University of Missouri - Kansas City 2024 Choral Conducting Symposium Reading Session

MUSICSPOKE

University of Missouri - Kansas City

2024 Choral Conducting Symposium

Reading Session

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

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

University of Missouri - Kansas City

2024 Choral Conducting Symposium

Reading Session

More Waters Rising | arr. Saunder Choi | SATB

Imaginary Creatures | Andrea Ramsey | SATB

Umoja | Zanaida Robles | SATB

Factum Est Silentium | Braeden Ayres | SATB

Tau Ya Thaba | Sabelo Mthembu | SATB

Stabat Mater | Meredith Bowen | SATB

The Imaginary Garden | Marie-Claire Saindon | SATB

The Accompanist | Kurt Knecht | SATB

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

Quantity Printed* Digital

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2024 UMKC

M o d e r a t e l y h = 8 8

T

S A T B

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S A T B

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wa d e t h r o u g h t h e wa t e r s , - t h i s I k n o w. ( e t c )

( c l a p s c o n t i n u e )

wa d e t h r o u g h t h e wa t e r s , - t h i s I k n o w. ( e t c )

wa d e t h r o u g h t h e wa t e r s , - t h i s I k n o w ( e t c )

wa d e t h r o u g h t h e wa t e r s , - t h i s I k n o w. ( e t c )

h u m p h u m h u m h u m

h u m p h u m h u m h u m h u m p h u m h u m

I � wi l l wa l k t h r o u g h t h e f i r e , - t h i s I k n o w, t h i s I k n o w I wi l l wa l k t h r o u g h t h e & b b b b & b b b b # b b b b ?

r e b u i l d - t h em o u n t a i n s , - t h i s I k n o w, t h i s I k n o w I wi l l r e b u i l d - t h em o u n t a i n s - t h i s I k n o w S . A. T. B

2024 UMKC

2024 UMKC

2024 UMKC

Commisioned by the California Choral Directors Association for the SATB All-State Honor Choir 2022 Dr. Jeffery Redding, director

Imaginary Creatures

SATB divisi Chorus with Piano

1. Fairy

Text by Blythe and Ewan MacMullen, (ages 5 & 8)

Copyright © 2021 Andrea L. Ramsey

Music by Andrea Ramsey

?

Grandiose ( q»

Grandiose (

Text by Coen Linscheid, (age 8) Eleanor McFarland, (age 5)

Undulating,

2. Mermaid

Copyright © 2021 Andrea L. Ramsey

Music by Andrea Ramsey

Soprano Alto

Tenor Bass Piano

& ? & ?

Quick gallop ( q.» ca. 108 )

b b b b b b b b b b b b b b b b b b b b b b b b 8 12 8 12 8 12 8 12

P P

gallop ( q.» ca. 108 )

b b b b b b

goes:

goes: NAY* NAY!*

goes: NAY* NAY!*

~~~~ gliss. ~~~~ gliss. ~~~~ gliss. ~~~~

goes: NAY* NAY!*

j œ œ j œ œ j œ œ j œ u ni corn has spark ly hair and

buoyant with crisp consonants buoyant with crisp consonants - -- - -

J œ œ J œ œ J œ œ J œ u ni corn has spark ly hair and

* Toss hair and shake head from side to side. Sing roughly at pitch, but with a fast vibrato that mimics the neighing of a horse. Conductor can

© 2021 Andrea L. Ramsey

Text by Jackson Fox, (age 4)

Music by Andrea Ramsey

Text by Ewan MacMullen, (age 8)

4. Imaginary Friend

Copyright © 2021 Andrea L. Ramsey

Music by Andrea Ramsey

named,

friend

His

His

Text by

Avery and Jackson Fox, (ages 7 & 4)

Adam and Coen Linscheid, (ages 9 & 8)

Copyright © 2021 Andrea L. Ramsey

Music by Andrea Ramsey

ride

ride

ride

* Separate destroys & everything with slight glottal attack.

** entire chorus makes an open-mouthed hissing sound (no ss sounds) just open-mouthed breathing, unpitched, but with crescendo and an accented finish on an unpitched/unvoiced "ah." Scream to follow should be performed by a maximum of one scream soloist in each section (8 voices, max) and should be on the beat, quickly released, and blood-curdling. (This is a reactionary scream in fear of the evil dragon.)

And

If

friends

friends

friends

friends

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

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Factum Est Silentium

Genesis 3:1a, Revelation 12:3 (VUL)

Motet for the feast of Michael the Archangel

Braeden Ayres

*for all parts, any noteheads marked with triangle noteheads (

or

) should simulate wind, with individual singers freely mixing aspirates and fricatives such as [h], [s], [ʃ] with breathy

T raditional SeS otho Folk S ong (SAT B)

Ar ranged by: Sabelo Mthembu

jwang ma la pa

le le He ba tha ya tau

ba? tha ya tau jwang ma la pa

le le He

ba? tha ya tau jwang ma la pa

le le He

jwang? ma la pa ba? tha ya tau jwang ma pa la tlae o le le he

jwang? ma la pa ba? tha ya tau jwang ma pa la tlae o le le he

jwang? ma la pa le le He

jwang? ma pa la tlae o thi b'a tha ya tau ke'eo le le he le le He jwang? ma la pa ma pa jwang? la ya ba? tha ma pa o tau jwang la tlae le le he

Tau Ya T haba means “Lion of a mountain” in the Sotho language. Sotho is the native language of L esotho. L esotho, a countr y nestled in the souther n par t of South Afr ica, is also af fectionately k nown as the Mountain K ingdom, ow ing to its beautif ul, majestic mountains Mov ing between towns involves crossing valleys and ascending many mountains, whether by car, foot or horse. T his song speaks of the Mountain K ingdom as a place for the mighty; a place for the tr uly courageous

T he text tran slates to “only the courageous climb the lion of a mountain”, a metaphor for life in which only the strong can climb some of the toughest hills It is a song that celebrates the beauty of L esotho and a song of encouragement

S t a b a t M a t e r

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

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SATB a capella

The Imaginary Garden

Marie-Claire SAINDON

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a musical adaption of poetry wri7en by Mahvash SABET

translated and adapted to Enlgish by Bahiyyih NAKHJAVANI

Listen to it here!

or follow this link: h7ps://goo.gl/4gfU69

© 2018 George Ronald, Publishers and Marie-Claire Saindon

Marie-Claire Saindon: THE IMAGINARY GARDEN for SATB a capella choir

Copyright © 2018 by Marie-Claire Saindon, Montréal Tous droits réservés. SOCAN.

Publishing permission of Mahvash Sabet's poem, "The Imaginary Garden", has been granted by George Ronald, Publisher.

The Imaginary Garden

Mahvash Sabet

Translated and adapted into English by Bahiyyih Nakhjavani

There once was a woman green as the spring, who planted her hands in a garden. And another woman, red as her heart who plucked light from the bars of a prison. And now here I am with my own patch of soil, growing a garden in this small cell, with poppies full of love for each pane.

You need just one flower –that's all it takes –to open the windows of sight. A single verse is quite enough to illumine the eyes with light.

Program Notes

So I'll tie my bags to the foot of the breeze and soar high up to the top of the trees in my garden that grows inside. And I'll spread my wings to reach you and soar high to teach you how windows can open wide. You don't need much : one poppy is all it takes to be open to love. One verse is sufficient to fill the eyes with the shining beams from above.

“The Imaginary Garden” is a piece of hope, steadfastness, and determination during trials and tribulations. Mahvash Sabet, the author of the poem “The Imaginary Garden”, was one of the seven Bahá’í leaders in Iran who was sentenced to 20 years of imprisonment as prisoners of faith in 2008. Mrs Sabet was a school principal and was stripped of her role during the Islamic Revolution because of her adherence to the Bahá’í Faith - but this did not stop her from covertly teaching all the children and youth around her from persecuted communities, Bahá’í or not, who were devoid of the basic human right to education.

Despite her hardships in prison, Mrs Sabet still held firmly to her love of God, and to the utmost conviction that it was still her duty to teach. In this poem, she evokes others who have come before her and, like herself, have found ways to continue their tasks through unconventional means that circumvented the bars keeping them captive. The imagery of the wind picking up her materials to reach those that would be taught by her is what drives this piece.

2024 UMKC

The poem comes from a collection of short texts, scribbled on small pieces of paper and napkins, that Mrs Sabet’s family and friends snuck out of prison aber visiting hours. The poems were shared with friends outside of Iran, who then translated them into English. The collection as a whole was published under the name of “Prison Poems”, by George Ronald, Publisher in Oxford, while Mrs Sabet was still in prison.

Composer Bio

Marie-Claire Saindon is a Franco-Ontarian composer based in Montréal. She began her creative journey in high school, where she wrote and produced her first musical. She collaborated in many projects while studying music at McGill University and Université de Montréal, from choral pieces to scoring short films and full documentaries to fiddling in a team of folk musicians on a historical steam train.

Recipient of multiple composition prizes, her choral works are published with Boosey & Hawkes and Cypress Choral Music. She currently scores films, composes choral commissions, and is composer-in-residence of the Montréal female vocal ensemble Adleisia. – www.marieclairesaindon.com

Winning composition of the 2018 Eastern Horizon Choral Writing Competition, hosted by Choirs For Change, Nova Scotia

The Imaginary Garden

Poem: Mahvash Sabet* * from "Prison Poems" by Mahvash Sabet; publishing permission has been granted by George Ronald, Publisher

Music: Marie-Claire Saindon

green as the spring who

green as the spring who

wo man, who

wo man, who

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# # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # #

into SSAATTBB

. œ‰

œ spread, and I'll ˙spread

dum bay a bay dum

dum

spread

spread, and

spread

stomp clap* f f f f F f f f f

and

wings to . ˙ wings,

you and

* The singers may clap their hands or slap any comfortable surface if holding a binder/score. ** If the singers are comfortable to perform the stomped pick-up notes in the parenthesis, they may do so by alternating feet as they stomp. Otherwise, they may simply repeat measure 73 until measure 89, where they stomp one last time on its downbeat.

& & & V

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& & & V

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cresc.

cresc.

cresc.

Mozartian  = 112

The Accompanist

kurt knecht

all the cues and

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* 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

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raise. She's

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

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** 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.

2024 UMKC

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