Summer 2010

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Summer 2010 NEW ISSUES
The Music of Gwyneth Walker

N.B.: The program notes below are by the composer unless otherwise noted.

CHRISTMAS CHORAL — Mixed or Treble or Men’s Chorus and Keyboard

Shepherd’s Song at Christmas
• S or T Solo, SATB (div.) & Org. • #7437 • $2.25 • 3:45
• S or T Solo, SATB (div.) & Pno. • #7438 • $2.25
• S Solo, SSA (div.) & Org. • #7439 • $2.25
• S Solo, SSA (div.) & Pno. • #7440 • $2.25
The poem Shepherd’s Song at Christmas is found in a collection of children’s Nativity poems by Langston Hughes. The “voice” in this poem is a shepherd child who wonders what he (or she) can bring to the Child in the Manger. He is just a poor shepherd child. What can he offer?
The answers are: a song (which he can sing); a lamb (which he can bring) and his heart (which he can give). These are his gifts to the King in Bethlehem.
USE: Christmas services and concerts • moderately easy • church, high school, college, community, professional choruses

Carol of the Brown King
• SATB & Pno. • #7433 • $1.95 • 4:00
• T, Bar & B Soli, TTB & Pno. • #7435 • $1.95
The poem Carol of the Brown King is found in a collection of children’s Nativity poems by Langston Hughes. This poem describes the three Wise Men traveling to Bethlehem. “One was a brown king, so they sing.”
The musical interpretation of the poem focuses on several primary elements in the poem. The first element is one of travel. Thus, the general rhythm of the music, introduced at the beginning, sways to and fro, as camels walking to Bethlehem. Also inserted into the song are traveling refrains of “Journey on, journey on to Bethlehem.”
The second element is the three Wise Men. In this case, the men’s voices often divide into three-part chords, especially when singing significant lines of the poem, such as “Three Wise Men, One dark like me.” At the close of the song, the voices of the Magi descend into the low range as the Wise Men bow at the Manger.
USE: Christmas services and concerts • moderately easy • church, high school, college, community, professional choruses

SACRED CHORAL — Mixed Chorus and Keyboard

Every Life Shall Be a Song
• SATB (div.) & Pno. • #7336 • $2.25 • 3:30
• SATB (div.) & Org. • #7337 • $2.25
• SATB (div.), Brass Quintet, Perc. & Pno. • Full Score • #7338 • $7.85
• SATB (div.), Brass Quintet, Perc. & Org. • Full Score • #7339 • $7.85
• Brass Quintet & Perc. parts for both versions • #7340 • $13.15
Every Life Shall Be a Song is a celebration of life, unity, and music — a setting of a text by the 19th century British author John Addington Symonds (1840–1893). This work was written in celebration of an important anniversary in the composer’s home community of Randolph, Vermont. The Victorian-style Chandler Hall was originally built in 1907, in the midst of the heyday of such cultural building projects. By the end of the 1920s, however, the hall had fallen into disrepair and was no longer in use. In 1978, The Albert B. Chandler Cultural Foundation was formed to renovate the hall and turn it into a thriving arts and performance center for Vermont. It has remained as such to the present day, serving each year as the home for a variety of cultural events — with a particular focus on classical music. Many of Gwyneth Walker’s compositions have been performed in Chandler Hall over the years.
The text of the work summarizes the artistic message and goals of the Chandler Cultural Foundation stating that “New arts shall bloom of loftier mold, and mightier music fill the skies, and every life shall be a song… When every life shall be a song, then all the earth is a paradise.”—Carson P. Cooman, used by permission.
USE: services, concerts • moderately easy • church, high school, college, community, professional choruses

SACRED CHORAL — Mixed Chorus and Instruments

Love Flows from God
Cantata for Narrator, SATB Chorus, Treble Voice(s), Brass Quintet, Percussion and Organ
• Piano/Vocal Score • #6751 • $6.25 • c. 14:00
• Full Score • #6752 • $19.15 (composer’s engraved facsim. ed.)
• Parts • #6753 • $35.70 (composer’s engraved facsim. editions)
This is a pre-revision recording.
Love Flows from God is a celebratory cantata based on the spiritual writings of Mechtild of Magdeburg (1210–1280). In the words of the author, “I saw all things in God, and God in all things.”
The cantata comprises seven sections, each a musical celebration: energy (All Things in God); the light of the sun (God in All Places); the song of the birds (God in All Creatures); the dance (To Leap for Love); the rose (O Lovely Rose); the spark of life (Love, Like a Living Spark); and God’s love (Eternal Love).
As the texts explore diverse imagery, the music moves through a range of tonalities and rhythmic patterns associated with the lyrics. The birds, the dance and the many other manifestations of divine love flow through the musical language. Finally, the traditional hymn, “Holy, Holy, Holy…” appears at the conclusion, perhaps as a summation of the sentiments of praise expressed in Mechtild’s writings.
USE: services, concerts • moderately easy • church, high school, college, community, professional choruses

SACRED CHORAL — Youth Chorus and Orchestra or Piano

Voices in Song
• Youth Chorus (SA) & Orchestra or Piano
• Full Score • #7204 • $73.50 • 16:00
• Parts • #7205 • $131.25
• 1. Shall We Gather at the River • SA & Pno. • #7207 • $2.25 • 3:30
• 2. Let Us Break Bread Together • SA & Pno. • #7208 • $1.95 • 4:40
• 3. Standin’ in the Need of Prayer • SA & Pno. • #7209 • $2.25 • 3:15
• 4. Twelve Gates to the City • SA & Pno. • #7210 • $2.25 • 4:15
The recording is of movement 1 from the orchestral version.
The four songs in the set were selected for their variety, yet overall cohesiveness in the message of “joyful reverence.” Shall We Gather at the River is placed in a 12/8 “bouncy” meter suggesting joyful assembling by the river. The chorus presents the melody in a generally straightforward manner, singing in unison, simple harmony or occasional imitation. Meanwhile, the orchestra enjoys many colorful moments — shimmering flutes, muted brass, strumming strings and sandpaper blocks (percussion) “striding” to the river.
Let Us Break Bread Together is subtitled a prayer. The gently repeated chords in the brass might be heard as expressing the phrase “Lord, have mercy.” This pattern enters between each verse, growing in dynamics and duration until the notes are adopted by the chorus. The melody and accompaniment then ascend to the climax and ending of “Let our song rise together, and give us peace.”
Standin’ in the Need of Prayer was selected simply for fun. The singers declare, “It’s me, O Lord, standin’ in the need of prayer. Not you. It’s me!” Thus, everyone and everything else escapes, blameless (which is hard to believe!). This is a raucous song, with an abundance of brass playing.
The set closes with Twelve Gates to the City, interpreted in a “blues” style of swing rhythm and mixed major and minor harmonies. As Shall We Gather at the River portrays the coming together for worship, so then Twelve Gates to the City takes us on another group journey, the “walk on up to Heaven.” This is a celebratory, gently-paced walk. There is time to listen to some jazz (“blues”) instrumental solos along the way. No rush. Those who arrive early can “tell all my friends, I’m comin’ too!” HALLELUIA!
USE: services, concerts • moderately easy • church, community, professional youth choruses

SECULAR (MAYBE SACRED) CHORAL — Mixed Chorus and Orchestra or Piano

Come Life, Shaker Life!
for Soprano and Tenor Soli, Two-part Children’s Chorus, SATB Chorus (divisi) and Orchestra or Piano
• Full Score and Parts Available on Rental • 30:00
1. Come Life, Shaker Life • SATB & Pno. • #7584 • $2.25 • 2:40
2. I Never Did Believe • S & T Soli & Pno. • #7585 • $1.95 • 4:00
3. Followers of the Lamb • SATB & Pno. • #7586 • $2.25 • 4:00
4. Little Children • 2-part Children & Pno. • #7587 • $1.95 • 2:20
5. Watch Ye, Watch Ye • SATB & Pno. • #7588 • $1.95 • 4:00
6. Hop Up and Jump Up • 2-part Children, Women (SA) & Pno. • #7589 • $2.25 • 2:30
7. Come to Zion • 2-part Children, SATB (div.) & Pno. • #7590 • $2.80 • 3:30
The recordings are of movements 1, 3, 4 and 6 of the orchestral version.
The work opens with an Introduction/Processional of clapping rhythms. Once the chorus has assembled on stage, the claps lead into the title song, Come Life, Shaker Life. The reference to David in the lyrics derives from the biblical quotation of King David “leaping and dancing before the Lord.” Indeed, the Shakers also worshiped the Lord through dance.
I Never Did Believe presents the individual Shaker, on a spiritual quest. “I never did believe that I ever could be saved without giving up all to God.” The texture is sparse — a solo tenor and soprano answer each other in musical phrase. In contrast, Followers of the Lamb is a boisterous and colorful song: “I’m glad I am a Shaker… I love to attend to order.” (!) The Shakers were energetic in both their work and dance. (They must have had a sense of humor too!)
Clapping interludes frame the playful Little Children. (“Little children, says Holy Mother, soothe and comfort one another.”) The next song, Watch Ye, Watch Ye, is a solemn yet hopeful expression of waiting for the Lord to come. (“Fear ye not, for with my hand I will lead you on. And safely I’ll guide your little boat beyond this vale of sorrow.”) Repeated notes in the accompaniment may be heard as a clock striking the hours. The little boat rocks on its wave-like patterns.
Hop Up and Jump Up is a round and a dancing song for treble voices. This leads directly into the finale, Come to Zion, a forceful and celebratory song. “All who will may come and share the glories of this Jubilee. Hallelujah!”
USE: concerts (perhaps services) • moderately easy • church, high school, college, community, professional choruses

SECULAR CHORAL — Mixed or Men’s Chorus and Piano

I’ve Known Rivers (version for mixed chorus)
1. My Soul Has Grown Deep • SSATB & Pno. • #7281 • $2.25 • 3:00
2. Troubled Water • SSATBB & Pno. • #7282 • $2.25 • 3:00
3. Jump Right In! • SATB (div.) & Pno. • #7283 • $2.25 • 2:30
4. In time of silver rain • SATB (div.) & Pno. • #7284 • $2.25 • 3:30

I’ve Known Rivers (version for men’s chorus)
1. My Soul Has Grown Deep • TTBB & Pno. • #7297 • $2.25 • 3:00
2. Troubled Water • TTBB & Pno. • #7298 • $2.25 • 3:00
3. Jump Right In! • TTBB & Pno. • #7299 • $2.25 • 2:30
4. In time of silver rain • TTBB & Pno. • #7300 • $2.25 • 3:30
This is a pre-revision recording.
I’ve Known Rivers is a set of four songs based on the poetry of Langston Hughes (1902–1967), an African-American poet who lived much of his life in the Harlem neighborhood of New York City. However, Hughes was born in Joplin, Missouri, birthplace also of Samuel Clemens (Mark Twain). And, like Twain, he held a fascination for the Mississippi River and rivers in general. The theme of water is present in many of his writings.
My Soul Has Grown Deep reflects upon rivers of historic and geographical importance — the Euphrates, the Nile and the Mississippi. As the rivers have endured over time, so has the human soul. The waters — the blood — runs deep.
In contrast to the universal message of the first song, Troubled Water is contemporary and personal. Water becomes an image of the unsettled and uncertain nature of love. The journey of love is a journey of troubled water. There is no resolution.
Undaunted by the elusive nature of love, the poet (chorus) turns flippant, displaying a persevering and humorous outlook in Jump Right In! (into the river). Romantic misadventures will not conquer the spirit. “I could’ve died for love, but for livin’ I was born.”
In time of silver rain is a song of healing. “In time of silver rain, the earth puts forth new life again.” And with the regeneration of spring, the poet marvels at the wonder of life.
USE: concerts • moderately easy • high school, college, community, professional choruses

Recording Credits
Track 1, The Shepherd’s Song at Christmas, was recorded by the Tapestry Women’s Choir, Dale Forrey, conductor, on December 5, 2008, at First Presbyterian Church, Moscow, ID. The soprano soloist was Terry Keller, the pianist was Linda Liou and the recording engineer was Jeremy Krug. This track is used with the kind permission of Dale Forrey.

Track 2, Carol of the Brown King, was recorded by the Wichita State University A Cappella Choir, Tom Wine, conductor, on February 25, 2009, at Wiedemann Recital Hall on the WSU campus. Angela Steiner was the pianist and David Muehl was the recording engineer. Permission to use this track was kindly given by Tom Wine.

Track 3, Every Life Shall Be a Song, was recorded by The Harvard University Choir and Cambridge Symphonic Brass, Edward Elwyn Jones, conductor, on September 14, 2008, at The Memorial Church, Cambridge, MA. The organist was Christian Lane. This track is used with the kind permission of Carson Cooman.

Track 4, Love Flows from God, was recorded by the Adult, Westminster and Youth Choirs of First Presbyterian Church and the Kalamazoo Singers, Kalamazoo, MI, Thomas Kasdorf, conductor, on April 24, 2005, at First Presbyterian Church, Kalamazoo, MI. The narrator was Von Washington, the vocal soloists were Karen Santamaria, soprano, James R. Powell, Jr. and Jacob Berglin, tenors, Stephanie Jass, mezzo-soprano and David Veenhuis, bass, accompanied by The Western Brass Quintet (Stephen Jones and Scott Thornburg, trumpet, Lin Foulk, horn, Dan Mattson, trombone and Robert Whaley, tuba), Kenneth Jones, percussion, and organist Janlee Richter. The recording engineer was Peter Givens. Permission to use this track was kindly given by Thomas Kasdorf. This is a pre-revision recording.

Track 5, “Shall We Gather at the River” from Voices in Song was recorded by the Rogers Adventist School Singing Scholars and the Walla Walla Symphony Orchestra, Yaacov Bergman, conductor, on November 18, 2007, at Cordiner Hall, Whitman College. Larry Aamodt was the recording engineer. This track is used with the kind permission of Mike Wenberg.

Tracks 6–9, selections from Come Life, Shaker Life!, were recorded by The Master Singers of Worcester (MA), Malcolm Halliday, conductor, on May 1, 2004, at Alden Hall, Worcester Polytechnic Institute. The recording engineer was Nick Chase. Permission to use these tracks was kindly given by Malcolm Halliday and Doug Weeks.

Tracks 10–13, I’ve Known Rivers, were recorded by The Holland Chorale (Holland, MI), Gary W. Bogle, conductor, on March 15, 2008, at Central Avenue Church, Holland, MI. The pianist was Jennifer Smith and the recording engineer was Erik Alberg. These tracks are used with the kind permission of Gary W. Bogle. This is a pre-revision recording.

All pieces on the recording are © Copyright 2010 by E. C. Schirmer Music Company, Inc. This recording is not authorized for sale, lending, broadcast, or public performance.