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.

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!