OkCDA Tenor & Bass Submission

1.3681

Reconcile - Kyle Pederson

TBB Chorus and Piano, with opt. Descant and Drum

Reconcile

Kyle Pederson

LEE NELSON choral series

COMMISSIONING CHOIRS

This piece was commissioned through Consortio, with generous support of the following choirs and their directors:

Albert Lea High School Choirs, MN; Diane Heaney, director

Amador Valley High School Concert Choirs, CA; Mark Aubel, director

Angelica Cantanti Youth Choirs, MN; Michelle Gehrz, Rachel Lucius, Elizabeth Egger, Philip Brown, directors

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Blaine High School Choirs, MN; Susan Zemlin and Cory Westgard, directors

Chanhassen Bel Canto, MN; Sarah Gilbertson, director

Cherry Hill East Choirs, NJ; Laurie Lausi and Heather Lockart, directors

Coastal Christian High School Choirs, NC; Amy Tucker-Morgan, director

Coe College Concert Choir, IA; Mr. Jesse Bunge, director

Credo Community Choir of Dallas, TX; Jonathan Palant, director

Eagan High School Choirs, MN; Jim Cox and Amy Jo Cherner, directors

Eastview High School Choirs, MN; Greg Douma, director

Festival Singers of Florida, FL; Kevin Fenton, director

Florida State University Singers, FL; Kevin Fenton, director

Hopkins High School Choirs, MN; Katie Irvin, director

Irondale High School Choirs, MN; Jason Etten, director

James Valley Christian Choir, SD; Lorena Blom, director

Lakeville North High School Choirs, MN; Jamye Casperson, director

Lift Every Voice Project Choir, MA; Rachel Williams, director

Mahtomedi Middle School Choirs, MN; Julie Conzemius, director

Memorial Congregational Church Music Ministry, MA; Rachel Williams, director

Minnesota Saints Chorale; Barb Thibaudeau, director

Montgomery High School Choirs, TX; Heather Orr, director

Nairobi Chamber Chorus, Nairobi, Kenya; Ken Wakia, director

Oak-Land Middle School Choirs, MN; Rachel Schmeltzer, director

Prairie Point Choir, IA; Kelly Truax, director

Robbinsdale Armstrong High School Choirs, MN; Stephanie Trump and Corey Cellurale, directors

Rosemount High School Choral Arts; Steven Albaugh, Laura Sandham, Gina Toso, directors

The American International School of Muscat (TAISM), Muscat, Oman; Melanie Brink, director

The Plymouth Choir from First-Plymouth Church, NE; Tom Trenney, Minister of Music

Vancouver Youth Choir, Vancouver, Canada; Carrie Tennant, director

PROGRAM NOTES

I have been thinking a lot about reconciliation and the role it can play in helping to heal brokenness. Reconciliation is needed community-wide to address racial injustice, economic inequity, and political polarization. It is also vital on an individual level with the need to reconcile with people in our schools, neighborhoods, families, congregations, and workplaces. The text for Reconcile is crafted from the perspective of one turning towards another with whom one needs to reconcile. I do not presume to be an expert in reconciliation. In no way is this text intended to represent all the hard work, investment, and time necessary for lasting reconciliation, but I hope that it is at least a start. This can be a jumping-off point for conductors to explore with their singers, students, or congregations—how reconciliation looks, feels, and sounds. The text is intentionally open-ended allowing for different interpretations so that one may explore the form of reconciliation which resonates most in a given situation. All proceeds from the commissioning fees for this piece were donated to ISAIAH, a multi-racial, nonpartisan, multi-faith organization dedicated to the pursuit of racial and economic justice, work that is at the very heart of community-wide reconciliation.

—Kyle Pederson

PERFORMANCE NOTES

If including the Swahili descant, consider adding a Drum when the Swahili enters. The Drum part and its track are available for download at www.ecspublishing.com. Search for the product number 1.3632 and find the link under Complimentary Downloads in the More Information tab.

The four voicings of this piece, which are listed on the back, also work in combination with one another, so individual choirs may combine to sing as a mass choir.

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TEXT

English

Forgive me for all the times I stood by, turned aside, and when I cast a blind eye down; I pretended not to see you grieving, not to see you reeling, but I see you now.

I’ll turn around, my pride laid down, hear my apology. Can we talk together? I want to do better . . . May I walk with you, and stay awhile . . . Can we reconcile?

Forgive me for all the times I laughed, or went on the attack, all at your expense; Behind your back I undermined what you’re about, I sold you out, never came to your defense.

Courage is what it takes to stand up and speak; courage is what it takes to sit down and listen. * This is the work we’re called to do. This is the work we all can do.

* anonymous quote, often misattributed to Winston Churchill

*Swahili (opt.) - Transliteration | Translation | Pronunciation

Nisamehe (Forgive me): Nee sah MAY hay

Nitageuza mwenendo (I’ll turn around): Nee tah gay OO zah Mway NAYN doh

Roho yangu nitalitazama (I’ll change my heart): ROH hoh YAHN goo Nee tah lee tah ZAH mah

Twaweza kusameheana (Can we reconcile?): Twah WAY zah Koo sah may hay AH nah

Tuongee (Can we talk/walk together?): Too OHN gay

Itahitaji ushujaa (It will take courage): Ee tah hee TAH jee Oo SHOO jah

Simama (Stand up): See MAH mah

Sema ukweli (Speak truth): SAY mah Oo KWAY lee

Keti chini skiza (Sit down and listen): KAY tee CHEE nee SKEE zah

Ningependa kukuelewa (I want to understand you): Nin gay PAYN dah Koo kway LAY wah

Sote twaweza haya (We all can do this): SOH tay Twah WAY zah HAH yah

* Early in the composition process for this piece I learned that the Nairobi Chamber Chorus would be one of the commissioning choirs. I reached out to their director, Ken Wakia, and we both agreed that an optional Swahili layer would be a wonderful element to incorporate into this work. Swahili is such a beautiful language, and the inclusion of a second language reinforces the universality of the themes explored in this piece.

TBB setting dedicated to the Twin Cities Gay Men’s Chorus, directed by Dr. Gerald Gurss

for TBB Chorus and Piano with optional Descant and Drum

Words and Music by KylePederson

optional repeat* (to allow for narration)

*Severalwritersandworldleadershaveofferedprofoundwordsonreconciliation.Youarewelcometofindapassage/quote thatresonates(orinvolveyourchoirincraftingsomethingstemmingfromtheirexperience)andincludethatasnarration asthepianounderscoresinmeasures5-8.

ReproduciblepartforDrumisavailableasafreedownloadatwww.morningstarmusic.com Searchfortheproductnumber1.3681and ndthelinkunderComplimentaryDownloadsintheMoreInformationtab.

Copyright©2023byGalaxyMusicCorp., adivisionofECSPublishingGroup. www.ecspublishing.comAllrightsreserved

I’llturnaround,

mypridelaiddown,

hearmyapology.

MayIwalkwithyou,

Ifthefirstverseissungbyasoloist,then mm.27-28shouldalsobesungbythesoloist withthechorusenteringinm.29.

opt. Descant (Ensemble or Chorus)* with Swahili text

*IfincludingbothnarrationandtheSwahilidescanthere,allowthedescanttobesungoncethrough(mm.28-31) beforeproceedingwiththenarration.

**IfincludingtheSwahilidescant,consideraddingadrum.Thepartprovidedcanbeusedasaguide; theplayermaycertainlyelaborate.

*Narrationmaybeinserted,asexplainedonpage1.

3 nitalitazama,

unis.

mypridelaiddown,

er?Iwanttodobet

er?Iwanttodobet

MayIwalkwithyou,

MayIwalkwithyou,

MayIwalkwithyou,

*Playthecue-sizednotesinmm.51-53onlyiftheSwahilidescantisnotincluded.

shujaa,oh,simama,

tostandupandspeak,

tostandupandspeak,

shujaa,

tositdownandlisten,

Courageiswhatittakes

[cue-sizednotesare optionalharmonyfordescant]

tositdownandlisten,

Courageiswhatittakes

tostandupandspeak,

tostandupandspeak,

sotetwawezahaya,

tositdownandlisten,

Thisistheworkwe’recalledtodo,

tositdownandlisten,

It’lltakecourage,

thisistheworkweallcando.

Thisistheworkwe’recalledtodo.

sotetwawezahaya,

Thisistheworkweallcando!

It’lltakecourage,

semau

Thisistheworkweallcando!

Couragetostandupandspeak,

kweli,simama,semaukweli,

Thisistheworkwe’recalledtodo.

couragetositdownandlisten,

Thisistheworkwe’recalledtodo.

**BaritonesmayjoinsecondTenorsinthismeasure.

Thisistheworkforus.

mypridelaiddown,

mypridelaiddown,

MayIwalkwithyou,

MayIwalkwithyou,

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LEE NELSON choral series

The focus of this series is to provide outstanding choral music appropriate for all state and festival choirs, high school ensembles as well as college/ university, and community choirs. The series seeks to promotes interesting and innovative works composed by both established and new composers.

Dr. Lee Nelson is the Patricia R. Zahn Chair in Choral Conducting and serves as the Director of Choral Activities at Wartburg College in Waverly, Iowa. He conducts the Wartburg Choir and Ritterchor (tenor/ bass choir), teaches conducting, and is the artistic director of Christmas with Wartburg. Under Nelson’s direction, the Wartburg Choir has performed both nationally and internationally and they have been featured at both regional and national conferences of the American Choral Director’s Association. The choir was chosen as the national winner of the American Prize in Choral Performance (College/ University division) and have performed in many of the country’s most well-known concert halls and cathedrals including an invitation to perform at the White House and the National Cathedral in Washington, D.C. An active guest conductor and clinician, Nelson has conducted at Carnegie Hall on multiple occasions and has directed all-state choirs, honor choirs, and festival choirs throughout the United States and internationally. A champion of contemporary music, he regularly commissions and performs new works of choral literature and frequently works with both emerging and established composers.

For a complete listing of publications in this series, visit our website: www.ecspublishing.com

1.3703

Leave Her, Johnny - Luke Aumann

Baritone Solo and TTB Chorus unaccompanied

Leave Her, Johnny

Arranged by Luke Aumann

CatalogNo.1.3703

LeaveHer,Johnny

Traditionalseashanty for Baritone Solo and TTB Chorus unaccompanied

h = 66

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Verses

Baritone Solo

1.Oh,the

times 2.thought 3.wind 4.hate 5.leave 6.swear was I was to her by hard heard foul sail tight rote and the and on and for the the this we’ll

wa old sea rot leave want ges man ran ten her of say, tub. trim, more, dry, low,

Leaveher,Johnny,

Tenor1

Tenor2

Bass

leaveher! 2.to

grub mor shipped grog heave now was row it al the we’re bad ye green lowed hun through and will and and gry so the we’ll

gales get none stink pack go did yer went in’ et on blow. pay. grub. in shore. by. Andit’s

leaveher!

leaveher!

Chorus (afterverse6,gotoFinalChorus)

Leaveher,Johnny,

leaveher!Oh,

leaveher!

Leaveher,Johnny

leaveher!Oh,

leaveher,Johnny,

leaveher!Forthe

voyageislongandthe

leaveher,Johnny,

leaveher!Forthe

voyageislongandthe

windsdon’tblowandit’s

with

Leaveher,Johnny,

leaveher!Oh,

leaveher,Johnny,

leaveher!Forthe

Leaveher,Johnny,

leaveher!Oh,

leaveher,Johnny,

leaveher!Forthe

voyageislong,andthe

windsdon’tblow,andit’s

timeforusto

voyageislong,andthe

windsdon’tblow,andit’s

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The Kraken - Jon Eiche

TTB Chorus and Piano

The Kraken Jon Eiche

only

TTB Chorus and Piano

PROGRAM NOTES

A compelling story can stay with you long after you’ve heard it. So it was for me with “The Kraken,” a short story about Vikings battling a sea monster, written by my high school friend Mike Kallenberger. It stuck with me—for half a century! Finally, I decided I needed to take my place in the line of storytellers, like a Norse poet recounting one of the great sagas around a communal fire.

The framework of the tale is as I remember it: the setting, the encounter, the flashback, and especially the ending. The details, as with any retelling, no doubt have changed from Mike’s original. (Alas! Neither he nor I possess a copy of his story anymore.) What I’ve tried to depict in this musical version is not only the horror of the creature, but the humanity of the crew. I hope it stays with you.

—Jon Eiche

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Over the waves we roam, with sail unfurled, leaving behind our home of glacier and fjord. Westward, ever westward, to the edge of the world, searching for lands unexplored.

Sons of the sea we are and brothers all.

Sure as the Northern Star, we’ll ever be true, faithful to our Captain, no matter the squall, tested by all we’ve been through.

Keep an eye out for danger, Yes, sir!

we’re off the map.

Uncharted waters.

We know the yarns the old men spin. Who says they’re yarns?

A roiling sea.

You see it roil. A sudden trap. Be on your guard!

A fiend from the abyss of sin!

The Kraken! The beast! The terror of the deep! Leviathan as big as any whale. It rouses to feast, so pray it stays asleep, for few who see it live to tell the tale.

Rocked by the tide and breeze, kissed by the spray. Why are you all at ease? What?

There’s something ahead!

Oh!

Writhing and convulsing and speeding this way. To arms! Or we’re as good as dead.

The Kraken! It strikes! Its tentacles extend to seize whatever it may find in reach. With axes and pikes we hasten to defend.

Attack it, men!

Attack it how?

Protect the mast!

It has the prow! Its giant arms, they’re ev’rywhere!

Help! Help!

He’s dangling in the air!

Have courage, lads!

My knees grow weak!

That mouth!

A monstrous eagle’s beak! If it should catch us in its grip, we’re lost! It’s bound to crush the ship!

Wha’ do we do, Captain?

Wha’ do I do?

My son, consider this notion, in battle on land or the ocean: an egg in the palm of the hand can’t be broken or crushed; it will withstand.

An egg in the palm of the hand.

Wha’ do we do?

To the oars!

Aye aye!

Row forward! What?

Into the creature’s jaws!

Are you mad?

Do you trust me?

Aye!

It’s our only chance! Whatever you say!

Row for your lives!

Row for your lives!

The Kraken!

Ah!

—Jon Eiche

Based on “The Kraken,” by Mike Kallenberger

TheKraken

for TTB Chorus and Piano

Mighty as the sea (q. =90)

Tenor1

Tenor2 Bass

Mighty as the sea (q. =90)

Piano

pedal harmonically throughout

Text:JonEiche,basedon“TheKraken,”byMikeKallenberger(1973).Usedbypermission.

Copyright©2024IonePress,Inc., adivisionofECSPublishingGroup. www.ecspublishing.comAllrightsreserved.

hindourhomeofglacierand

fjord.

hindourhomeofglacierand

fjord.

Westward,everwestward,tothe

edgeoftheworld,

Westward,everwestward,tothe

searchingforlandsunex

searchingforlandsunex

seaweareand

NorthernStar,we’lleverbe

NorthernStar,we’lleverbe

NorthernStar,we’lleverbe

faithfultoourCaptain,

faithfultoourCaptain,no

through.

through.Keepan

eyeoutfordanger,we’re

through.

Yes,sir!

*Kraken!Thebeast!The

*Kraken!Thebeast!The

*Kraken!Thebeast!The

Dreamily (

Rockedbythe

Rockedbythe

Rockedbythe

Dreamily (

spray.Whyareyou

spray.

Writhingandconvulsing,and

Writhingandconvulsing,and

arms!

arms!Orwe’reasgoodas

arms!Orwe’reasgoodas

Toarms!The

dead.Toarms!The

seizewhateveritmay

seizewhateveritmayfindin

hastentodefend.

axesandpikeswe

hastentodefend.

giantarms,they’reev’rywhere!

Help!

courage,lads!

Mykneesgrowweak!

He’sdanglingintheair!

Amonstrouseagle’sbeak!

Wha’dowedo?Wha’dowe,wha’dowe

Wha’doIdo?Wha’doI

do,Captain?Wha’dowe

brokenorcrushed;it

Tempo primo (q. =90)

do?

Wha’dowedo?

Wha’dowedo?Wha’dowedo?

Tempo primo (q. =90)

Totheoars!Row

Wha’dowedo?Ayeaye!

Whateveryousay!

Rowforyourlives!

Whateveryousay!

Rowforyourlives!

lives!

Rowforyourlives!

Rowforyourlives!