Reading Session

MUSICSPOKE

Kansas Choral Directors Association

2024 Summer Conference Reading Session

Phone & FAX: 844.687.7653 • Email: notes@musicspoke.com

P.O. Box 10026 | Kansas City, MO 64171

Kansas Choral Directors Association

2024 Summer Conference

Quantity Printed* Digital

Alchemy | SATB | Andrea Ramsey

The Accompanist | SATB | Kurt Knecht

Be Still | SATB | Tim Tharaldson

Hope Lingers On | SATB | Andrea Ramsey

Columba Mea | SATB | Forrest Pierce

Umoja | SATB | Zanaida Robles

Calling Us Home | SATB | Jane Kozhevnikova

The Arrow and the Song | SATB | Bradley Vogel

The Bee and the Frog | SATB | David von Kampen

Stabat Mater | SATB | Meredith Bowen

* If ordering printed scores, shipping will be added to the invoice

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2024 KCDA

Sara Teasdale

Andrea Ramsey

Mozartian  = 112

The Accompanist

kurt knecht

all the cues and

2024 KCDA

* The accompanist slams an indeterminate cluster and says something like, "Nope! Try again." Then the accompanist re-pitches the choir for the next attempt.

** The accompanist again slams an indefinte cluster and says something like, "Not quite." Then the accompanist re-pitches for the third attempt.

* The choir looks over at the accompanist for approval, and the accompanist gives a thumbs up.

** The accompanist does a face palm.

The basses land on D flat, and the accompanist bangs a D natural until they all come up to pitch.

* The conductor makes a large cutoff gesture. The accompanist ignores and continues playing.

** The conductor makes increasingly furious attempts to cut the accompanist off.

(play if necessary)

(play

2024 KCDA

raise. She's

* The choir glances over nervously. The accompanist can do a fingers crossed gesture.

2024 KCDA

** Accompanist makes continued gestures of despair between attempts. e.g. hand to the forehead while shaking head, hands folded in prayer, the third can be the most dramatic like a feigned stab to the heart.

*** After the third attempt fails, some one in the choir gets an idea and quickly whispers it to the rest of the group.

T I M O T H Y J O N T H A R A L D S O N

B e Sti ll

S AT B

1 S amuel 12:16, I saiah 40:31-32, P salm 46:10

2024 KCDA

N ew R evised S tandard Version B ible, copyright 1989, D ivision of C hristian E ducation of the N ational C ouncil of the C hurches of C hrist in the U nited S tates of A merica U sed by permission A ll rights reserved

Be Still

com ing, - H e is com ing, - H e is com ing, -

F or mf H e is com ing,mf H e is com ing, - com ing,mp H e is com ing, -

H e is com ing, -mp for H e is com ing, -

H e

is com ing -

H e

is com ing -

H e is com ing -

H e is

stand and see this great

T here fore - take your mf stand and see this great

thing

the L ord will do be fore

your eyes, be fore - your eyes, your

thing

the L ord will do be fore - your eyes, your

thing

the L ord will do be fore - your eyes, be fore - your eyes

thing

the L ord will do be fore - your eyes.

mp they shall walk and not

mp walk and not run and and not be wea ry,run and and not be wea ry,faint mp those who wait for the L ord, be rit.

faint mp for the L ord be mp those who wait be those mp who wait for the L ord be

still,

wait for the L ord, be be still, be still,

still, f those who wait for the L ord, those who still, f those who wait for the L ord, be still, those who still, f be still, those who wait for the L ord, be

those who wait for the L ord, be mp still, rit. q=66

wait for the L ord, be mp still, be wait for the L ord, still, for the L ord,

be still, mp be still and

still, be still, mp be still, be still, mp be still, be still, still, be still, mp be still,

2024 KCDA

Body Perc. (option)

Egg shaker Low Drum (Cajon, Djembe, similar)

* Also available for SSAA ** See Arranger notes on page 2 Commissioned by the Vancouver Youth

Hope Lingers On

Chorus with Percussion

Lissa Schneckenburger Arranged by Andrea Ramsey

Canticum Canticorum

C O L U M B A M E A F. Pierce, 2014

(O My Dove)

columba mea in foraminibus petrae in caverna maceriae ostende mihi faciem tuam sonet vox tua in auribus meis vox enim tua dulcis et facies tua decora

O my dove in the clefts of the rock, in the hiding places on the mountainside, show me your face, let me hear your voice; for your voice is sweet, and your face is lovely.

& & V ? & ?

KWANZAA SONGS

By Zanaida Stewart Robles

“Umoja” is the first principle of Kwanzaa meaning unity. This setting is designed to incorporate improvisation and can be performed in any combination of voices and/or instruments. Percussion instruments such as the kalimba, atoke bells, or djembe drum can be added in a rhythmic yet improvisatory manner to create a richer texture. The rhythm should dissipate as the aleatoric section begins.

Kwanzaa principles are valuable to remember year-round, which makes Kwanzaa music viable for performances at concerts, festivals, sacred services, conferences, casual gatherings and special occasions throughout the year.

Dr. Zanaida Stewart Robles is a fierce advocate for diversity and inclusion in music education and performance. Authentic interpersonal connection and relationship-building are core principles of her teaching and performance methods. Born, raised, and educated in Southern California, she is in demand as a vocalist, conductor, clinician and adjudicator for competitions, festivals, and conferences related to choral and solo vocal music. She serves on the national board of the National Association of Negro Musicians and is chair of the board of directors of Tonality, a non-profit organization that promotes peace, unity, and social justice through choral music performance in Los Angeles. She holds a Doctor of Musical Arts degree from the USC Thornton School of Music, a Master of Music degree from CSU Northridge, a Bachelor of Music degree from CSU Long Beach, and she is a graduate of the Los Angeles County High School for the Arts.

www.ZanaidaRobles.com

solo or group

Umoja

Zanaida Robles

Umoja

*Aleatoric section; tempo ad lib

*Each individual singer starts and ends on their own, singing the whole melody in parenthesis at their own slow pace.

in time, solo or group

Germaine Shames, music by Jane Kozhevnikova

About the work

Written by Jane Kozhevnikova in 2022, “Calling Us Home” is a setting of Germaine Shames’ lyrics for voice and piano/SATB and piano. The choral version was premiered on November 19, 2023, by the UNCG Chorale directed by Dr. Carole Ott Coelho. It is a poignant piece that evokes a sense of longing for home and connecting with the universe.

Duration: ca. 3’40’’

For inquiries or performance reports, please email homoinsomnis@yahoo.com.

Calling Us Home by

Germaine Shames

There’s a voice in the sweet beyond A road spun of golden light

There’s a spark in the deep of night

And a breeze stirring the tree of life

The moon has got his full face on He’s beaming from his throne

While stardust bursts upon our dreams

Calling us home

See those stars with their tap shoes laced

They’re dancing to the glow

When gladness brims within our souls

Calling us home

Home is where redemption waits, where darkness cannot go Oh, home is where the broken are made whole, are made whole

The moon has got his trumpet out

He’s jamming sweet and low

And lightning breaks upon our sleep

Calling us home

Calling us home…

2024 KCDA

The Arrow and the Song

For the 2023 South Central Kansas Music Educators Association Middle School Choir Henry Wadsworth Longfellow

doondoondoondoon

Bradley Vogel

*always close to the "n" of "doon" immediately

doondoondoondoon

whohassightsokeen

andstrong,that

ginningto

ginning,be

gin ginningningto

ginning,be

ginningto

doondoondoondoon

Founditintheheart

doondoondoondoon

the bee and the frog

2024 KCDA

Two More Children’s Poems for SATB and Piano

By David von Kampen

Approximate duration: 5 minutes

1. The Honey Bee (F.W. Hutt)

2. Hopping Frog (Christina Rossetti)

PROGRAM NOTES:

Ten years after composing my first SATB choral pieces (2 C h i l d h o o d P o e m s

o f W a l t e r d e l a M a r e ) as a junior in high school, I decided to try setting another pair of children’s poems for my D.M.A. composition recital at the University of Kansas. I thought it would be fun to revisit the style of those first pieces and I needed to write something that a volunteer choir could pull together with minimal rehearsal time so it seemed like a good fit.

The settings are simple, with what I hope are a few pleasant surprises along the way. The set would be a good challenge for an experienced high school choir, but I believe there is enough nuance and harmonic variety to hold the interest of a collegiate or professional ensemble.

David von Kampen

July 14, 2014 – Lincoln, Nebraska

www.DavidvonKampen.com

The Honey Bee

David von Kampen

& V ? & ?

HONEY BEE (von Kampen) - page 8 of

& & V ? & ?

(fals.) (fals.)

Christina Rossetti (1830-1894)

Hopping Frog

David

& V ? & ?

frog.

S t a b a t M a t e r

KCDA

for SATB choir, keyboard, and cello Sulpitia Cesis (1577 - after 1609)

edited by Meredith Bowen

Notes

Sulpitia Lodovica Cesis (1577 – after 1619) was a nun at the Augustinian convent of San Geminiano in Modena, Italy. Like many young women from wealthy families in the 17th century, she professed her vows of poverty, chastity, and obedience at age 16 then lived her entire life behind the walls and iron grates of her convent. Cesis was mentioned in a traveler’s account from 1596: “The nuns there are versed in all sorts of musical instruments...[including] Sister Sulpitia, daughter of the most illustrious Signor Count Cesis, who played the lute excellently... they performed a motet of hers which was highly praised.” She published one volume of music in 1619 entitled Motteti spirituali. This volume contains twenty-three motets for 2-12 voices including parts for tenors and/or basses.

The “Stabat Mater” is a 13th-century Latin hymn about Mary’s pain at the foot of her Son’s cross, sung during the fifth week of Lent. The performance would have taken place in a divided chapel with the nuns singing and playing behind a wall or iron grate to obscure their faces from the public.

Originally scored for soprano, alto, tenor, and bass voices in part books, this edition provides all four parts combined in modernized notation. All tempos, dynamics, and breath marks are editorial. The organ and cello parts are optional, but can be played colla parte, per early-modern performance practice.

Text and Translation

Stabat Mater dolorosa iuxta crucem lacrimosa dum pendebat Filius.

Cuius animam gementem constriantem, et dolentem pertransivit gladius.

O quam tristis et afflicta fuit illa benedicta Mater unigeniti.

Quis est homo qui non fleret Christi Matrem si videret in tanto supplicio?

Sancta Mater istus agas Crucifixi fige plagas cordi meo valide.

Tui nati vulnerati iam dignato pro me pati paenas mecum divide. Fac me plagis vulnerati cruce hac inebriari ob amorem filii.

Quando corpus morietur fac ut anime donetur Paradisi gloria.

The sorrowful mother stood weeping beside the cross while her son was hanging there. Her grieving soul sad and dolorous was pierced through as by a sword. O how sad and afflicted was that blessed mother of an only son. Who is the man who would not weep if he saw the mother of Christ in such distress?

Holy Mother, hear me, and inflict the wounds of the cross deeply in my heart. Your son, covered with wounds, desired to suffer for me; may I share his pains. May his wounds hurt me, may I become intoxicated from the cross, for the love of your son. When my body dies may my soul be granted heavenly glory.

An SSA performance of this piece was recorded by mirabai and can be heard here: https://youtu.be/6dH079UXABQ

Mater

Edited by Meredith Bowen

Stabat Mater

2024 KCDA

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