Summer 2011 newsletter/new repertoire suggestions

Hi choral director friends,

Since I last spoke to you in January, I've had some great experiences; I conducted premieres of two pieces commissioned by the Hong Kong International School Festival (organized by Calvin College alum David Baldwin) and really enjoyed my week of working with the young musicians there plus my sightseeing all over Hong Kong, including a trip to the REALLY BIG BUDDHA on Lantau Island.




Of the two pieces I wrote for Hong Kong one will be published, "May I be Happy", (SA/piano) soon by Roger Dean, and the other, "Clap your Hands" (also SA/piano with some optional perc) I am publishing personally. Treble directors, let me know if you would like to see free perusal scores. And by the way, "Clap your Hands" is very uptempo, fun, and a bit of a sequel to my children's choir mega-hit "Peace on Earth and lots of little crickets".Here's a link to a youtube performance conducted by Courtney Connelly in late Spring.

The national ACDA conference in my hometown of Chicago was a blast both on a professional and personal level. And the concert season wrapped up with a one week residency with the Cincinnati Children's Choir directed by Robyn Lana. The advanced ensemble premiered two more commissioned pieces in great fashion, one of which, the bouncy and fun "Rain" (SSA/piano) will be published by Roger Dean and the other, a very lyrical piece called "Paint the Stars" (SSA/piano flute) which I will publish personally. The truly delightful texts were by members of the choir and I have recordings of the pieces but they are not yet posted on my website (please inquire).Again, if you'd like a free perusal score of these, let me know. These pieces would generally be appropriate for mid to advanced treble choirs up through HS or early college level age women's choirs.

For those of you with mixed HS through college/professional choirs I'd like to suggest a few extended works of mine. These were commissioned pieces with very successful premieres and a few performances after that. But because of their length most every publisher has shied away from putting them into print, thus the need for me to personally advocate for them to receive further performances. In general I think the texts I discovered to set are amazing, and the imagery and content of these texts really inspired my writing. Let me know if you would like to see perusal scores, and most of them already have some sample pages/recordings up on my website at www.paulcarey.net - I have created hyperlinks for most of these pieces:

"El Limonar Florido" (The Lemon Grove in Blossom) SATB/solo violin/solo cello. 4 movements, about 17 minutes. Gorgeous Spanish texts by Antonio Machado. Choral parts not difficult. This piece received two very nice performances this past season- one from Grinnell College directed by John Rommereim and the other from Diana Saez' Coral Cantigas in Washington, D.C.

"Missa Brevis Incheon" SATB div a cappella. A bravura 16 minute work commissioned by Hak-won Yoon and the Incheon City Chorale and premiered by them in Seoul in 2009. Here's a challenge for a university or professional choir.

"Endless Worlds" SATB div a cappella. Wonderful texts about music and nature by Tagore. This was commissioned by an ambitious high school choir and they pulled it off. About 15minutes.

"Into this World" (Four Choral Seasons) SATB/piano. Four texts suggesting the seasons of nature and of our lives. A really sweet, lyrical 16 minute piece. The texts are by Elinor Wylie, Robert Louis Stevenson, Rainer Marie Rilke, and Natalie Goldberg

"1944" SATB/string orchestra, or strings one to a part. Highly imaginative WWII text by Hilda Doolittle (HD). The text actually suggested tying in elements of the Bach Christmas Oratorio. I admit it's a slightly odd piece with the war and slight Christmas element, but that's just the way it turned out!

"The Bethlehem Star" SATB divisi a cappella. This was a Christmas work commission from Nancy Menk and the South Bend Chamber Singers. About 18 minutes with great texts by Gerard Manley Hopkins.

"Winter's Night Carol" SATB(SA)/brass quintet. Thus was a Christmas work commission by an adult choir who had a children's choir associated with them, so there is a children's choir element but it can be easily taken by some of the women of an SATB choir. A very nice recent performance by Illinois Wesleyan University. Nine minutes long with text by Thomas Merton.

Three shorter recent pieces:

Christmas Bells" SATB/organ/brass/perc/handbells. Commissioned by Northern Arizona University for their 2010 Holiday concerts- this festive piece was a big hit last December.

"Voices of Earth" SATB/piano. Not difficult and very lyrical, commissioned by Briar Cliff University as part of their ”Care for Creation” initiative this past year.

"Prairie Songs" SATB/piano. 5 minutes and no divisi. Sweet Americana text by Carl Sandburg. Fun elements of Scott Joplin, Ives, and Copland in the mix.

There you have it- a whole bunch of pieces with great texts and the best music I could think of in setting them, and of course, almost no chance of conventional publication due to their length or difficulty level, or other elements(sigh). Let me know if you'd like to consider any of these pieces for performance!

Best wishes,

Paul

PS I'm leading an amazing 24 voice women's choir at the North Carolina Governor's School in Raleigh right now, and will be taking a few days off to present two interest sessions at next week's Nebraska ACDA summer session thanks to an invitation from Matt Harden. Sig Johnson is including my "Thou art the Sky" in the directors' choir so it will also be good to see Sig again!

Day Two in South Korea: Leading up to the concert

Day Two in South Korea:
Leading up to the concert

The plan for the day was for Kelley to show me around Seoul a little bit, get some lunch and then get to the dress rehearsal in preparation for the evening’s concert at the very impressive and architecturally attractive Seoul Arts Center, home to an amazing array of performing and visual arts.


Kelley drove me from my hotel on the south side of Seoul (south of the Han River) to the more prominent part of the city north of the river. We passed some very interesting sites, such as Gyeongbokgung Palace, and went up the hills past the South Korean president’s “Blue House” (hey, ours is white, theirs is blue!). Way up at the top there is a sweet lookout point with a restaurant and teahouse or two. We looked out from this hilltop at the amazingly large expanse of Seoul (pop. fifteen million, not even counting the additional millions residing in Incheon City and other immediately surrounding large cities) and had some tea. I opted for the most traditional Korean tea , as my goal on the trip was to steep myself in things Korean- haha, here I was literally steeping in Korean tea-- hey, I made a joke!


From there we drove back down toward the main city business district and had a traditional Korean lunch at a very nice restaurant. Okay, a traditional Korean lunch is about fifteen courses, an amazing assortment of soups, fish, vegetable dishes, noodles, gelled dishes; on and on the food comes! I was tanked by about course eleven , so Kelley had to be the good soldier and finish through to the last dish. For one who hasn’t tried this food it really is hard to describe, there are a few very spicy delicious dishes, yet others which are very refined and not spicy at all. It has similarities to other Oriental cuisines, yet still very much has its own strong identity. I also discovered that every kimchi is different (kimchi is a moderately spicy cabbage dish). And this pickle fan discovered that kimchi and pickles are the ubiquitous appetizer munchies presented at almost every Korean meal.



From there we went to the dress rehearsal. We grabbed an espresso near the concert hall and then headed in. The singers were already intently rehearsing Monteverdi and greeted me warmly. We then launched into the Missa Brevis Incheon and I was in heaven. They really understood the drama of the piece and were singing it with great artistry. The tonal/timbral qualities were exactly what I imagined they might be like (as I worked on my Finale files at North Carolina and at home) when sung now by these real, live, highly talented singers, and I couldn’t have been any happier. Dr. Yoon asked me for comments and/or criticisms, and really it was hard to come with anything. What a luxury! I did point out a few cadences for them tune a little tighter and a few English pronunciations that needed fixing on my African American spiritual arrangements, but that’s about all I could find to talk about. The dress rehearsal was so great, even with the singers cruising a tiny bit and saving their voices for the evening-- I knew the concert would be awesome.

Candid fun photos from rehearsal:







Next post: Day Two, The Concert

My Super Fun and Rewarding Trip to South Korea for the premiere by
the Incheon City Chorale of Missa Brevis Incheon

Part 1- The Background

If you have been following me on this blog, FaceBook, Twitter, my webpage, etc. you definitely know that I was commissioned by the Incheon City Chorale of South Korea to write a concert mass for them to premiere in October 2009. The commission came soon on the heels of my meeting the Chorale and their director Dr. Hak-Won Yoon in Oklahoma City during the ACDA 50th anniversary convention, where they wowed the audience of professional musicians to the max.

Dr. Yoon asked me to write a 15-18 minute piece (essentially a four movement “Missa Brevis”) which had to be written in about sixty days, which also happened to coincide with my challenging new summer job teaching at the amazing North Carolina Governor’s School for all of June and July. It wasn’t easy to make the time to sketch and write the piece while working such a challenging new job in North Carolina, but I knew it was important to make the time to write creative and challenging music for this amazing choir. I was able to complete the Kyrie while in North Carolina, write most of the Gloria, and have ideas and sketches for the Sanctus and Agnus Dei. Perhaps the most exciting thing was that a certain idea (quickly racing through tessituras) I had for the opening of the Gloria would perhaps be very hard to sing, and I was constantly curious whether it was really singable. But I knew this choir of virtuosi just might be able to handle it. And I was also fortunate that I could still hear the sound of the choir in my head as I wrote.

So the piece was finished after I got back home in early August and sent off via pdf file to Dr. Yoon. After awhile I heard back, Dr. Yoon and the singers liked the piece a lot and the singers especially loved the fast and forte Gloria and Sanctus. They loved the fact that I was allowing their abilities to shine and to challenge them to some degree. One interesting side note-- some pentatonic elements started writing themselves into the score while in North Carolina. I didn’t set out purposely to bring pentatonic, seemingly Eastern elements into the piece, they just kind of happened (I am one of those composers who often feels that a piece in progress takes over at some point in the creative process and seems to start writing itself). Actually a number of my pieces lately have had pentatonic elements to them- this just happened to have some of that as well (thought really only quite noticeable in parts of the Gloria).

Just about two weeks before the Seoul premiere of October 20th, Dr. Yoon informed me that a way had been found to sponsor a trip for me to Korea for the premiere. This was pretty exciting- I wasn’t expecting this to happen. Travel arrangements were made, and off I flew to Seoul on Sunday, October 18th, leaving O’Hare in Chicago about noon on Korean Air. The only other thing I had to do was make sure that Aidan, our six year old little guy, would know that Daddy would be back in five days- and not be gone the seven long weeks the poor little guy endured while I was in Raleigh, NC for most of the summer.

Next Post: Day One in South Korea