Category Archives: new music

Kyrie and Gloria Patri

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KyrieGloriaPatriEx

Kyrie and Gloria Patri. For congregation and organ, with cantor or choir (opt. SATB). The choir may sing in parts or unison. In the Kyrie the choir or a solo voice may be cantor. Separate congregation part available for bulletin. Commissioned by the Presbyterian Church of Chestnut Hill, Philadelphia, Daniel Spratlan, music director, and Cynthia A. Jarvis, minister.

I have composed a Kyrie, a “Lord, have mercy,” before, in the Mass for Philadelphia, but never a separate Gloria Patri (the words traditionally end Magnificat settings, and I do have several of those). Dan Spratlan has begun to commission settings for his Presbyterian Church of Chestnut Hill, and asked me for one, to be used beginning in the fall of 2017.

It is bliss to write challenging music for professionals, but is in some ways even more delightful to write successful music for amateurs. The largest group of amateurs who sing new music every week is the church congregation. I’ve composed hymn and liturgical settings for congregations most of my career.

While the difference in musical abilities between amateurs and professionals may be great, the composer’s challenge—and honor—is always the same: to serve them, to help them sound their best, and to reveal truths.

The musical opportunities in small forms like this Kyrie and Gloria Patri are as profound as one wishes to make them. To create dramas through the text while not obscuring the line is a useful craft no matter what the music is, but the task is heightened in music for a congregation, since the moment a congregation is unsure of itself, it stops singing. The music must always support and encourage the congregation, and thankfully, every facet of music is available to assist in that task.

I’ve done something slightly new in this. It is not unheard of in choral music, but it doesn’t happen often, where voices will depart here and there from a “doubling” accompaniment. You’ll see an example in the alto line in measure 5 above, at “have”; the altos sing a D while the organ plays a C. It is not only to avoid the direct 5th (and avoiding those as we were taught is, yes, generally a good idea—although I kept it in the organ part). There were other ways to fix that fifth. No, it rather comes out of thinking of the choir and organ as part of an ensemble—an orchestra, if you will—where lines follow their own lights and are not simply copies of each other. I first noticed this only a few years ago in a Wagner chorus I was singing. The choral bass part did something other than what the orchestral basses were playing (and what I’d expected), and it charmed me.

If an SATB choir is available, it will sing what it sings and won’t get in the way of the congregation. And that’s the other challenge the composer is constantly trying to solve—to get out of the way.

(The Gloria Patri is in G major and the Kyrie is actually in a mode, G dorian, even though it ends more on B-flat. A certain fuzziness in cadencing can be appropriate, I feel, if that conflict in mood helps to drive home the feeling of the text. A Kyrie should offer comfort only with the knowledge that one who is unworthy of comfort falls completely on mercy. That is why I do not hear the last chord as an add 6 (Bb+6) or a Gm7/Bb, even though it is both of those. I’m not sure, in this context, what the chord is.)

KyrieGloriaPatriCadence

Lord, have mercy.
Christ, have mercy.
Lord, have mercy.

Glory be to the Father and to the Son and to the Holy Spirit,
as it was in the beginning, is now, and ever shall be, world without end. Amen.

Rejoice in the Lamb

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Rejoice in the Lamb. SATB, 5′.

To Dr. John H. French, on the 25th anniversary of his ministry as organist/choirmaster of The Church of the Holy Trinity, Rittenhouse Square, Philadelphia. Premiered 2 July 2017.

Live recording of the premiere:

 

Using the same title as the Benjamin Britten 17-minute cantata, and using words from the same monumental Christopher Smart poem, Jubilate Agno, that Britten used, this is a 5-minute a cappella anthem or concert work. The first two lines of my setting (text below) are also in Britten’s, but the other two lines are not. John French had asked if the Britten work, which he loves and has often conducted, could possibly inspire another setting, and so I looked closely at Britten’s piece, and then Smart’s original poem.

After long consideration—the poem is huge—the text began to take shape around the occasion I was asked to celebrate, French’s 25 years as organist and choirmaster at one of the great churches of Philadelphia, and a landmark on Rittenhouse Square, The Church of the Holy Trinity.

Smart was a profoundly pious man, and that did not make his life a smooth one. Taken to falling on his knees in the street and praying, he was viewed as unstable and was committed first to a mental asylum and then to a debtors’ prison. He wrote part if not all of Jubilate Agno in confinement.

The life of this poet and the circumstances of this poem colored the music’s character. The shifting between E major and a parallel mode of A lydian came out of this. I thought that the halting, almost-too-sweet “Give the glory to the Lord” was appropriate, as were the repeating Hallelujahs, driving to an ecstatic proclamation at the end.

I have been Holy Trinity’s resident composer since 2013, fortunate to have most of my anthems and another commission sung in that historic church. Among the distinguished leaders who have served there are the rector Phillips Brooks and the organist Lewis Redner, who created “O Little Town of Bethlehem” at that church for a Sunday School class in 1868. John French serves as the descendant of Redner, organist Robert Elmore, and many others who were dedicated to the spiritual growth of the congregation and the integrity of the music they produce, just as they are descended from Asaph of the Psalms, “the musician of the Lord.”

Rejoice in God, O ye Tongues; give the glory to the Lord, and the Lamb.
Hallelujah from the heart of God, and from the hand of the artist inimitable.
For a NEW SONG also is best, if it be to the glory of God; and taken with the food like the psalms.
Let Asaph rejoice with the Nightingale—The musician of the Lord! and the watchman of the Lord!
—Christopher Smart (1722-1771)

Charles Ives and Independence

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On Discoveries from the Fleisher Collection July 1, 5–6 pm:
Charles Ives (1874–1954). Variations on “America” (1891), arr. William Schumann
Ives. Symphony No. 2 (1901)

Discoveries from the Fleisher Collection starts the Independence Day weekend with that most independent of American composers, Charles Ives. His music is wild, grand, humorous, poignant, and, at times, ornery. Most of all, though, it is shot through with that very American streak of independence. It isn’t a non-musical independence, like a personal or a political statement would be, but goes deep into the grain of music. The independence of Charles Ives is that stubborn willfulness to grab a moment—any moment, no matter how exuberant or plain—and shake it until all artifice drops off and all that’s left of the moment is, well, its momentousness.

His Second Symphony is a perfect example. Composed when Ives was in his 20s, it’s his breakout symphony. The First is well done, but even with sharp corners here and there, it’s a little too schooled, too European.

With the Second, you hear “Turkey in the Straw,” “Camptown Races,” “America the Beautiful,” “Long, Long Ago,” and “Columbia, the Gem of the Ocean.” They rub shoulders with, almost riot with, strains of Beethoven’s Fifth, Brahms’s First, Bach, and Wagner. And then Ives tosses in hymns, spirituals, reels, and more: enough to expand it into a five-movement symphony.

Like many Ives pieces, the Symphony No. 2 wasn’t premiered until years after its creation; 50 years, to be exact. Leonard Bernstein conducted the premiere with the New York Philharmonic in 1951. Ives, in ill health for much of his life, listened to the broadcast at home with his wife Harmony, on their cook’s radio. He was surprised by how much the audience clapped at the end.

Some of Ives’s earlier organ music made its way into this work. He was an accomplished organist, playing in churches from age 14, and one such work came to light because the organist E. Power Biggs asked him, in 1949, if he had anything Biggs might play. They uncovered Variations on “America.” Biggs then edited, published, and performed it. The composer William Schuman orchestrated it in 1963, and again the New York Philharmonic stepped up for the premiere, in 1964, with André Kostelanetz conducting.

It is a mistake to think of these Variations as satire. Ives never satirizes. It’s closer to the mark to listen to these as a young boy might, a boy who grew up with fervent bands of amateurs playing music as if their honor—or the honor of their country—depended on it. Ives’s father directed such bands. Young Charlie played in them. He is in love with this tune, and that is one secret to the strange pull and influence of Ives on American music.

The other thing to remember, and which gives context to these Variations, is that when Ives wrote it, as organist in a Brewster, N.Y., Methodist church, and played it at the July 4th celebration (after trying it out first in February—can you imagine what the congregation thought of that?), he wasn’t that far removed from the boy at the parade. Charles Ives composed Variations on “America” when he was 16.

Reflection

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Reflection. organ, 6′

FredJCooperOrganBook.jpgI was commissioned, along with four other composers—Matthew Glandorf, David Schelat, Kathleen Scheide, and Jeffrey Brillhart—to write a work for the Fred J. Cooper Memorial Organ in Verizon Hall, Kimmel Center, Philadelphia, to help celebrate the 10th anniversary of the organ’s installation.

Although the works were meant to be standalone pieces, we were assigned an order and a description of the types of pieces desired. Overall, the AGO chapter requested music that would serve for as many occasions as possible, not just for the sacred services for which most organ literature is created.

The description assigned to me was “Slow and introspective, perhaps an aria.” The title, Perhaps an Aria, tempted me greatly, along the lines of President Eisenhower’s famous quote to Leonard Bernstein, “I liked that last piece you played; it’s got a theme. I like music with a theme, not all them arias and barcarolles.” Bernstein then wrote, of course, his Arias and Barcarolles.

Privately, I like poking fun (and being made fun of in return), but shy away from it in public. So, I turned from Perhaps an Aria and settled on the more neutral title, Reflection. I recall that, in early drafts of the piece, literal reflections of the rising melodic intervals of thirds, fourths, and so on appeared, but except for echoes buried deeply, those did not survive the compositional process. Nevertheless, the title stands, taking its place somewhere between a sacred Meditation and a secular Reverie.

The wonderful organist David Furniss, Dean of the AGO Philadelphia Chapter, premiered this on June 10th, 2017, as part of the Organ Day celebrations at Kimmel’s Verizon Hall. The five works in this Fred J. Cooper Organ Book are published by ECS Publishing to coincide with the premiere. Here, David rehearses the piece on the Fred J. Cooper Memorial Organ the day before the premiere, and below, the first page of my score, before going off to the engravers:

The Dance of Ravel and Satie

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Satie, Moulin de la Galette (“The Bohemian”), Ramon Casas, 1891

Discoveries from the Fleisher Collection, Saturday June 6th, 5 to 6 pm… In the last Discoveries we took a snapshot of Saint-Saëns, Ravel, and Poulenc from 100 years ago. Each was from a different world of French music. Camille Saint-Saëns was old: older than the old guard, older than the director of the Paris Conservatory Gabriel Fauré (his student and Ravel’s teacher), and older, even, than Fauré’s predecessor Théodore Dubois.

Ravel was a great and rising success in 1917 in a rapidly changing mainstream. Debussy (d. 1918) had long since upset traditional tonality and conservatory-approved fugue and forms. Rather than lining up easily charted chords, he composed washes of incalculable harmonies pinwheeling as colors.

Ravel traveled in that same landscape, if not along the same musical road. Even though he gathered many admirers for his lustrous yet precise scores as the years wore on, many still held him at arm’s length. And he still smarted over having been turned down for the Paris Conservatory’s Prix de Rome, not once or twice, but five times. Dubois lost his job as director after the last time and an outcry over l’affaire Ravel broke—all the finalists turned out to be students of Dubois—but the hurt remained.

Francis Poulenc would lead in the next generation. Around 1917 the iconoclast Erik Satie called him and five other composers the Nouveaux Jeunes. Later, a critic coined Les Six. Satie would fall out and in with them, but he, even though older than Ravel, was in many ways their spark. They wanted to be new, not like Wagner, not like Debussy, and not like Ravel.

Maurice Ravel

But what they and Satie and Ravel had in common was dance. Large orchestral works became much more difficult to mount during and well after the Great War. The likes of Ravel’s mammoth 1912 Daphnis and Chloe would not be feasible for a long time. But impresarios like Diaghilev were making a good business of ballet. Artists like Picasso and Cocteau ripped up boundaries and reimagined spaces and angles. Dancers and choreographers created theater (and word-of-mouth) like never before. And composers made music from beat-up pianos, drums, and whatever instruments were at hand.

Exotic stories and myths were popular, as in Daphnis and Satie’s Mercury, but so was nonsense and non sequitur. Each minute-long section of Jack in the Box is in C major. Satie wrote it for piano, then lost it (on a bus, he thought). He died and it was found in his cluttered apartment, behind a piano. One of Les Six, Darius Milhaud, orchestrated it. Dance, and the worlds of French music, lived on.

PROGRAM:
Maurice Ravel (1875–1937): Daphnis and Chloe, Suite No. 1 (1912)
Erik Satie (1866–1925): Mercury (1924)
Satie: Jack in the Box (1926), orch. Darius Milhaud
Ravel: Daphnis and Chloe, Suite No. 2 (1913)1999

I Could See the Sky

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I Could See the Sky. For SATB, 2-part Treble Choir, Keyboard, optional String Quartet, 17 minutes (Treble Choir may be boys and/or girls or a few women)

The editing process is usually severe. Many good things—music, text, both—are often left on the cutting room floor, and you grieve for a moment but you move on. In 2011, I left texts behind when I wrote the song cycle Plain Truths for David Yang and the Newburyport Chamber Music Festival. It set the writings of Newburyport authors, professional and amateur, and two years later, when David asked me to expand the cycle, I was able to add more, but still, grudgingly, left some behind. I never really know why something strikes me more or less than something else. Much of it may simply be timing.

If that’s true, then the timing for this new cycle turned out to be crucial. When David called me about writing this new piece, I was driving in my car. I pulled over to talk because I saw his name on the phone and I always enjoy talking to David, who is warm, brilliant, and soulful.

I also was in no hurry. I was driving to my brother’s house, where he had taken his life a few days before. The next day was trash day in his town. The trash cans needed to be taken around to the curb, and that is what I was driving there to do. [I have written more about this here.] So, I was in no hurry to return to the house. I told David where I was driving and he would not talk any more about music or business but only about my brother, and about my family. My older sister Carole had died the year before, after a long battle with cancer. Of the children, Susan, the youngest, and I remained.

Later, when I looked for texts in earnest, the John Lagoulis account of his near-drowning came roaring back to me out of the Newburyport writings I still held onto. I knew I had to set it. Everything else fell immediately into place.

These words, with a poetry that screams from within their commonplace garb, bludgeoned me. There is a little bit of my childhood in each of these, but the Lagoulis pulled them all together. I made that one the final section and dedicated it to my brother and sisters.

For the premier concert David also asked me to arrange something of the Plain Truths cycle for solo organ, so I chose the one most closely aligned in spirit to this new cycle, “Annie Lisle,” and also the rousing “Spirit of Freedom.” I call this new set for organ Ballad and March.

First performance Saturday, 19 August 2017, Central Congregation Church of Newburyport, Newburyport Chamber Music Festival, David Yang, artistic director; George Case, conductor; Newburyport Choral Society, George Case, music director; Greater Newburyport Children’s Chorus, Gina McKeown, music director; the Choir School at St. John’s, Margaret Harper, director; Yonah Zur and Yuri Namkung, violins; David Yang, viola; Claire Bryant, cello; Margaret Harper, organ. Text for Nos. 1-4 from Life in Newburyport, 1950-1985, collected by high school students of Jean Foley Doyle, edited by Jennifer Karin. Text for No. 5 from Newburyport: As I Lived It! by John Lagoulis. Commissioned by and dedicated to the Newburyport Chamber Music Festival, David Yang, Artistic Director.

1. The Ide of Jay
Anne Teel

Right near our house, and this does not exist today, there used to be a little boatyard. There was only one boat in that boatyard and that boat was called the Ide of Jay. It was a beautiful sloop sailboat. Every year the Ide of Jay would get launched. It was a very wealthy man that owned it. He would go south with the Ide of Jay and in the fall he brought her back up. They would bring her back up into the shed. And I could remember it was almost a holiday when the Ide of Jay got launched. This huge boat being launched into the water. If they tied her up for a week or two before he left for the south, we would sneak up on her deck and dive off the fantail. I had a wonderful childhood.

2. I had a brother, Harold
Betty Doyle

I had a brother, Harold, they called him “Gramp.” And I had a brother, Norman, they called him “Boogie.” Don’t ask me why. And this was part of the gang. “Goat” Perkins, “Cowie” Little, “Duke” Little, and “Farmer” Hamilton. Years ago everybody had a nickname. There was “Spud” Pollard, “Fishy” Morrill and “Gumdrop” Lawler.

3. We lived everywhere
Bob Fuller

We lived everywhere in Newburyport. Most of my time was spent in the northend. The people are different from the southend; I think this still applies. There’s a difference. I always liked the southend. It was older, warmer.

4. I have lived in this house
Sid Weiner

The square, at that time, was not what you see today. I have lived in this house for eighty-five years.

5. I was looking up
John Lagoulis

I was looking up. I could see the sky and the wharf and my sisters and my brother looking down at me.

When I pulled hard on a rope to bring the dory in, it responded like a spring, the anchor was entrenched. I pulled real hard. A boulder was under the surface. I hit my head. I had a comfortable feeling like sleeping in a bed and had no desire to move. I was lying on my back at the bottom of the Merrimack River.

I was drowning and I didn’t know it.

I saw my brother leap into the water. Jumped right in after me with all his clothes on. He lifted me up with one arm and with his other arm held to the rope and pulled us toward the wharf. My sisters helped. They rolled me back and forth over a barrel. People on the river knew, it was common knowledge among sailors and people.

All my life I have been proud of my brother and sisters.

Bubbling Up on Now Is the Time

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from the CD cover, Juri Seo: Mostly Piano

It’s the spirit of jazz on Now Is the Time, Saturday, May 6th at 9 pm on WRTI.org and WRTI-HD2. We wanted to call #three “Pound Three” but our (increasingly numerous, as the years go by) younger colleagues said, “Hashtag. Duh.” Unperturbed, we contacted the composer Juri Seo (younger than some of our young colleagues), who assured us that saying “Three” was just fine. So there, colleagues. Tune in to see if we pronounced it correctly, but in any case, #three is a rollicking bit of jazz-lick-inspired fun, with riffs tumbling awry among the piano, bass, and percussion.

Allen Shawn performs his own Four Jazz Preludes, which are at the same time lyrical, entertaining, and dearly felt. Philip Thompson brings a big-band feel to a small ensemble in the propulsive yet haunting Separate Self, inspired by fabric sculptures. “Ragtime is in my blood,” says Judith Zaimont, and her Bubble-Up Rag—here, arranged for flute and piano—is a juicy example of her concert rag repertoire. All fun, thoughtful, and brilliant pieces on Now Is the Time!

PROGRAM:
Juri Seo: #three
Allen Shawn: Four Jazz Preludes
Philip Thompson: Separate Self
Judith Lang Zaimont: Bubble-Up Rag

Well, what would you call a piece for wah-wah tubes? Wah by Juri Seo:

Every Saturday night at 9 Eastern, Kile Smith plays new American classical music on WRTI’s Now Is the Time, at wrti.org and on HD-2. At wrti.org click on the Listen: Classical button at the top of any page. Thanks for supporting American contemporary music on WRTI!