_title=HYMN%20TO%20FREEDOM&filename=/dbload/C/C_3118155.xml
Notes: Classic music of jazz pianist Oscar Peterson and an inspiring text combine wonderfully in this octavo. Detailed notes (by Doreen Rao) on the inside cover of the octavo provide some illuminating light on the history of the arrangement. It is accessible for older treble choirs – I'd hesitate to add anything other than the descant to the melody with an younger/inexperienced choir. This feels more like a true SSA arrangement, rather than a 3-part as in indicated by the publisher. Middle school and High School treble choirs will be very successful with this.
Rhythmically, there is not much challenge here – no changing meter, written in 4, consisting mostly of eighth notes and quarter notes. The only potentially problematic construction may be the quarter note followed by an eighth note, followed by an eighth note tied to a half note in mm. 8, 16, 24, 32, and 35. It will be problematic only at first sight, as it feels very comfortable in performance.
The part writing is what makes this piece so challenging and appropriate for older/experienced choirs. As written before, this is much more an SSA arrangement than a 3-part arrangement. Fortunately, the melody sings itself and will be mastered very quickly. This could be a problem for younger/inexperienced choirs who do not discriminate parts well. The most obvious areas of concern are the parallel ascending 3rds in mm. 9-10, and 25-26, and the close harmonies in mm 22-24 and 27-40. The third (alto) part goes very low for young adolescent (read: middle school), but if you're in a middle school and are blessed with a group of girls who can sink low into their chest voices, then you should bring the part out proudly! The parallel thirds in descant in mm. 19-20 between Parts 1 and 2 will need some special attention as well. The ending (mm. 36-40) will also require more dedicated rehearsal time than other places. I personally find the a bit cheesy, but that's in keeping with the tone of the piece. As a matter of personal taste, I'd eliminate the piano roll in m. 40 and replace with a good strong chord on the downbeat and another one at the cut-off.
As a final note to educators, the melody is very easily solfeged and the 2nd and 3rd parts allow for exploration of chromatic solfege or can be taught by rote. This also makes a very effective closer for any concert, or a stand-alone piece for special performances for school groups.
Thursday, August 6, 2009
The Snow Begins to Fall - Beck
Title: The Snow Begins to Fall
Composer/Lyricist: Andy Beck
Publisher: Alfred
Catalogue #: 21802
JW Pepper Cat. #: 3298569 (2-part - reviewed)
Price: $1.65 (as of 8/6/09)
Duration: 2:45
Voicing: 2-part (reviewed), SSA, SAB, SATB
Obligatto: None
Key: e-minor
Tessitura: Pt1: d-e', Pt2: c-b'
Piano Difficulty: Moderate
Recording Available: partial recording at - http://www.alfred.com/mp3/00-21802_!.mp3
Notes: This review is only about the 2-part arrangement, as I have not had a chance to look at the other arrangements. It is a lovely piece to expose younger choirs to minor key or a quick read for an advanced choir. Very nearly SA, rather than 2-part, the chorus is 2-part, while the verses are largely homophonic. The piano part is not especially difficult to play, but may require the use of a page turner.
Rhythm consists largely of eighth note/quarter note combinations in the chorus (Part 1 has eighth notes on the first 2 beats followed by a quarter note on beat 3, and eighth note pick-ups to the next measure on beat 4, with Part 2 echoes with a half note followed by 4 eighth notes). The challenge comes in putting both parts together - they almost feel like a partner song, but the similar workding may throw off some beginning choirs. The verses trade off the melody between the parts, with the other providing descant. Challenging rhythms here are the dotted quarter/eighth note combinations that occur frequently enough to provide plenty of practice and repetition for singers. Unfortunately, no rehearsal notes are given in the octavo (this is common with Alfred octavos).
Melodically, the challenge comes in the verses, with the homophonic descants and switching melody. Singers will need to be aware of which parts has the melody to be effectively exdpressive. Be aware of the first phrase in particular - singers will want to sing re-ti instead of the re-la that is written (a'-f#, rather than a'-e for those who prefer absolute pitch notation rather than moveable-la solfege). The descending chromatic motion of Part 1 from e'-b' in mm. 32-33, and 40-41 (and to a lesser extend in m. 34 and 42 for Part 2) will provide quite a challenge for beginning singers - the tendency will obviously be to go flat or fast - or both! Fortunately, the piano reinforces the choir in all of these places.
Beck brilliantly makes the chorus rhythmically challenging and the verses melodically challenging so that singers are not overwhelmed at any point. However, he manages to do so without sacrificing the overall integrity of the piece. For that reason, it is perfect for school choirs, especially advanced elementary choirs, and middle and high school choirs (with the alternate arrangements).
Composer/Lyricist: Andy Beck
Publisher: Alfred
Catalogue #: 21802
JW Pepper Cat. #: 3298569 (2-part - reviewed)
Price: $1.65 (as of 8/6/09)
Duration: 2:45
Voicing: 2-part (reviewed), SSA, SAB, SATB
Obligatto: None
Key: e-minor
Tessitura: Pt1: d-e', Pt2: c-b'
Piano Difficulty: Moderate
Recording Available: partial recording at - http://www.alfred.com/mp3/00-21802_!.mp3
Notes: This review is only about the 2-part arrangement, as I have not had a chance to look at the other arrangements. It is a lovely piece to expose younger choirs to minor key or a quick read for an advanced choir. Very nearly SA, rather than 2-part, the chorus is 2-part, while the verses are largely homophonic. The piano part is not especially difficult to play, but may require the use of a page turner.
Rhythm consists largely of eighth note/quarter note combinations in the chorus (Part 1 has eighth notes on the first 2 beats followed by a quarter note on beat 3, and eighth note pick-ups to the next measure on beat 4, with Part 2 echoes with a half note followed by 4 eighth notes). The challenge comes in putting both parts together - they almost feel like a partner song, but the similar workding may throw off some beginning choirs. The verses trade off the melody between the parts, with the other providing descant. Challenging rhythms here are the dotted quarter/eighth note combinations that occur frequently enough to provide plenty of practice and repetition for singers. Unfortunately, no rehearsal notes are given in the octavo (this is common with Alfred octavos).
Melodically, the challenge comes in the verses, with the homophonic descants and switching melody. Singers will need to be aware of which parts has the melody to be effectively exdpressive. Be aware of the first phrase in particular - singers will want to sing re-ti instead of the re-la that is written (a'-f#, rather than a'-e for those who prefer absolute pitch notation rather than moveable-la solfege). The descending chromatic motion of Part 1 from e'-b' in mm. 32-33, and 40-41 (and to a lesser extend in m. 34 and 42 for Part 2) will provide quite a challenge for beginning singers - the tendency will obviously be to go flat or fast - or both! Fortunately, the piano reinforces the choir in all of these places.
Beck brilliantly makes the chorus rhythmically challenging and the verses melodically challenging so that singers are not overwhelmed at any point. However, he manages to do so without sacrificing the overall integrity of the piece. For that reason, it is perfect for school choirs, especially advanced elementary choirs, and middle and high school choirs (with the alternate arrangements).
Shake the Papaya Down - Dwyer & Walker
Title: Shake the Papaya Down
Composer/Lyricist: Ruth Dwyer & Judith Walker
Publisher: Colla Voce Publishing
Catalogue #: 21-20222
JW Pepper Cat. #: 1925650
Price: $1.55 (as of 8/6/09)
Duration: 2:15
Voicing: 3-part Treble, piano
Obligatto: None
Key: F
Tessitura: c-c'
Piano Difficulty: Easy
Recording Available: None publicly available as of 8/6/09
Notes: This song is on no way meant to be a serious concert piece, and for that reason will probably be immediately popular with the group that performs it! I love a lot of what Colla Voce Publishing puts together and the Henry Leck Choral Series in particular. In this case, the inside cover of the octave lists helpful teaching tips, optional percission parts, etc. - invaluable to a beginning teacher/conductor and for students who are expected to do some learning on their own.
There are very few rhythmic challenges in this piece, as most of it is built from repetition of rhythmic patters - no more difficult than any partner song. The only difference here would be that it is a partner song of 3 partners, not 2. If there is any challenge, it comes in the syncopated rhythm in the 1st part, an the tied rhythms going from the upbeat of beat 2 into the downbeat of beat 3 in both the 2nd and 3rd parts.
Melodically, the song sings itself and is internalized fairly quickly. This can be a problem at the cadences with more than one part, as young/inexperienced singers will likely have a tendancy to stray to a familiar/favorite part instead of holding their own. The 2nd and 3rd parts are very easy for an advanced elementary school or middle school treble or 6th grade chorus to sink their teeth into, and to have some relatively quick success in reading. High School choirs should have no problem performing both parts at sight. The 1st part, however, with its many skips and rapid changes from head to chest voice may require a bit more time to teach effectively, and high school choirs may need a moment or two to look at it before performing it. Putting all 3 parts together may prove a challenge for younger choirs with their tendancy to stray (as stated before), but it shouldn't take long with some preparation on the director's part and careful listening on the singers' parts.
This piece is fantastic for school choirs as an in-depth learning piece or one that needs to be rote-learned quickly for a performance, or for community choris as a "fluff" number that won't require much rehearsal prep.
Composer/Lyricist: Ruth Dwyer & Judith Walker
Publisher: Colla Voce Publishing
Catalogue #: 21-20222
JW Pepper Cat. #: 1925650
Price: $1.55 (as of 8/6/09)
Duration: 2:15
Voicing: 3-part Treble, piano
Obligatto: None
Key: F
Tessitura: c-c'
Piano Difficulty: Easy
Recording Available: None publicly available as of 8/6/09
Notes: This song is on no way meant to be a serious concert piece, and for that reason will probably be immediately popular with the group that performs it! I love a lot of what Colla Voce Publishing puts together and the Henry Leck Choral Series in particular. In this case, the inside cover of the octave lists helpful teaching tips, optional percission parts, etc. - invaluable to a beginning teacher/conductor and for students who are expected to do some learning on their own.
There are very few rhythmic challenges in this piece, as most of it is built from repetition of rhythmic patters - no more difficult than any partner song. The only difference here would be that it is a partner song of 3 partners, not 2. If there is any challenge, it comes in the syncopated rhythm in the 1st part, an the tied rhythms going from the upbeat of beat 2 into the downbeat of beat 3 in both the 2nd and 3rd parts.
Melodically, the song sings itself and is internalized fairly quickly. This can be a problem at the cadences with more than one part, as young/inexperienced singers will likely have a tendancy to stray to a familiar/favorite part instead of holding their own. The 2nd and 3rd parts are very easy for an advanced elementary school or middle school treble or 6th grade chorus to sink their teeth into, and to have some relatively quick success in reading. High School choirs should have no problem performing both parts at sight. The 1st part, however, with its many skips and rapid changes from head to chest voice may require a bit more time to teach effectively, and high school choirs may need a moment or two to look at it before performing it. Putting all 3 parts together may prove a challenge for younger choirs with their tendancy to stray (as stated before), but it shouldn't take long with some preparation on the director's part and careful listening on the singers' parts.
This piece is fantastic for school choirs as an in-depth learning piece or one that needs to be rote-learned quickly for a performance, or for community choris as a "fluff" number that won't require much rehearsal prep.
Jesus Christ the Apple Tree - Poston
Title: Jesus Christ the Apple Tree
Composer/Lyricist: Elizabeth Poston
Publisher: Banks Music Publications (dist. by Hal Leonard)
Catalogue #: ECS 141 (HL08300514)
JW Pepper Cat. #: 5283163
Price: $2.10 (JW Pepper)
Duration: approx. 3:00
Voicing: unison, SA, SSAA, SATB, piano OR a capella
Obligatto: None
Key: C
Tessitura: Unis: c-g'; S1: c-g', S2: c-a', A1:a-g, A2:G-d; S:c-g', A:c-a', T:C-f, B:C-d
Piano Difficulty: N/A
Recording Available: no known public recording available
Notes: I love this piece for many reasons, not least of all are these two: 1) this piece is incredibly flexible, lending itself to any number of voicing combinations and 2) because it's written in the key of C, even a beginning unison choir can have some degree of success reading it with solfege. For that reason alone, choral educators should love this piece, especially for a middle or high school chorus. Even an elementary chorus can do some rudimentary solfege exploration. The only difficulty can be with so many skips and so little stepwise motion - it can be a bit frustrating if singers do not have much experience singing skips. Also, because the melody hangs quite a bit on the ti-do pitch pattern, it may have a tendancy to go flat. Energetic singing is a must to keep this piece in tune!
The song has no meter, so I say feel free to be as interpretive (read: rubato) as you like - personally, I suggest keeping a feeling of plainchange and letting the singers take control of the temp once they havce sufficiently mastered and internalized the music. There are some internal indications of where to take breaths and pause for effect (dotted quarter notes, breath marks, double bar lines), but it is left to the conductor to determine other places to do so, or to ignore them entirely - e.g. at m 20 there is a double bar line, but no comma in the text to support breaking up the phrase. Only the half cadence in the music hints at it, but it is not the text itself that does so.
All in all, "Jesus Christ the Apple Tree" is a fantastic teaching tool, as well as a remarkably flexible and beautiful piece of music. What a melody line reminiscent of Appalahia, this is a surefire winner for any choral ensemble.
Composer/Lyricist: Elizabeth Poston
Publisher: Banks Music Publications (dist. by Hal Leonard)
Catalogue #: ECS 141 (HL08300514)
JW Pepper Cat. #: 5283163
Price: $2.10 (JW Pepper)
Duration: approx. 3:00
Voicing: unison, SA, SSAA, SATB, piano OR a capella
Obligatto: None
Key: C
Tessitura: Unis: c-g'; S1: c-g', S2: c-a', A1:a-g, A2:G-d; S:c-g', A:c-a', T:C-f, B:C-d
Piano Difficulty: N/A
Recording Available: no known public recording available
Notes: I love this piece for many reasons, not least of all are these two: 1) this piece is incredibly flexible, lending itself to any number of voicing combinations and 2) because it's written in the key of C, even a beginning unison choir can have some degree of success reading it with solfege. For that reason alone, choral educators should love this piece, especially for a middle or high school chorus. Even an elementary chorus can do some rudimentary solfege exploration. The only difficulty can be with so many skips and so little stepwise motion - it can be a bit frustrating if singers do not have much experience singing skips. Also, because the melody hangs quite a bit on the ti-do pitch pattern, it may have a tendancy to go flat. Energetic singing is a must to keep this piece in tune!
The song has no meter, so I say feel free to be as interpretive (read: rubato) as you like - personally, I suggest keeping a feeling of plainchange and letting the singers take control of the temp once they havce sufficiently mastered and internalized the music. There are some internal indications of where to take breaths and pause for effect (dotted quarter notes, breath marks, double bar lines), but it is left to the conductor to determine other places to do so, or to ignore them entirely - e.g. at m 20 there is a double bar line, but no comma in the text to support breaking up the phrase. Only the half cadence in the music hints at it, but it is not the text itself that does so.
All in all, "Jesus Christ the Apple Tree" is a fantastic teaching tool, as well as a remarkably flexible and beautiful piece of music. What a melody line reminiscent of Appalahia, this is a surefire winner for any choral ensemble.
Wednesday, August 5, 2009
Spring - Dan Powers
Title: Spring
Composer/Lyricist: Daniel Powers/Gerard Manley Hopkins
Publisher: Santa Barbara Music Press
Catalogue #: SBMP 612
JW Pepper Cat. #: 10017056
Price: $1.60 (as of 8/6/09)
Duration: approx. 3:20
Voicing: SA, piano
Obligatto: None
Key: G
Tessitura: S: c - g', A: b-f'
Piano Difficulty: Med. High
Recording Available: http://sbmp.com/SBMP-MP3/Misc/SBMP%20612.mp3
Notes: A highly lyrical and reflective song, very effective for choirs who enjoy an "artsy" song with some complex rhythms, changing meter (3/4 - 4/4). Almost all of the meter changes, however, are negotiated by the conductor and pianist - the only one that the choirs needs to worry about is at m. 39.
Rhythmic challenge comes at mm. 19 - 27 with a mixture of eighth notes and triplet eighth notes, reversed dotted rhythms (eighth notes followed by dotted quarter) and eighth rest followed by an eighth note. For advanced middle school choirs, and high school and adult choirs, this should not be a problem. The only other area of potential rhythmic difficulty is at m. 39 - again the meter change and a 3 eighth note pick-up to measure 40.
The first half (mm. 1 - 51) of the song is unison choir, with the second half being an interplay of true 2-part singing (mm. 52 - 61, 67 - 71, and 84-92) and quasi-canonic singing (mm. 61- 65, and 72-77). The melody can be quite challenging and will defy most attempts to solfege it - unless you have a choir that is sufficiently skilled at chromatic solfege and can handle modulations unmarked with a key change). Formally, the composer has skillfully woven the main theme of "Spring" throughout the piece - first hinted at by the piano in mm 6-8, then fully stated by the choir in mm. 12-17. The piano at turns evokes images of butterflys and fragrance floating in the breeze on a warm summer day, or thunderstorms striking with a sudden ferocity and fading away into the distance. Needless to say, a highly skilled and musically sensitive pianist will be needed for a fully sensitive performance. Since the piece is highly interpretive, "keeping time" is simply not an option!
This piece is sure to delight a mature choir - the text is very challenging, as is the melody. Beware of many uncommon skips and sudden shifts of tonality. However, the overall effect is stunning and this piece should be an immediate addition to your libraries!
Composer/Lyricist: Daniel Powers/Gerard Manley Hopkins
Publisher: Santa Barbara Music Press
Catalogue #: SBMP 612
JW Pepper Cat. #: 10017056
Price: $1.60 (as of 8/6/09)
Duration: approx. 3:20
Voicing: SA, piano
Obligatto: None
Key: G
Tessitura: S: c - g', A: b-f'
Piano Difficulty: Med. High
Recording Available: http://sbmp.com/SBMP-MP3/Misc/SBMP%20612.mp3
Notes: A highly lyrical and reflective song, very effective for choirs who enjoy an "artsy" song with some complex rhythms, changing meter (3/4 - 4/4). Almost all of the meter changes, however, are negotiated by the conductor and pianist - the only one that the choirs needs to worry about is at m. 39.
Rhythmic challenge comes at mm. 19 - 27 with a mixture of eighth notes and triplet eighth notes, reversed dotted rhythms (eighth notes followed by dotted quarter) and eighth rest followed by an eighth note. For advanced middle school choirs, and high school and adult choirs, this should not be a problem. The only other area of potential rhythmic difficulty is at m. 39 - again the meter change and a 3 eighth note pick-up to measure 40.
The first half (mm. 1 - 51) of the song is unison choir, with the second half being an interplay of true 2-part singing (mm. 52 - 61, 67 - 71, and 84-92) and quasi-canonic singing (mm. 61- 65, and 72-77). The melody can be quite challenging and will defy most attempts to solfege it - unless you have a choir that is sufficiently skilled at chromatic solfege and can handle modulations unmarked with a key change). Formally, the composer has skillfully woven the main theme of "Spring" throughout the piece - first hinted at by the piano in mm 6-8, then fully stated by the choir in mm. 12-17. The piano at turns evokes images of butterflys and fragrance floating in the breeze on a warm summer day, or thunderstorms striking with a sudden ferocity and fading away into the distance. Needless to say, a highly skilled and musically sensitive pianist will be needed for a fully sensitive performance. Since the piece is highly interpretive, "keeping time" is simply not an option!
This piece is sure to delight a mature choir - the text is very challenging, as is the melody. Beware of many uncommon skips and sudden shifts of tonality. However, the overall effect is stunning and this piece should be an immediate addition to your libraries!
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