Showing posts with label Lynne Gackle. Show all posts
Showing posts with label Lynne Gackle. Show all posts

Tuesday, October 6, 2015

Aurora University Choral Festival Blogpost #5 This Sparkle of the Day

This Sparkle of the Day will receive its world premiere on October 21st at the Aurora University Festival Concert which holds music written by me over the last fifteen years. Although the piece was written in 2005, it has yet to have a full premiere of all five movements until now. Many thanks to Dr. Peter Dennee of Carthage College (Kenosha, WI) and the newly formed select ensemble Candentibus Women's Chamber Choir which will be performing this work. 

In February 2016 a larger ensemble from Carthage College will perform excerpts from the piece at the American Choral Director's Association North Central Division Conference held in Sioux Falls, South Dakota. Additionally, the choir will sing the piece in its entirety at a church while they are in the Sioux Falls area.

For this piece I utilized some delightfully refreshing texts by early Catholic saints. I devised short movements that can stand alone or work together in sequence, basically a progression of worship from night into the morning offices. Yet these pieces can be used outside of strictly Catholic services, since the texts simply encompass somewhat general Christian images and ideas.

The general musical model for the piece's structure and overall feel was the Gabriel Faure Messe Basse, a gentle little ten minute gem which is a basically utilitarian worship piece of understated beauty. Thus the simple, manuals only organ part (pedals may be added ad libitum), and the fairly easy SSA vocal parts. Another model, more so for the melodic shapes and harmonies, comes from the British composer Benjamin Britten.

Movement two has some interesting features--the first section is an originally composed setting of the Latin text O Nata Lux de Lumine, which then proceeds to the English version as set by the Renaissance English composer Thomas Tallis, quoted almost verbatim. This is another example of something which I do now and then, quote (or parody, or "sample") other composers' works or snippets of old melodies. In the Tallis section there is a strange little moment when voices disagree on pitch, some parts are singing in a major key while other parts are in minor. This is an effect Tallis (and a few other composers of his time) was quite known for.

The text of movement four is short yet profund. It speaks of how quickly a human life can come into existence and go. We're only here for an instant--It's up to us to make every moment count in some meaningful way.



TEXT

Introduction: 


I wait for the Lord, my soul waits,
and in his word I hope.
My soul waits for the Lord more
than watchmen for the morning,
more than watchmen for the morning.
   -Psalm 130


It is now the moment for you
to wake from sleep.
For salvation is nearer to us now
than when we became believers;
the night is gone, the day is near.
   -Romans 13


I. The limit of the night is passed,
the quiet hour of sleep has fled;
far up the lance of dawn is cast;
new light upon the heaven is spread.

But when this sparkle of the day
our eyes discern, then, Lord of Light,
to Thee our souls make haste to pray
and offer all their wants aright.

O Holy Spirit, by the deeds
of Thine own light and charity,
renew us through our earthly needs
and cause us to be like to Thee.

Grant this, O Father ever blessed;
and Holy Son, our heavenly friend;
and Holy Ghost, Thou comfort best!
Now and until all time shall end.


  -Saint Hilary


II. O nata lux de lumine,
Jesu redemptor saeculi,
dignare clemens supplicum,
laudes precesque sumere,
qui carne quondam contegi
dignatus es pro perditis,
nos membra confer effici

tui beati corporis.

O light which from the Light has birth,
Jesus, Redeemer of the earth,
thy faithful flock vouchsafe to spare,
hear our gift of praise and prayer,
thou, who for man's salvation sake
thyself hast deigned pure flesh to take,
o make us members true and sure
of that Thy Holy body pure.

III.

Remember, God, that we are the plants in your fields,
so connected to the earth
that you know what would happen
if you did not rain upon us.

And if your light ceased to lift us from the ground
and craft our bodies,
how might we near you
like the suns?

Remember, God, to love us in a way
Our souls can taste and rejoice in.


   -St. Theresa of Avila

IV. My life is an instant,
a fleeting hour.
My life is a moment,
which swiftly escapes me.
O my God, you know that
on earth I have only today
to love you.


    -St. Thérèse of Lisieux




Dr. Peter Dennee

Professor Peter Dennee ’86 joined Carthage in 2005. He conducts the Carthage Women’s Ensemble and teaches courses in conducting and music education.
Prior to his appointment at Carthage, Prof. Dennee held positions as assistant professor of music at West Virginia University and Susquehanna University, and visiting assistant professorships at the University of Colorado-Boulder and the University of Michigan. He has taught music at the elementary and secondary levels in Baltimore, Milwaukee, and Tempe, Ariz.
He earned a Doctor of Musical Arts in choral music from Arizona State University, a Master of Music in music education from the Peabody Conservatory of Music at Johns Hopkins University, and a Bachelor of Arts in music education from Carthage (1986).

Hey, if you've read all the way down to here-- here's your bonus! My good friend Joan Szymko set a wonderful text by St Therese of Avila titled Nada te Turba. Here is the text (Joan uses a shortened version of the full text) and the song, conducted by another pal of mine, Lynne Gackle.

Nada te turbe

nada te espante

Todo se pasa

Dios nose muda.

La paciencia todo alcanza.

Quien a Dios tiene

nada le falta

Solo Dios basta.

Translation: 

Let nothing disturb you,

nothing frighten you,

All things are passing.

God never changes.

Patience obtains all things.

Whoever has God lacks nothing.

God is enough.


Monday, September 29, 2014

Young female singers are called "mousy'? Ugh!


Here is a quick post on something that was stewing a bit on Choralnet a few months ago (I wrote some of this then but forgot to post the blog!) and which I was compelled to finally respond to: this was a Choralnet post wherein a male director called his adolescent young women singers "mousy and timid". Great attitude, right? Someone called him on this language immediately, but no one had offered up any significant tools to get his mind straight on this and simply be a more skilled, more understanding choral/vocal instructor- so I finally posted the following to the thread:

I have been reading this thread for awhile, and every time I see the title, the "mousy" name-calling still galls me. Men need to try a lot harder to fathom what it is like to be a female singer at any age (but especially in the adolescent and pre-adolescent years) and be more empathetic. I think I can preach here to my fellow XY dudes since I have successfully directed a professional women's choir for 6 years, directed special summer programs for gifted SSAA singers, composed dozens of works for SA through SSAA choirs, worked directly (again with my composer hat on) with skilled directors of female choirs such as Emily Ellsworth, Janet Galvan, Lynne Gackle, Nancy Menk, and Robyn Lana just to mention a few. Please guys, become more sensitive, and here is what I REALLY want you to do to educate yourself a lot more, and have way more tools for success with your choirs:


Purchase the book "Finding Ophelia's Voice, Opening Ophelia's Heart"  by Lynne Gackle. It is full of brilliant insights into the female adolescent voice and psyche. This is required reading. The other required reading is "Conducting Women's Choirs", edited and compiled by Debra Spurgeon. There are chapters on an amazing breadth of topics by many great contributors (essentially a who's-who of the women's choir movement over the last 25 years- but especially for this subject please read the sections by Sandra Snow and Sandra Peter) which are invaluable resources for anyone who directs women either in an SSAA type ensemble or within an SATB ensemble. The Spurgeon book also contains Lori Hetzel's U of Kentucky choir in a DVD demo of all sorts of important vocal issues, plus vocalise/warmup issues. Buy these two books and sit down with them for a week or two. They are both worth it to anyone in our profession. And let's drop the term "mousy", please!




Lynne Gackle's book, published by Heritage/Lorenz:










Debra Spurgeon





Deb Spurgeon's book, published by GIA:

http://www.giamusic.com/search_details.cfm?title_id=20615


Paul Carey

www.paulcarey.net
You can see the Choralnet complete thread here:  http://www.choralnet.org/view/442443#442757




Monday, March 1, 2010

Final Day of ACDA Central Division Conference in Cincinnati

Saturday started off with some interest sessions and then the final events-- the awarding of the Stace Stegman Award (which is presented at each Central Division conference to a member who has demonstrated skills similar to the late Stace Stegman's in service to the choral art) and then performances by the three honors choirs.

The Stace Stegman Award was presented to my dear friend Mary Alice Stollak, who not ony founded and led the Michigan State University Children's Choir for many years and also earned two Grammys with, but who also gave countless hours of her time to ACDA on the state, regional and national level, spent nineteen years as head of the choral division of the Northwestern University HS summer music institute and many, many other achievements. Mary Alice is such a humble soul and it was so wonderful to see the look of heartfelt joy on her face when she received this award. One of the great people in the choral world-- and I feel honored to have written music for her which I was glad she loved, watched and learned from her by example, and to get to be there and see her receive this award. What a great moment!

The honors choirs were next and I was greatly impressed with their level of musical artistry, stage presence, and tone. The JHS girls, a large ensemble of 85 dedicated musicians sang with gorgeous lines and support, tone color, and joy. Lynne Gackle was an inspiration to them, something I was able to witness as I attended two rehearsals not only of my piece, "Peace on Earth...and lots of little crickets", but on all the music. Two true highlights were the energy of the spirited "A-Maying, A-Playing" by Stephen Chatman (I love his music- it's so creative) and the lovely legato and rubato in Carl Bohm's "Still wie die Nacht". This piece is just gorgeous- it should be sung more often.

The presentation of the JHS boys honor choir was quite interesting. Led by Margaret Jenks and Randy Swiggum, they took multiple approaches to voice issues and repertoire in working with this age of the male voice, and I am actually going to discuss this in a later blog as I believe it warrants more exploration- perhaps I can even convince these two fine, dedicated directors to guest blog about their ideas on this subject.

The final honors choir was the mixed HS group led by Edie Copley. This choir gave a great performance, and Edie led them with such grace and artistry. Her repertoire was also wonderfully paced and quite creative. Here the pieces that struck me as most delightful were David Childs highly expressive "Salve Regina", two Brahms "Liebeslieder" sections (ooh, sing more!), and a blast of a folk song, "Sigalagala", replete with some Xena Warrior Princess fff tongue trills by one of the high sopranos!

It is no surprise that Edie and Lynne are frequent guest conductor/clinicians all over the country-- they know the voice, they care about people, they have drive and energy, and love music. They also know how to pace an honors choir with love, and not browbeat them and wear them out.

Which leads me to my final subject- why aren't ACDA conference attendees at the honors choir concerts? Are they in such a hurry to leave with their bundles of reading session music and just have to get out of Dodge? Do they think the honors choir concerts are beneath them and a waste of time? If that is their attitude, they are so wrong. To get an opportunity to observe this level of communication and musical leadership skill between a gifted honors choir conductor and their choir is not something to blow off. I learned a number of things Saturday from watching Edie Copley, Lynne Gackle, and the Jenks/Swiggum team and I don't even conduct on a daily basis. I think it is shame that ACDA conference attendees have developed such an unwarranted aversion toward attending honors choir concerts. And if anyone wants to debate this opinion, please send a reply this way.

Finally, hats off to all of the Central division folks who planned this conference. It was the best Central division conference I have ever attended. There was a performance venue with very good acoustics, amazing guest choirs, great performing choirs, highly skilled honors choirs and their directors, many interesting and unusual interest sessions, and a generally very high excitement level at the conference. Bravo!

Coming up: Blogs from ACDA Western Division in sunny Tucson

Friday, February 26, 2010

Friday at Central Division ACDA in Cincy

My Friday here at Central Division ACDA conference was helter-skelter. Too much to do and not possible to be in two places at once. But people come first, and just getting to concerts needs to come second, so....

I was able to hear Lyons HS from Michigan sing in the morning and just the first couple tunes from Augustana College directed by Jon Hurty. I've heard Augustana a number of times over the last few years, so I know how capable they are. Jon does some very creative programming, and I recall a great performance of the McMillen Cantos Sagrados a few years ago which was breathtakingly dramatic. They did it in the scaled down version, which I actually think is far superior to the orchestrated version (kind of like how I feel about the Bernstein Chichester Psalms). Lyons HS was excellent and since they are a small ensemble, I liked that Steve Lorenz had the singers spread out a bit and have some of that personal sound space which can be really effective when singing. But I couldn't help chuckling over the "la-la-las" in Gwyneth Walker's otherwise very nice setting of "How Can I keep from Singing" (the space-filling "la-la-la's" on my "Mashed Potato Love Poem" from "Play with your Food" are a friendly dig at Gwyneth's overuse of la-la-las!).

The reason I had to get moving and miss the balance of the morning's concerts was that the JHS honors choir directed by the always awesome and indefatiguable (hmm, never used that word before) Lynne Gackle is singing my "Peace on Earth...and lots of little crickets", and Lynne wanted me to drop in and hear their progress. Well, they were doing just fine on it and they seem like a great bunch of young singers, and the energy between Lynne and them was awesome. We worked on opening up the sound more without getting "Disney", as Lynne put it, and got them moving to this tune- a piece you can't sing standing still. The kids were great fun to meet and I even noticed a few of them with hand decorated "cricket" teeshirts. I asked what was up with that and it turned out that these seven sweet kids from Emerson School in Michigan had decided to make up these shirts (and make one for their conductor too) since they like the tune so much. So Lynne was kind enough to let us go out in the hallway and take some photos of these cool fun shirts- wow, classical music can be fun...who knew?!

After that I wound up chatting for quite awhile with two dear friends, Mary Alice and Gary Stollak. Mary is newly retired from leading the Michigan State University Children's Choir to greatness, and she is here because she is receiving a "major award" from ACDA on Saturday (let's hope it is not marked "fra-gi-le" and is in the shape of a leg). Gary was his usual witty self, and I love hearing his thoughts on everything, but especially child-rearing, as he has been a leading child psychologist working out of MSU for decades. Everything Gary says is in earnest jest, or jestful earnestness.

Post this were some afternoon performances... I'll put this current post up now and continue with those performances when I get back to the laptop keyboard later night or else over the weekend.

Final random thoughts:

PLUS The college choirs performing are all smiling when done- they seem to be happy and proud when they finish their performance-- I've been seeing too many dour or, even worse, blank bored looks on college performer's faces these last few years at performance events. Tom Carter- you and others are making a difference!

MINUS No one attempted a quad today, but I bet some of those wild and crazy kids from Ethan Sperry's choir were thinking 'bout it.

Monday, January 4, 2010

Happy New Year!




Here is what is new with me these days. This e-newsletter is sent twice a year, now posted as part of my blog, and I hope you enjoy receiving it.

E-mail me if you would like free perusal scores of anything you read about here. I can provide either paper copies of published and manuscript scores, or pdf files through the internet of manuscript pieces.

A big, big thank you to all of you who have already performed my music in the
2009-2010 concert season. It’s great to hear back from you about performances, singer and audience reaction, etc.

Coming up soon for me:

Lynne Gackle has programmed my fun tune Peace on Earth...and lots of little crickets (Walton cat. # HL08501658) for the grade 7-9 honors choir she will lead at the 2010 Central Division ACDA convention in Cincinnati. This should be fun, and I will attend. Peace on Earth... is Walton Music's #1 seller for the last two years.





Sigrid Johnson has programmed A City Called Heaven (Roger Dean catalog number 15/2593R) for her grade 10-12 women's honors choir at the Southern Division ACDA convention in Memphis. Nice news from two really great conductors who have given so much of themselves and influenced countless young musicians during their careers. Thanks Lynne and Sigrid!

Also at ACDA: Incheon City Chorale, the professional choir from South Korea that blew people away last year at ACDA in OK City, will be one of the featured guest choirs at the Western Division ACDA in Tucson and during their interest session they will be showcasing the chorally virtuosic Missa Brevis Incheon they commissioned from me. I was able to attend the successful premiere in Seoul in October, what a delight to work with one of the very best choirs on the planet! I am also hoping to be at this convention.
(pictured, Paul with ICC director Hak-won Yoon)


Two premieres of commissions coming up this Spring, one at Briar Cliff University directed by Dr. Sean Burton and another at Jacobs High School in the Chicago area, directed by Andrew Collins. Please feel free to contact me now about any interest you may have for a commissioned piece for the 2010/11 concert season. I love working with directors and choirs on new pieces, it is so rewarding for us all!

Early 2010 new octavo releases from Roger Dean:
Most of these have score and/or soundclip samples on my website at www.paulcarey.net and all should be on display at the upcoming ACDA conventions.

Ding Dong Merrily on High (SATB/ piano or harp) uptempo fun in some mixed meters. Cat. # 15/2705R

Winter Solstice (SSA/harp or piano) Two movements, with beautiful nature/winter solstice imagery by New Mexico poets. Cat # 15/2715R in Janet Galvan’s series



The Star (Twinkle, twinkle little star), for SA/piano. This is the witty poetic parody of the famous poem as filtered through the vocabulary of an astronomer. The piano part is taken from Mozart's Twinkle variations- a fun, fun piece for young choirs. Cat #15/2719R in Janet Galvan’s series.

And as always, thanks to you all for supporting not-dead composers such as yours truly.

Best wishes,

Paul