Aurora University Choral Festival Blogpost #7 A City Called Heaven

The Metea High School Treble Singers, directed by Nathan Bramstedt, will perform my arrangement of the African-American spiritual A City Called Heaven on October 21st at Aurora University (Aurora, IL). I'm excited that I will get to hear them perform this piece, since Metea has a history of musical excellence, including placing highly in the annual Grammy music awards for high schools across the country.

This is one of the most poignantly sad, yet beautiful spirituals I know, and a piece I had been wanting to arrange for quite some time, especially after listening to an old recording by the amazing Marion Anderson. See way down below for more on Marion Anderson and her role in the civil rights movement in America.

The imagery of the title is what has always attracted me, yet it stands in such stark contrast to much of the text, which speaks of spiritual isolation (…“my father’s still walkin’ in sin. My brothers and sisters won’t own me…”).

This music tells of  an unfortunate period of our American history, yet also tells the universal story of the human will to survive. I’m also beginning to think we should call these songs what they really are, and what St. Olaf College esteemed conductor Anton Armstrong calls them, that is, slave songs. By doing so, we are forced to face the history behind them, and not just sing them mindlessly.

I had decided to create an arrange of this piece, yet a germinal idea for an arrangement just hadn’t quite hit me, so I kept tabling the project repeatedly over three years or so. Finally during a stretch in December 2005 when I was working on some other spirituals for SATB (mixed choir) I sat down with this piece again and began to try a few things at the piano, and the piece finally started to take shape. Up until then, I just hadn't found a way to make my arrangement more than just ordinary, and that's a problem! The challenge in creating an artistic arrangement is to find a way to create something unique--something with a new twist that people may be surprised by. It could be taking a piece in 4/4 (common time) and turning the beat into 7/8 or some other mixed meter, or it might be changing the usual speed of a piece. For me, the unique aspect that finally popped up was creating a really powerful, loud setting of the section where the words are  "sometimes I'm tossed and driven..." and adding in a strangely dissonant chord into the piano part. This section is a giant, dramatic contrast to the quiet beginning and end of the piece. 

Further note: In general I think our new arrangements of spirituals should be a cappella, as that takes us closest to the origin of the music. Yet, I think there is some room for some accompanied spirituals as well.

 

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TEXT

I am a poor pilgrim of sorrow, 

I'm toss'd in dis wide world alone.

No hope have I for tomorrow,  
I've started to make Heaven my home.

Some-times I am toss'd an' driven, Lawd,
some-times I don't know where to go.
I've heard of a city call'd Heaven,
I've started to make it my home.

My mother has reach'd dat pure glory,
my father's still walkin' in sin.
My brothers an' sisters won't  own me,
be-cause I'm a-tryin' to get in. 

(repeat chorus)

Nathan Bramstedt, choral director at Metea Valley High School

 Mr. Nathan Bramstedt has been a member of the District 204 music faculty for 12 years.  At Metea Valley High School, he leads a choral program of 250 singers and teaches Bass Chorus, Concert Choir, Treble Singers, Chamber Singers and Music Theory.  After school he directs Off the Record vocal jazz ensemble and Girls Group and sponsors the student-led a cappella groups Apollo and the Muses.  Mr. Bramstedt also assists with the marching band.  Behind the scenes, he is the Theater Program Director, where he produces the main stage productions and directs the musicals.  Prior to opening Metea Valley in 2009, Mr. Bramstedt taught choral music at Crone Middle School.  His choirs have shared stages with area orchestras, collegiate choirs and community ensembles.  He has been recognized five times by the Indian Prairie Educational Foundation as a "Most Influential Educator."  He earned a Master of Music in Choral Conducting degree from the Pennsylvania State University.  Before his Fellowship assignment at Penn State, he taught high school choir and band in Warrensburg, IL.  He earned a Bachelor of Music Education degree from Illinois Wesleyan University.  He has performed with the Cavaliers Drum and Bugle Corps, the Chicago Master Singers and has directed choir tours across the country and Europe.

SOME HISTORY: In 1939 Marian Anderson was denied the right to perform at Constitution Hall by the conservative group the Daughters of the American Revolution because of her color. Instead, and at the urging of Eleanor Roosevelt, Harold Ickes, the powerful US secretary of the interior, permitted her to perform at the Lincoln Memorial on April 9, 1939. Notice the ENORMOUS crowd as you watch this excellent six minute video, about her role in the civil rights movement in the US:

25th Anniversary St. Mary's Women's Choir Festival

This past summer my good friend Dr. Nancy Menk of St. Mary's College in South Bend, IN asked me to be one of the judges for the 25th anniversary of the high school women's choir festival she hosts every year. This was a big honor, and Nancy also decided to make it a three way composer/conductor panel of judges, so I was joined by Lee Kesselman and also Eleanor Daley from Toronto. Nancy also changed the event into a two day festival and commissioned Eleanor to write a piece for the groups to sing en masse. It sounded like a great way to celebrate this impressive 25 year milestone.

I arrived Wednesday night early enough to work with the St. Mary's College women's choir (well, actually this is a women's college, so all the choir's are women's choirs) on my new arrangement of A City Called Heaven (recently released by Roger Dean). The young women were doing a great job, so I simply asked them to look more deeply into their souls and to reflect on the origins of this very intensely personal African-American spiritual in order to really convey the hurt and hope that it holds in a dual manner. Their facile young minds seemed to wrap around these ideas very nicely and I not only heard greater expression that night, but also continued exploration and highly expressive singing when they sang the song two days in a row during their performances for the high school choirs. Nancy and I then picked up Eleanor at the airport and had a fun, casual dinner at a local eatery. We had never met Eleanor before, and were delighted to discover that she is lots of fun and a real mensch!

Thursday morning- up bright and early and hearing choirs by 9 AM. Some really great groups and Lee, Eleanor, and I seemed to be in a good groove. The way Nancy works this is as follows- a group comes onstage, sings 2-3 selections, and then one of the judges works with them live while the other two judges make written comments. The judges rotate and Nancy worked it out so that if a choir were singing a piece by one of us in particular, then that composer would work with that choir.

Each judge had a different style of course, but I think we complemented each other nicely. Eleanor was very much into meaning of text and beauty of sounds and vowels. She also worked a lot on creating naturally flowing expressive lines. Lee was very good at finding what a choir did well and then build more successes on top of that. I was spending much of my time working with choirs to be more expressive and joyous musically and with their stage presentation, though that was not my only interest. I also worked with a few choirs using non-traditional rehearsal techniques, working on choir members taking more responsibility and ownership of their groups, and also working on color (more on that later).




Eleanor Daley


At lunch both days we shared our mealtime with the directors, which was fun, and on Thursday night Nancy took us to her favorite upscale restaurant. Lee was very adept at picking out an excellent wine!

I think that all of the choirs did a wonderful job and I applaud the directors for attending this event, which provides a wonderful opportunity not only to perform and get professional feedback, but also the opportunity for all the young singers to be out in the auditorium listening to each other sing.

A number of groups deserve special attention. On Thursday, the standout choirs in my mind were the Neuqua Valley HS Chamber Singers, led by Anne Kasprczak. The group was topnotch in everything they did and it is obvious Anne knows how to teach, motivate, and lead some very strong, enthusiastic young singers. Another standout choir from Thursday was from Toledo (OH) Christian HS, led by Dennis Johns. Their highly expressive performance of Eleanor's "Child with the Starry Crsyon" took HER breath away, and the underlying love of music taught in this program was obvious to all.

On Friday, despite their youth (just freshmen and sophomores) the choir from Glenbard West HS (Glen Ellyn, IL) directed by Andy Jeffrey was a joy to listen to and a joy to work with- as I know because I got to do their clinic. We had so much fun experimenting with tone color just by talking about tone in actual colors of the spectrum and just playing with paletes and smiling and laughing- what a great bunch of young singers who were never shy about speaking up or trying new ideas!

Probably the most amazing discovery of the event was the Friday performance by the ensemble from Portage Central HS (MI) directed by Cindy Hunter. All three of us judging were blown away by their presentation, enthusiasm, vocal abilities, repertoire and sheer joy. They seemed to have the stage presence and singing ability of a quality college choir and it was so amazing and wonderful to get to hear them. At lunch we then found this out- the group used to be a regular classroom choir for credit course, but because of district "budget" reasons, the womens choir had been axed recently. The director told the young ladies and they chose to rehearse once a week after school for seven weeks and still attend the festival. When we heard this we were even more blown away, their performance sounded like a choir that rehearsed multiple times per week, without a doubt. I even went out and found the young ladies in the lunchroom to let them know how blown way all three of the judges were- I felt they deserved as much praise as possible for all their hard work, as it was obvious that they had all worked very hard on this music at home or in a practice room on their own time.

The other big highlight to the festival was the premiere performance of the piece Nancy commissioned from Eleanor especially for the festival. Each day, Nancy's college choir sang through it once so the HS kids could hear it sung well, and then Eleanor worked through the piece with all the choirs massed in the auditorium. Eleanor did a beautiful job teaching them the piece, and telling them her motivations in how she set the text. And then the massed choirs did a final "performance" of the piece for themselves. Lots of smiles all around. These kids got to sing a new piece written especially for them, coached by the composer, and surrounded by hundreds of peers. What a great experience!

So congratulations, dear Nancy Menk- you have been an amazing, inspiring musical leader and mentor to so many people of all ages, and you've certainly left your mark on the choral world- with still plenty more to come I am sure!




(Nancy and myself with Gwyenth Walker, from a few years ago)