MUSIC FOR TREBLE CHOIRS
A Living Song
Boosey & Hawkes 48019421
For the 2007 Tennessee All-State Women’s Chorus, Sandra Snow, conductor
Voicing: SSA chorus with piano (also available for mixed chorus)
Chamber orchestra full score and parts 48019360
Duration: c. 3’
First Performance: 2007 Tennessee All-State Women’s Chorus, Sandra Snow, conductor
Text: Joseph Freiherr von Eichendrorff (1788-1857) and a 19th c. rattle fragment from the
Northwest Canadian Coast
There is a song
Sleeping in all things that dream on and on,
And the world will awaken to sing
If only you can find the magic word.
-----
In your throat is a living song
A Living spirit song
His name is Long-Life-Maker
Yes I'm here to heal
With the healing ways
Of the Magic-of-the-Ground
The Magic-of-the-Earth
And you will spring to life
Through the power of the words
Through the Magic-of-the-Ground
The Magic-of-the-Earth
LISTEN
Order orchestral version parts
Kazuaki Tanahashi's performance painting on "A Living Song"
York, England, August 2006
The original mixed chorus version of this piece grew out of my love and admiration for Doreen Rao and what she has created with the CME Institute and series of publications through Boosey & Hawkes. Our friendship stretches back over twenty-five years and I have learned much from her about music and life, passion, authenticity and conviction, contemplation and reflection. It was a fitting gift for the 20th anniversary of the CME Institute.
My admiration extends to Marguerite McCormick and the Children's Chorus of San Antonio, who premiered this piece at the 2006 Institute in York, England, and with whom I have collaborated on a number of happy occasions. I thank them for their joyful music-making.
In addition, I have loved the text for which this piece is named and which was given to me some years ago by Doreen. It is a vision song found on a 19th century rattle fragment from the Northwest Canadian coast which was sung to a woman when she was sick: she then used it to cure others. I have wanted to set this for a long while and it was upon finding the additional poem of Joseph Freiherr von Eichendrorff that I sensed a natural connection between the two. The occasion of the CME anniversary and the long-held wish of Doreen and I to write an "anthem" of sorts for a wide community of singers converged as the perfect opportunity for this piece.
The treble version was requested by Sandra Snow for the 2007 Tennessee All-State Women’s Chorus.
Sing with passion and conviction, contemplation and reflection.
A Song for Every Child
Boosey & Hawkes 48019684
Dedicated to Martha Ellen Stilwell. Commissioned for the Spivey Hall Children’s Choir in loving memory of Bill & Lillian Loucks
Voicing: SSA chorus with piano
Duration: c. 3’
First Performance: The Spivey Hall Children’s Choir, Martha Shaw, director,
Morrow, Georgia, May 20, 2006
Text: William Blake (1757-1827) Songs of Innocence: Introduction
Piping down the valleys wild
Piping songs of pleasant glee
On a cloud I saw a child.
And he laughing said to me.
Pipe a song about a Lamb:
So I piped with merry chear,
Piper, pipe that song again --
So I piped, he wept to hear.
Drop thy pipe thy happy pipe
Sing thy songs of happy chear,
So I sung the same again
While he wept with joy to hear.
Piper sit thee down and write
In a book that all may read --
So he vanished from my sight
And I pluck'd a hollow reed.
And I made a rural pen,
And I stained the water clear,
And I wrote my happy songs,
Every child my joy to hear.
LISTEN
Georgia Children's Chorus
David Brunner is the Schubert of our time. His soaring melodies are a delight to all who hear them, and his text settings are beautifully crafted. A Song For Every Child is a magical illustration of a Robert Blake poem about the joy of music and song in the life of a child. My singers loved its playful rhythms and poignant text, and it was fun to learn and perform. This piece is a wonderful addition to David's treble choir literature.
Martha Shaw
Artistic Director
Spivey Hall Children's ChoirI have long admired the Spivey Hall Children's Chorus and their director Martha Shaw and have always been enamored by their very musical performances and recordings of my works. This commission was a great pleasure and privilege and my time with the singers in Spivey Hall a special joy.
This is surely a text for players, singers and composers! The laughing child on a cloud addresses us and says to "Pipe a song about a Lamb", "Sing thy songs of happy chear", "Sit thee down and write in a book all may read". So we do. "I piped... I sung... And I write my happy songs every child may joy to hear.
The rhythm and rhyme of the poem have a playful nature, which is reflected in the shifting meters that follow the rhyhmic countour and accentuation of the words. The singing is light and bright throughout, text and texture clear and articulate, and the spirit playful and full of joy.
A Song To End All War
Boosey & Hawkes 48019724
Commissioned for the 2007 Sing A Mile High Children's Choral Festival, Denver, Colorado, by Young Voices of Colorado, Jena Dickey, Artistic Director
Voicing: SA chorus with piano
Duration: c. 3'15"
First Performance: Sing a Mile High Children's Choral Festival, David Brunner, conductor,
Denver, Colorado, June 25, 2007
Text: Bill Worrell, The Shaman of Brotherhood (Lullaby for War), 03/28 & 30/06, 1:27 p.m.,
The shed, Santa Fe, New Mexico
I wish I could write a song
or some songwriter would
a song to end all war
and create brotherhood
A song about a world
joined for man's common good
that would make every soul
live by the golden rule
A song of love and joy
of never ending peace
what a song what a song
that song would be
What lyrics can we pen
what notes do we need
to scribe the words and music
to soothe war's savage beast
Some melody to sing
some shaman's drum to beat
some lullaby to lull
war forever into sleep
After working with David to select the text for If I Could Write A Song, I knew that the piece would be meaningful and beautiful. Having conducted other Brunner pieces over the years, I also knew that the melodies would soar at the most poignant places and create those spine chills that his music often produces. What I didn't anticipate was the ease and professionalism of the commission process. Contracts were clear and concise, and the product was delivered ahead of schedule. If I Could Write A Song is easy to sing and its beauty will long echo in the hearts of the singers and their audience. It is a perfect ballad for our time.
Jena Dickey
Founder and Artistic Director
Sing A Mile High Children's Choral Festival
Young Voices of Colorado
From my first encounter I have had a special resonance with Bill Worrell's art -- both his sculpture and his words. His writing entitled The Shaman of Brotherhood (Lullaby for War) holds special significance in our present world. There's a certain sense of frustration, yet hopefulness at the same time. If only we could find the right melody, the right drum beat to invent a song to end all war. What notes? What lyrics? It really brings us the larger question of what one person can do to bring peace, compassion and understanding to our immediate world and the larger world around us.
A Song to End All War was commissioned and first performed as If I Could Write A Song by the 2007 Sing-A-Mile-High Children's Choir Festival in Denver, Colorado.
Sing this simple ballad with sincerity and an open heart. Sing as though your words could make a diference.
All I Was Doing Was Breathing (Ecstatic Songs)
Boosey & Hawkes 48019949, Instrumental Parts 48019950
For my dear friend Sandra Snow, Conductor, and the Michigan State University Women's Chamber Ensemble
Voicing: SSAA chorus with soprano soloist, cello, tabla, Tibetan finger cymbals, brass bowls,
jangle stick, elephant bells and ankle bells
Duration: c. 6'10"
First Performance: The Michigan State University Women's Chamber Ensemble,
Sandra Snow, conductor, National ACDA Convention, Oklahoma City,
Oklahoma, March 4 2009
Text: Mirabai (1498-1547)
Something has reached out and taken in the beams of my eyes.
There is a longing, it is for his body, for every hair of that dark body.
All I was doing was being, and the Dancing Energy came by my house.
His face looks curiously like the moon, I saw it from the side, smiling.
My family says: "Don't ever see him again!" And imply things in a low voice.
But my eyes have their own life; they laugh at rules, and know whose they are.
I believe I can bear on my shoulders whatever you want to say of me.
Mira says: Without the energy that lifts mountains, how am I to live?
LISTEN
Michigan State University Women's Chamber Ensemble
Sandra Snow, conductor
2009 National ACDA convention, Oklahoma City
I remember the day of the premiere, people were eager to speak about the performance. To a person, they began to congratulate but most soon stopped, put a hand over their heart, and were left without a way to talk about the experience. The power of All I Was Doing Was Breathing is on multiple levels. There is the poem itself, a personal and vulnerable expression of Mira's inner soul. There is David Brunner's soulful interpretation of the poem and his uncanny ability to draw the listener in through his imaginative composition and his quiet listening and response to the message Mira communicates. Most powerfully for me as teacher was the transformative nature of the project for the women singing Mira's words through David's music. These women found an inner voice of strength both in community with one another and in a personal relationship, it seemed, with Mirabei. They profoundly related to Mira's strength, her wildness, her unflinching gaze into a world that did not understand her. This project and their interaction with David Brunner in the commissioning process forever altered the young women in the ensemble.
Sandra Snow
Michigan State University
The songs of Mirabai (1498 - 1547) are startling in the power of their imagery -- words at once mystical and religious, earthy and sensual. They are private and personal, words that nearly belong in a diary. Mira's renunciation of worldly things and devotion to Krishna led her to express both intense desire and unfailing devotion in poetry and song, frequently entering into states of ecstasy and trance.
It came not of her own volition. "Something has reached out and taken in the beams of my eyes. All I was doing was being" she says in hushed tones, "and the dancing energy came to my house". "My family says "Don't ever see him again, but my eyes have their own life". Mira's next statement is a turning point, personally and musically, and is the beginning of her awareness of resolve and inner strength. Mira says "I believe I can bear on my shoulders whatever you want to say of me". This becomes a mantra and the bulk of the composition. Its insistence builds with repetition, suggesting a trance state, as her confidence and inner resolve strength -- a strength expressed both as solo statement and communal solidarity. A slight hesitation at first, even tripping over her words, soon becomes a powerful statement, an affirmation of the strong feminine spirit. A single utterance -- a cry of desperation -- brings the music to a halt. Mira says "Without the energy that lifts mountains, how am I to live?"
Sinuous and sensual solo lines, drones, embellishment, rhythmic ostinati and layering of voices and instruments characterize this movement. There is a strong presence of breath throughout the piece in the vocal falloffs, sustained drones, long-breathed solo phrases and overtone singing. The voice of Mira is present in an ornate solo vocal line. The solo cello is a grounding presence and is, perhaps, the voice of Krishna, a shared presence in the duets. Or is it another expression of Mira -- her inner voice?
I have long felt a connection with the music and culture of Mira's homeland. Other unexpected influences include Thoth, a colorful performer in Angel tunnel in Central Park, who I happened upon on a sunny spring day in April. His singing employs the full vocal spectrum, from a throaty drone to a powerful falsetto. He accompanies himself on violin, at times foreground and background, and provides a grounding rhythmic presence in his feet, adorned with jangles. His is a sacred performance (or "prayformance" as he calls it), which is hypnotic for both performer and observer.
I was delighted and moved by the imagination of Carmina Slovenica's "vocal theatre". Their imaginative staging of new music brings visual and kinesthetic elements into strong relief, layering meaning to their already exquisite singing. Sandra Snow and I immediately envisioned this semi-staged or incorporating movement in some way and I found inspiration in the work of Carmina Slovenica.
Solo performer Shelia Chandra's distinctive voice and her sensitive and powerful delivery of Indian influenced world fusion was an inspiration for the voice of Mira.
Finally the strong image of Mira, herself, informed everything about the piece.
All I Was Doing Was Breathing is the first of three movements comprising the Ecstatic Songs.
All Thy Gifts of Love
Boosey & Hawkes 48019152
Commissioned for the 2005 Hillsborough County Fine Arts Festival and dedicated in memory of Dr. Virginia Bridges, Professor Emerita, University of South Florida.
Voicing: SA chorus with piano (also available for mixed chorus)
Duration: c. 3'
First Performance: May 10, 2005, Morsani Hall, Tampa Bay Performing Arts Center,
Tampa, FL, David L. Brunner, conductor
Text: Hunger Fund Committee, Diocese of Huron
with additional verses by the composer
For food in a world where many walk in hunger,
For peace in a world where many walk in fear,
For friends in a world where many walk alone,
We give you thanks, O God.
For health in a world where many walk in sickness,
For joy in a world where many walk in grief,
For friends in a world where many walk alone,
We give you thanks, O God.
For love in a world where many walk in anger,
Light in a world where many walk in darkness,
Friends in a world where many walk alone,
We give you thanks, O God.
For these and all the many things unspoken,
For gifts unknown or, as of yet, unseen.
For these and all thy gifts of love,
We give thee thanks, O God.
Verse 1: Diocese of Huron
Verses 2-4: David L. Brunner
LISTEN
Jean Ashworth Bartle sent the first verse of this poem in her Christmas greetings a year or so ago, and this small fragment was the inspiration for additional verses I added and for this setting of All Thy Gifts of Love for the 2005 Hillsborough County Fine Arts Festival in Tampa, Florida. “For these and all thy gifts of love” in the final verse is part of the family grace of Rev. Galen Russell, which I remember fondly.
It should be sung simply, in a moderate tempo.
Amazing Grace
Boosey & Hawkes 48005147
Commissioned by Nigel Durno & the Pupils of Stewarton Academy with Mandy Miller, Choral Director, with funds provided by the Scottish Arts Council
Voicing: SATB and treble choruses with piano and flute
Duration: c. 5'
First Performance: 18 June 2002, Glasgow, Scotland, Mandy Miller, conductor
Text: John Newton (1725-1807)
That saved a wretch like me
I once was lost, but now am found
Was blind but now I see.
And Grace, my fears relieved
How precious did that Grace appear
The hour I first believed.
We have already come
T'was Grace that brought us safe thus far
And Grace will lead us home.
His word my hope secures,
He will my shield and portion be
As long as life endures.
Bright shining as the sun,
We've no less days to sing God's praise
Than when we first begun.
That saved a wretch like me
I once was lost but now am found
Was blind but now I see.
LISTEN
Few sacred songs are as universally known or loved as Amazing Grace. Because of its popularity and because it has been set so many times by contemporary composers, I have been reluctant to do so. A commission from my friend Mandy Miller in Scotland, however, was the inspiration for this new composition.
This piece is unusual for me in several ways. I've not composed much in what I would consider a "folk" idiom, but suppose I was thinking of something in that character when I decided on the new melody, a shapely contour composed of but a few gestures that repeat -- each verse an asymmetrical five phrases of four measures each. This odd number of phrases springs from the text, which is repeated in a way that's also unusual for me. I rarely repeat words at all, but found that by doing so here, new emphasis was placed on familiar words in a fresh way. The four lines of text are presented first in order, then repeated from the last line forward: fourth, third, first, second.
Each verse presents the text and melody in a similar way, though textures, voicing, accompaniment and interludes change. The final verse uses the traditional melody, slightly altered in character of the newly composed melody.
The piece was conceived for children's treble and adult mixed choruses, but could easily be performed with a large mixed chorus, with the women dividing among the SATB and treble textures. The instrumental obligato was originally conceived for flute, but Mandy suggested Scot's fiddle, which I can imagine as a colorful and appropriate accompaniment.
An Irish Blessing
TBA
For the Clark County Children's Choir Crescendo Singers, Holly Steed, Artistic Director
Voicing: SSA chorus with piano
Text: Irish Blessing
Duration: c. 3'40"
First Performance: The Clark County Children's Choir Crescendo Singers, Las Vegas, NV, May 18, 2013.
The idea to commission an original work for my singers has been in the back of my mind since I began my program. It all fell into place in 2010 when our choir worked with Dr. Brunner at a Chicago Children's Choir Festival. It took us 3 years prepare ourselves for the experience, but it was so worth the wait. The commission process could not have been more simple. My primary goal in the process was to end up with a song that my singers could feel a deep sense of ownership with and that would have the potential to become a signature piece for them from season to season. Dr. Brunner shared several texts he felt inspired to write music to and I was thrilled that one seemed to lend itself perfectly to the goal. I've always loved Irish Blessings and immediately felt this would be a perfect fit to our folk based Kodaly program.
Not only was the piece a perfect fit for my initial goal, I was thrilled to find the piece educational in the learning process. As we do most pieces, we learned the entire piece on solfa, which made the soaring melody and gorgeous harmonies simple to navigate for my youngsters. The piece has several key changes throughout which provided a perfect way to talk about modulation and our moving 'do'. In addition it is one of the few compositions written for young voices that is 'through composed'. I initially felt the lack of repetition of any part of the piece would be a great challenge for my singers to learn, but the music matched the text so well it turned into an adventure each week to discover what the next verse or section would hold.
I can never adequately express what a great musical, educational, and emotional journey this was for our young musicians and our organization. The best part was having Dr. Brunner rehearse and conduct our singers in the world premiere. The experience is now a cherished memory for each of us, and we thank Dr. Brunner for this lasting legacy.
Holly Steed
Founder and Artistic Director
Clark County Children's Choir
Arrorró mi Niño
Boosey & Hawkes (TBA)
For Wayland Rogers from Doreen Rao
Voicing: SSA chorus with piano
Text: Spanish lullaby
Duration c. 2'45"
Beautiful Star of Bethlehem
Boosey & Hawkes 48019783
Voicing: SSA chorus with violin and piano
Composer: R. Fisher Boyce
Duration: c. 3'
Text: Adger M. Pace (1882-1959) & R. Fisher Boyce
O Beautiful Star of Bethlehem
Shining far through shadows dim
Giving the light for those who long have gone.
Guiding the wise men on their way
Unto the place where Jesus lay.
O Beautiful Star of Bethlehem shine on.
O Beautiful Star, the hope of life.
Guiding the pilgrims through the night.
Over the mountains til the break of dawn.
Into the land of perfect day
It will give out a lovely ray.
O Beautiful Star of Bethlehem, shine on.
O Beautiful Star of Bethlehem
Sine upon us until the glory dawns.
Give us a lamp to light the way
Unto the land of perfect day.
O Beautiful Star of Bethlehem shine on.
O Beautiful Star the hope of grace
For the redeemed, the good and the blest
Yonder in glory when the crown is won.
Jesus is now the star divine
Brighter and brighter He will shine
O Beautiful Star of Bethlehem shine on.
I’ve loved Adger M. Pace and R. Fisher Boyce's Beautiful Star of Bethlehem each time I've heart it, from recordings as diverse as Chanticleer to Naomi and Wynonna Judd (which I particularly like!), and have always wanted to set this tune.
This arrangement gives homage to the pure harmonies of the folk and gospel traditions and the rural flavor of the violin (or do we call it a fiddle?). It moves in an easy tempo, has an uncluttered texture, and a countermelody that I found myself harmonizing each time I sang along with the melody. I hope I’ve captured some of its charm.
I like the bright quality of this key, though if the lowest notes prove problematic for young singers, it could be transposed up, G major also having a nice ring.
The singing should be straightforward with a simplicity and clarity.
Blessed By Light
Boosey & Hawkes 48023326
Dedicated to Kyla and John Gulliver, in honor of their love and marriage.
Voicing: SA chorus with piano
Duration: c. 2'10"
Text: Rumi (1207 - 1273)
Let us fall in love again
and scatter gold dust all over the world.
Let us become a new spring
And feel the breeze drift in the heavens' scent.
Let us dress the earth in green,
And like the sap of a young tree
Let the grace from within sustain us.
Let us carve gems out of our stony hearts
And let them light our path to Love.
The glance of Love is crystal clear
And we are blessed by its light.
Rumi was a 13th century Persian poet, theologian and mystic, whose words speak often of union iwth the beloved from whom he has been cut off and the longing to restore it. His universal messages of love and spiritual journey have an apeal across time and cultures and this text seemed perfect for this work in celebration of the wedding anniversary of Kyla and John Gulliver. The original version was for solo soprano, but the addition of the alto voice adds color, while maintaining a delicate texture. Each phrase is a simple presentation of the text, fairly short and syllabic, with a buoyancy and gentle lyricism. Highly impressionistic harmonies and frequently shifting key centers provide a floating quality. The text is full of lovely sensations: carving gems, dressing the earth, feeling the breeze, scattering gold dust, lighting our path to love. Sing this beautifully.
Chauntecleere
Boosey & Hawkes 48019725
Voicing: 2-part treble chorus with tambourine, finger cymbals and piano
Duration: c. 2’20”
Text: William Austin (1587-1634)
All this night, shrill Chauntecleere
(Dayes-proclaiming Trumpetere)
Claps his wings, and lowdly Cryes,
(Mortals, Mortals) wake and rise.
See a wonder
Heaven is under.
From the Earth, is risen a Sunne,
Shines all Night, though Day be done.
Wake (oh Earth), wake (everything)!
Wake, and heare the joy, I bring.
Wake, and joy; for, all this Night,
Heaven, and every twinckling Light...
Angels, Powers, and all that bee,
Wake; and joy, this Sunne to See.
The Girl Choir of South Florida
Wallis Peterson, conductor
There's something wonderful about William Austin's bold words of Chauntecleere clapping his wings and trumpeting the dawn. This short poem has an urgency for us to awaken and see the wonder, hear the joy that's brought by the rising of the Sunne.
Angular melodies suggest the fanfare calls and asymmetrical rhythmic and percussion propel the music forward. Sing with strength and authority.
"Wake and heare!"
Christmastide
Boosey & Hawkes 48004847
Voicing: 2-part treble chorus with piano
Duration: c. 3'
Text: Janet Lewis (1899-1998)
Lullee, lullay,
I could not love thee more if thou wast Christ the King.
Now tell me, how did Mary know
that in her womb should sleep and grow
the Lord of everything.
Lullee, lullay.
An angel stood with her who said,
"That which doth stir like summer in thy side
shall save the world from sin."
Then stable, hall and inn shall cherish Christmastide!
Lullee, lullay.
And so it was that day.
And did she love Him more
because an angel came to prophesy His name?
Ah no, not so, she could not love Him more,
but loved Him just the same.
The focus of this poetic text is on the mother, and the special feelings of mothers worldwide. It is a simple lullaby, but with a profound sense of awe.
The Circles of Our Lives
Boosey & Hawkes 48004897
This composition was commissioned by the Endowment Fund of the American Choral Directors Association in Memory of Raymond W. Brock who served the American Choral Directors Association as Director of Development and Administrative Assistant.
Voicing: SA chorus with piano. (also available for mixed chorus and tenor/bass chorus)
Instrumental version full score and parts (fl, ob, cl, bsn, st qt and piano) and string
orchestra version available on rental from the composer
Duration: c. 4'
First Performance: at the Eastern Division convention of the American Choral Directors
Association, Baltimore, MD, and the subsequent six division conventions in Cincinnati,
OH, Madison, WI, Orlando, FL, Seattle, WA, Oklahoma City, OK and Los Angeles, CA,
February - March 2000.
Instrumental version commissioned and premiered by the Young Women's Chorus of
Kentucky, Robert Paugh, conductor, at the Kentucky Music Educators Association
conference, Louisville, Kentucky, February 7, 2002.
String orchestra version premiered at Carnegie Hall May 28, 2011, conducted by David
Brunner.
Text: Wendell Berry (b. 1934)
Within the circles of our lives
we dance the circles of the years,
the circles of the seasons
within the circles of the years,
the cycles of the moon
within the circles of the seasons,
the circles of our reasons
within the cycles of the moon.
Again, again we come and go,
changed, changing. Hands
join, unjoin in love and fear,
grief and joy. The circles turn,
each giving into each, into all.
Only music keeps us here,
each by all the others held.
In the hold of hands and eyes
we turn in pairs, that joining,
joining each to all again.
And then we turn aside, alone,
out of the sunlight gone
into the darker circles of return.
LISTEN
The American Choral Directors Association was pleased to invite David Brunner to be the 2000 Raymond W. Brock Memorial Composer. The Circles of Our Lives is one of the significant commissions added to this prestigious series. This great composition premiered in the spring of 2000 at the seven ACDA division conventions to outstanding reviews and continues to receive superb reviews from choral musicians worldwide.
Gene Brooks
Executive Director
American Choral Directors AssociationThe Circles of Our Lives began as an emotional response to a poem by Wendell Berry, entitled simply "song". I had not known the poetry of Wendell Berry until very recently, but immediately found in him a voice that touched me by its contemplative and inspirational nature and by the reverence in each and every word. I found in his words a profound sincerity and respect for the wonder of life. This gentle poem of life's cycles seemed exceedingly appropriate for this work in memory of Raymond Brock.
This thoughtful and musical text is set to expansive melodic ideas in a gentle interplay of voices. "Only music brings us here, each by all the others held."
Creator of the Stars of Night
TBA
Voicing: Unison voices with piano
Original melody: Conditor alme siderium, 9th c.
Duration: c. 3'
Text: Conditor alme siderum, 9th c., trans. J. M. Neale (1818 - 1866)
Creator of the stars of night,
Thy people's everlasting light.
O Christ, thou Saviour of us all,
We pray thee, hear us when we call.
And when the world drew on toward night,
Thou camest, not in splendor bright
As monarch, but the humble child
Of Mary, blameless mother mild.
To God, the Father, God the Son,
And God the Spirit, Three in One,
Laud, honor, might, and glory be
From age to age eternally.
Daring To Be
Boosey & Hawkes 48018854
For the Young Naperville Singers in celebration of their 20th year, Oksanna Rodak, Artistic Director. Funded by a grant from the Naperville Sunrise Rotary Fund for the Arts, Naperville, Illinois
Voicing: SSA with piano
Duration: c. 3’8"
First Performance: Young Naperville Singers, Oksanna Rodak, conductor, Naperville,
Illinois, April 25, 2004
Text: Ann Ziety
Celebration
Is daring
To be
Who we are
It's like dancing
On table tops
While the world spins
And the fear stops
and the waves crash
And the stars glow
and the heart beats
And inside your head
You hear this song
Rising
Up
Like laughter
Rising
Up
Like a firework
Soaring and weightless
To fill the whole sky
With joy
I was intrigued by the playful nature of Ann Ziety's text and felt its youthful exuberance was perfect for the celebration of the Young Naperville Singers' 20th anniversary. Throughout, the singing is energetic, light and buoyant. Make the text speak, sing with controlled abandon, energy and sparkle, and affirm who you are.
Don't Go! (Ecstatic Songs)
Boosey & Hawkes 48022954
For the Michigan State University Women's Chamber Ensemble, Sandra Snow, conductor
Voicing: SSAA chorus with mezzo soprano solo, pakhawaj, Tibetan finger cymbals, brass bowls and elephant bells.
Duration: c. 4'30"
First Performance: Michigan State University Women's Chamber Ensemble, Sandra Snow, conductor, Andrea Ramsey, soloist, Michigan State University, East Lansing, MI, April 9, 2013.
Text: Mirabei (1498 - 1547)
Don't go, don't go. I touch your soles.
I'm sold to you.
No one knows where to find the bhakti path,
show me where to go.
I would like my own body to turn into a
heap of incense and sandalwood
and you set a torch to it.
When I've fallen down to grey ashes,
smear me on your shoulders and chest.
Mira says: You who lift the mountains,
I have some light, I want to mingle it with yours.
The second in the Ecstatic Songs cycle, Don't Go is a highly personal exploration of the poet Mira's devotion to her Lord Krishna. Brunner cleverly gives Mira's voice to a soloist who expresses longing through sinuous, spinning melodic material. The choir is a rich landscape setting the modal framework and shaping moments of intensity and longing to support the vivid text. At the end of the premiere performance, the audience actually let out a collective breath--this is a work that will connect deeply with the women who sing it.
Sandra Snow
Michigan State University
In this poem, Mira's words are ones of intensity, passion, conviction and devotion. The unusually strong phrase "I would like my own body to turn into a heap of incense and sandalwood and you set a torch to it" obsessed me. it reminded me of the disturbing and profoundly moving video image of Thich Quang Duc, a Vietnamese Buddhist monk who self-immolated on June 11, 1963 at a busy intersection in downtown Saigon to bring attention to the repressive policies of the Catholic Diem regime that controlled the South Vietnamese government at the time. As the flames rose, he remained still, neither moving muscle or uttering sound. The image of self-immolation in Mira's words is a strong and indelible one, an extreme act of conviction that yet has something intimate, tender -- even sensual -- about it; the smearing of my ashes over your shoulders and chest.
Mira's words reflect her extreme devotion ("I'm sold to you"), urgency ("Don't go!"), and servitude ("I touch your soles"; "show me where to go"). The image of incense and sandalwood suggests a sacred offering. The igniting of the torch becomes a quiet moment, intimate and private, evoking a feeling of stillness, of release and ecstasy. The final line of text reflects the tremendous strength of the beloved ("you who lifts the mountains"), and the gentleness of mingling light with light, mine with yours.
This strong woman, Mira, informed everything about the piece.
See additional program notes about the set of Ecstatic Songs under All I Was Doing Was Breathing.
Earthsongs
Boosey & Hawkes 48004607
Dedicated to my Dad. Commissioned by Keynote Arts Association -- James E. Dash, President -- for the Children in Harmony Choral Festival, 1996, Barbara Tagg, Artistic Director
Orchestral version by Greg Smith for the Children's Choral Festival, Carnegie Hall, Janet Galvan, conductor
I The World is Full of Poetry
II In Safety and Bliss
III We Join with the Earth and with Each Other
Voicing: SSA(A) chorus with oboe and piano. Full score and orchestral parts on rental
from the publisher. (also available for mixed chorus)
Text: James Gates Percival; Buddhist from the Sutta Nipata; United Nations
Environmental Sabbath Program
Duration: c. 9’
First Performance: EPCOT, Orlando, Florida, David L. Brunner, conductor, May 25, 1996.
Orchestral debut: Carnegie Hall, New York, NY, Janet Galvan, conductor.
I. The World is Full of Poetry
James Gates Percival
The world is full of poetry --
The air is living with its spirit;
And the waves dance to the music of its melodies,
And sparkle in its brightness.
II. In Safety and in Bliss
Sutta Nipata
In safety and in bliss
May all creatures be of a blissful heart
Whatever breathing beings there may be
Frail or firm... long or big... short or small...
Seen or unseen, dwelling far or near,
Existing or yet seeking to exist
May all creatures be of a blissful heart
III. We Join With the Earth
United Nations Environmental Sabbath Program
We join with the earth and with each other.
To bring new life to the land
To restore the waters
To refresh the air
We join with the earth and with each other.
To renew the forests
To care for the plants
To protect the creatures
We join with the earth and with each other.
To celebrate the seas
To rejoice in the sunlight
To sing the song of the stars
We join with the earth and with each other.
LISTEN
Kazuaki Tanahashi's performance painting on The World is Full of Poetry
York, England, August 2006
David Brunner has made a significant contribution to choral music repertoire. His flowing melodies, rich textures, musical sensitivity and moving texts have provided the basis for many outstanding compositions. One such composition is surely Earthsongs.
Barbara Tagg, Conductor
Syracuse Children's Choir
Children in Harmony FestivalThe minute I heard Earthsongs, I wanted to hear it orchestrated. The premiere in Carnegie Hall of Brunner's orchestrated version of Earthsongs was stunning... This is a welcome addition to the repertoire of children's voices and orchestra.
Janet Galvan, Conductor
Ithaca Children's Choir
North American Children's Chorale at Carnegie
Earthsongs is a group of three pieces, intended to be performed without pause. The texts speak of the wonders of nature and of the importance of protecting the animals, caring for the plants and nurturing one another. The World is Full of Poetry is a text by the 19th century geologist James Gates Percival. It should be sung simply and with feeling. In Safety and Bliss is a Buddhist writing from the Sutta Nipata. It should be sung solemnly, in chant-like character. The two-part antiphonal section from measure 88 to the end should be treated as an echo effect. We Join with the Earth is a text from the United Nations Environmental Sabbath Program. It is a litany with the refrain "We Join with the Earth and with Each Other" prominent. The broadly arching melodies should be sung with shape and momentum.
The original treble version was commissioned by Keynote Arts Associates for the Children in Harmony Choral Festival, Barbara Tagg, Artistic Director, and premiered at EPCOT in Orlando, Florida, in 1996. The mixed chorus version premiered at Carnegie Hall in the spring of 2007, conducted by the composer.
Eletelephony (from Two for Fun)
Boosey & Hawkes 48004299
For the Glen Ellyn Children's Chorus, Doreen Rao, conductor
Voicing: Unison chorus with piano
Duration: c. 55"
Text: Laura E. Richards (1850-1943)
Once there was an elephant,
Who tried to use the telephant --
No! No! I mean an elephone
Who tried to use the telephone --
(Dear me! I am not certain quite
That even now I've got it right.)
Howe'er it was, he got his trunk
Entangled in the telephunk;
The more he tried to get it free,
The louder buzzed the telephee --
(I fear I'd better drop the song
Of elephop and telephong!)
Laura Richards' imaginative text come to life in this playful setting! Shifting meters, an angular melodic line and lumbering piano part are highly evocative and unpredictable. A moderate challenge for young voices.
Endless Song
Walton Music WW1977
For the 2019 FEMEA All-State Elementary Chorus, Tampa, Florida, Kelly A. Miller, conductor
Voicing: SA chorus with piano and optional string quartet.
Original melody by Robert Wadsworth Lowry (1826-1899)
Duration: c. 4'
First Performance: 2019 Florida Elementary Music Educators Association All-State Elementary Chorus, Tampa, Florida, Kelly A. Miller, Conductor, January 2019
Text: Unattributed
My life flows on in endless song;
above earth's lamentation,
I hear the sweet, though far-off hymn
that hails a new creation.
Through all the tumult and the strife
I hear its music ringing.
It sounds an echo in my soul.
How can I keep from singing?
While though the tempest loudly roars
I hear the truth, it liveth.
And though the darkness 'round me close,
Songs in the night it giveth.
No storm can shake my inmost calm
while to that rock I'm clinging.
Since love is Lord of heaven and earth,
how can I keep from singing?
I lift my eyes, the cloud grows thin;
I see the blue above it,
And day by day this pathway smoothes
since first I learned to love it.
The peace of love makes fresh my heart,
a fountain everspringing;
All things are mine in love and joy!
How can I keep from singing?
My life goes on in endless song
above earth's lamentation.
I hear the sweet, though far off hymn
that hails a new creation.
Through all the tumult and the strife
I hear its music ringing.
It sounds an echo in my soul.
How can I keep from singing?
Everything Is Music
Boosey & Hawkes 48023332
Commissioned by the Miami Children's Chorus, Timothy A. Sharp, Music Director
J. W. Pepper Editor's Choice
Voicing: SSA chorus with piano
Orchestral version also available from Boosey & Hawkes 48023583
Duration: c. 4'30"
First Performance: Miami Children's Chorus, New World Symphony members, Dance Now!
Miami, Timothy A. Sharp, conductor, at the New World Symphony Center, Miami Beach,
FL, May 11, 2014
Text: Rabindranath Tagore (1861 - 1941) and Rumi (1207 - 1273)
The sky full of sun and stars,
the world fulll of life,
and in the midst of this, I find myself.
So surprised, my song awakens.
I've listened closely, opened my eyes;
Poured life into the earth,
Looked for the unknown in the midst of the known,
So surprised, my song awakens.
Stars fill the sky, the world teems with life,
And amidst it all I find my place!
I wonder, and so I sing.
Stop the words now.
Open the window in the center of your chest,
And let the spirits fly in and out.
We have fallen into the place where everything is music.
The sky full of sun, the world full of life.
Everything is music.
Order orchestral version parts
An invitation from Tim Sharp to write a piece for his Miami Children's Chorus, players from the New World Symphony and Dance Now! Miami --a young and innovative contemporary dance troupe -- to be performed in the magnificent Frank Gehry designed New World Symphony Center in Miami Beach, was too good to be true. I knew this choir and had written for them before (Yo le Canto todo el Dia, Psalm 150, Sir Brother Sun) but did not know the dancers and what they might create with, and because of, my music. Their elegant and nuanced choreography satisfied me in every way. It was gorgeous.
The texts by Tagore and Rumi resonate with vibrancy and have attracted me for a number of years. Though excerpts from longer poems, they seem to belong with each other. "The sky full of sun and stars, the world full of life, and in the midst of this, I find myself. So, surprised, my song awakens... Stop the words now, open the window in the center of your chest, and let the spirits fly in and out! We have fallen into the place where everything is music." I particularly like the last line. What good fortune!
For A Certain Artist
Boosey & Hawkes 48019226
Commissioned by the Gulf Coast Youth Choirs, Lynne Gackle, conductor, for the 2005 Young Voices Festival
Voicing: SA chorus with piano
Duration: c. 4'33"
First Performance: Young Voices Festival Choir, David L. Brunner, conductor,
Morsani Hall, Tampa Bay Performing Arts Center, Tampa, FL, April 22, 2005
Text: Elisavietta Ritchie
In one wide tree
he sees a boat
In milkweed seeds
the billowed sails
In ponds the sea
in stones the earth
In puddles sky
in candles stars
And in one heart
the universe
For A Certain Artist is a lovely 2-part work for children's voices commissioned by the 2005 Young Voices Festival, which is sponsored by the Gulf Coast Youth Choirs, Inc. in Tampa, Florida, and accessible by children's choirs of all levels. This work was performed with over 750 children from school, community and church children's choirs. David Brunner was our guest clinician/composer and it was truly a marvelous experience for the children to perform this new work with the composer, himself. The text engages the imagination and speaks to the ability of the artist to "see" things beyond what most of us "see" in daily life -- In a tree, a boat; in a puddle, the sea; in a cloud, sails. For A Certain Artist encourages us to think about looking past the ordinary and to strive to see the possibilities of "what if" in our lives.
Lynne Gackle
Founder and Artistic Director
Gulf Coast Youth ChoirsI loved this poem on first reading. It says so much in so few words about the experience of the artist's eye, the ability to imagine what can be, to see extraordinary possibilities in everyday things and to sense in our heart the oneness of the universe.
The music has a folk-like quality and should move in a gentle sway.
The Friendly Beasts
Shawnee Press 35007345
Voicing: SSA chorus with piano, shaker, claves and congas
Duration: c. 1'54"
First Performance: The Orlando Children's Chorus, Carolyn Minear, conductor,
Orlando, Florida, December 12, 1998
Text: Traditional carol
Jesus our brother, kind and good
was humbly born in a stable rude,
and the friendly beasts around Him stood,
Jesus our brother kind and good.
"I," said the donkey, shaggy and brown,
"I carried His mother up hill and down;
I carried His mother to Bethlehem town."
"I," said the donkey, shaggy and brown.
"I," said the sheep with the curly horn,
"I gave Him my wool for His blanket warm;
He wore my coat on Christmas morn."
"I," said the sheep with the curly horn.
"I," said the dove from the rafters high,
"I cooed Him to sleep that He could not cry;
We cooed Him to sleep my mate and I."
"I," said the dove from the rafters high.
Thus ev'ry beast by some good spell,
in the stable dark was glad to tell
of the gift he gave Emanuel.
This arrangement uses a rhythmically interesting calypso feel to bring a fresh perspective to this familiar carol tune and charming text. Appropriate for treble voices of all ages. The piano accompaniment is supportive of the voices.
Grace
Boosey & Hawkes 48023074
J. W. Pepper Editor's Choice
Commissioned by the Sloan Creek A Cappella Treble Choir, Christina Chapman, director, for performance at the 2013 National ACDA Convention. In memory of Daniel Phillips.
Voicing: SSA chorus with piano
Duration: c. 3:00'
First Performance: The Sloan Creek A Cappella Treble Choir, Christina Chapman, at the 2013 National ACDA Convention in Dallas, TX
Text: Oliver Wendell Holmes, Sr. (1809 - 1894)
Thou gracious God, whose mercy lends
the light of home, the smile of friends,
our gathered flock tine arms enfold
as in the peaceful days of old.
Wilt thou not hear us while we raise
in sweet accord of solemn praise
the voices that have mingled long
in joyous flow of mirth and song?
For all the blessings life has brought,
for all its sorrowing hours have taught,
for all we mourn, for all we keep,
the hands we clasp, the loved that sleep.
The noontide sunshine of the past,
these brief, bright moments fading fast,
the stars that gild our darkening years,
the twilight ray from holier spheres.
We thank thee, Father; let thy grace
our love cicle still embrace,
thy mercy shed its heavenly store,
thy peace be with us evermore.
LISTEN
Based on a poem by Oliver Wendell Holmes, this is a warm, hopeful musical prayer for the ages. Sensitive piano stylings and lovely turns of phrase make it a wonderful opportunity for young women to dig deep into their lives and emotions.
J. W. Pepper, "Editor's Choice"
Grace was commissioned by the Sloan Creek Middle School A Cappella Treble Choir and their director Christina Chapman, in memory of Daniel Phillips and for performance at the 2013 national ACDA convention in Dallas, Texas. Of the several texts I sent Christina, this one immediately resonated with her singers as a fitting remembrance of Daniel. Holmes’ poem is a sturdy hymn-like text of four-line verses, (the words appearing in numerous hymnals), each verse melodically different, though similar in lyricism. The final two verses are joined, creating momentum and a large dynamic arc.
Though the text setting is highly syllabic, care should be taken to shape legato phrases. There are many subtle tempo changes that stretch the musical idea, particularly at the end of phrases and similar rubato may be taken elsewhere. Despite references to “brief, bright moments fading fast”, “sorrowing hours” and “all we mourn, all we keep”, the poetic and musical mood is not dark, but warm and hopeful.
Grandfather, Great Spirit
Boosey & Hawkes 48004609
Commissioned by David Matthews in honor of his mother, Anna Mae Matthews for the Tampa Bay Children's Chorus, Averill Summer, director
Voicing: SSA chorus with alto flute, hand drum, glass wind chimes, rattle, suspended cymbal
and piano
Duration: c. 7'
First Performance: Tampa Bay Children's Chorus, Averill Summer,
conductor, Tampa, Florida, April 1998
Text: Sioux Prayer
Grandfather Great Spirit,
all over the world the faces of living ones are alike.
With tenderness they have come up out of the ground.
Look upon your children that they may face the winds
and walk the good road to the Day of Quiet.
Grandfather Great Spirit,
fill us with the Light.
Give us strength to understand, and eyes to see.
Grandfather Great Spirit,
Teach us to walk the soft Earth as relatives to all that live.
Grandfather, Great Spirit immediately engaged our singers' imaginations with its colorful tonal clusters and atmospheric use of percussion and piano. This work truly captures the spirit of its poetic text and draws listener and performer into the very special atmosphere that it creates. It was a challenge for us to learn this piece, and it offered our singers an opportunity to develop many musical skills. Once learned, it became one that our singers asked to repeat.
Averill Summer
Artistic Director
Tampa Bay Children's Chorus
For native peoples, the spirits of nature and the earth are a strong presence, as are the spirits of their ancestors and the living traditions of their culture. The words of this prayer should be sung with honesty, sincerity and reverence. Approach with awe. Ponder. Do not hurry.
Green Man
Boosey & Hawkes 48024247
For the 2018 Oklahoma All-State Children's Chorus
Voicing: SSA chorus with piano
Duration: c. 1'45"
First Performance: 2018 Oklahoma All-State Children's Chorus, David L. Brunner, conductor, January 20, 2018, Tulsa, OK
Text: Mike Harding (A Little Book of The Green Man)
I am the face in the leaves,
I am the laughter in the forest,
I am the king in the wood.
And I am the blade of grass
That thrusts through the stone-cold clay
At the death of winter.
I am before and I am after,
I am always until the end
I am the face in the forest,
I am the laughter in the leaves.
The Oklahoma All-State Children's Chorus was fortunate enough to have Dr. Brunner come to our 2018 Festival and lead our singers through joyful rehearsals and a breathtaking final concert. Dr. Brunner also agreed to compose a piece for the chorus and did so with professionalsm and excellence. He chose a poem that was intriguing and playful, which personified the impish "green man" who may be found carved in European cathedral pillars, ceilings and walls if one looks carefully. Our students responded to this piece with enthusiasm and enjoyed singing it immensely. Dr. Brunner's musicianship can be seen and felt in this whimsical and creative piece -- dynamic contrasts, powerful text, compelling rhythms, and interesting use of dissonance. We are so grateful that Dr. Brunner wrote Green Man for us and our state has been inspired yet again by his talent and heart.
Robin Wall, Barnes Elementary Music Teacher
2018 Co-Chair, All-State Children's Chorus
HandSpeak
TBA
Voicing: SSA chorus with piano
Text: Scott Lounsbury
Duration: c. 3’30"
First Performance: SingFest, Premiere performance by singers and signers, David L. Brunner, conductor, April 21, 2018, Elmhurst, IL
High Flight
Boosey & Hawkes 01224660
Commissioned by the Spivey Hall Children's Choir, Clayton State University, Morrow, Georgia, in honor of Lt. Col. Richard B. Hall, Jr, USAF, Retired, and all of the brave men and women who fly in service of our country.
Voicing: SSAA chorus with piano (also available for mixed chorus)
Duration: c. 5'
First Performance: The Spivey Hall Children's Choir, Martha Shaw, conductor, ACDA Children's and Community Youth Choir Conductor's Retreat, Atlanta, Georgia, January 18, 2020
Text: John Gillespie Magee, Jr. (1922 - 1941)
Oh! I have slipped the surly bonds of Earth
And danced the skies on laughter-silvered wings:
Sunward I've climbed, and joined
the tumbling mirth
of sun-split clouds, -- and done a hundred things
You have not dreamed of -- wheeled and
soared and swung
High in the sunlit silence. Hov'ring there,
I've chased the shouting wind along, and flung
My eager craft through footless halls of air...
Up, up the long delirious burning blue
I've topped the wind-swept heights with easy grace
Where never lark nor ever eagle flew --
And, while with silent lifting mind I've trod
The high untrespassed sanctity of space,
Put out my hand, and touched the face of God.
John Gillespie Magee, Jr. lived just 19 years. He was a member of the Royal Canadian Air Force when the Spitfire VZ-H he was flying was descending at high speed through a break in the clouds and collided mid-air with an Airspeed Oxford trainer, just below the cloud base at 1,400 feet over the hamlet of Roxholme, Liincolnshire, England. His popular poem High Flight desribes the delirious feeling of wheeling and soaring, and an intimate connection with the divine.
Hold Fast Your Dreams
Boosey & Hawkes 48004803
Commissioned by the St. Joseph's Hospital Foundation on the occasion of the opening of Tampa Children's Hospital at St. Joseph's, 19 March 1998
Voicing: SA chorus with piano (also available for mixed chorus)
Duration: c. 2’20"
First Performance: Tampa Bay Children's Chorus, Averill Summer,
conductor, Tampa, Florida, March 19, 1998
Text: Louise Driscoll (1875-1957)
Hold fast your dreams!
Within your heart
Keep one still, secret spot
Where dreams may go,
And, sheltered so,
May thrive and grow
Where doubt and fear are not.
O keep a place apart,
Within your heart,
For little dreams to go!
SEE AND HEAR PERFORMANCE
The Beijing Philharmonic Choir
Ma Ding, conductor
I can't imagine a more sensitive, moving selection of text than that of Hold Fast Your Dreams, commissioned for the opening of our children's hospital. The sweeping, lyric melodic lines are beautiful, fun to sing, and reflect the uplifting, inspiring quality of the text. It has been a big hit on many of our concerts with audiences and singers alike.
David Brunner's works have been favorites on our choir's programs since we first sang Mrs. Snipkin and Mrs. Wobblechin... and we look forward to learning more works by this creative composer. The texts he chooses engage our singers immediately, and are always so sensitively set to music. The melodic lines are memorable and always very singable.
Averill Summer
Artistic Director
Tampa Bay Children's ChorusHere is an extremely sensitive and ethereal-sounding work for more mature treble choirs. A soaring melody is supported by a dream-like piano accompaniment, as warm harmonies highlight the text, "Hold fast your dreams! O keep a place apart within your heart for little dreams to go." Perfect for concert or contest, it is also ideal for graduation or as a signature piece. Gorgeous!
J. W. Pepper & Son, Inc.
All of us who dare to dream know the power of the imagination and the will. Those for whom this work was dedicated dreamed in a big way for the children of the Tampa Bay area. The young patients who will be cared for, the physicians and staff who will minister to them, and the donors and builders who made it possible all share the power of dreams. Find that small place within you "Where dreams may go, and sheltered so, may thrive and grow where doubt and fear are not."
Home
Boosey & Hawkes 48019756
To the Concert Singers of the Fairfax Choral Society, Patrick F. Vaughn, director
Voicing: SA chorus with piano
Duration: c. 3’20"
First Performance: The Concert Singers of the Fairfax Choral Society,
Patrick, Vaughn, conductor, May 1, 2007
Text: Kenzie Duffy
I see nothing for miles
Only never ending fields
Neighbored by an open sky and pastures of wheat
The stalks lean to the right, lurch to the left
Their only job following the wind
Their only care to flourish
A hawk glides in carefree circles overhead
As if he were the answer to everyone's quandaries
As if he were here to save us all
from what lies ahead
Out here, peace is the only theme
No problems, no intricacy
The world is humbled
I'm one with the soil below me
One with the world around me
I'm home
David Brunner has an incredible gift... he paints pictures with his music. The musical tapestry that unfolds from performing his music not only sparks the imagination of the listener, but engages the performer to stretch beyond the notes on the page. I hope to collaborate with David again in the near future and would highly recommend him for any project.
Patrick F. Vaughn
Director of Youth Choruses
Fairfax Choral Society, Annandale, VAThe invitation from the Fairfax Choral Society Youth Chorus to write a work on a student poet's text was an intriguing one for me. After reading and re-reading through a packet of student poems, I kept returning to one by Kenzie Duffy. It was the shortest of the poems and had a sense of spaciousness, not only in the poetry itself, but in the scene it evoked. Open skies, pastures of wheat, a hawk, some soil, the wind... peacefulness. Having grown up in the Midwest with cornfields surrounding my little town, I remembered these things -- what they looked and felt and smelled like. I'm sure that many listeners and performers will connect with this simple idea of home.
The music is, itself, rather simple, a tuneful melody over an undulating accompaniment. Sing with a gentle lyricism and feel the meter in one, borne on the breeze.
House Blessing
Boosey & Hawkes 48005148
For the 2001 West Virginia All-State Children's Chorus
Voicing: SA chorus with piano
Duration: c. 3’
First Performance: Creative Arts Center, West Virginia University campus,
Morgantown, West Virginia, Julia White, conductor, March 23, 2001.
Text: Traditional Bahai Prayer
Blessed is the spot, and the house,
And the place, and the city,
And the heart, and the mountains,
And the refuge, and the cave,
And the valley, and the land,
And the sea, and the island,
And the meadow where mention of God has been made
And his praise glorified.
LISTEN
The universality of this Bahai prayer connects us all in heart and thought. Its simplicity and sincerity are reflected in the gently curved gestures of the vocal melody.
Sing lyrically and with grace. Take care not to rush the eighth note upbeats and linger thoughtfully at each sacred place -- the spot, the house, the heart.
I Am In Need of Music
Boosey & Hawkes 48023319
Voicing: SSA chorus with piano. (also available for mixed chorus and tenor/bass chorus) Chamber orchestra version full score and parts available from the publisher 48019973
Duration: c. 4'
Text: Elizabeth Bishop (1911-1979) Sonnet
I am in need of music that would flow
Over my fretful, feeling finger-tips,
Over my bitter-tainted, trembling lips,
With melody, deep, clear, and liquid-slow.
Oh, for the healing swaying, old and low,
Of some song, sung to rest the tired dead.
A song to fall like water on my head.
And over quivering limbs, dream flushed to glow!
There is a magic made by melody:
A spell of rest, and quiet breath, and cool
Heart, that sinks through fading colors deep
To the subaqueous stillness of the sea,
And floats forever in a moon-green pool,
Held in the arms of rhythm and of sleep.
LISTEN
Order orchestral version parts
I was a student of David Nott at Illinois Wesleyan University, so when asked to write a work in his memory, it was both an honor and humbling experience. i remember him as a very tall man with a profound bass voice, an elegant conducting technique, a quick wit, and an engaging manner as a conductor and performer. He was an inspiration for me.
This was not an easy piece to write, as I wanted it to be so many things to so many people. i felt I was writing it for him, for his wife Anne, his children, the Collegiate Choir, for us -- his former students -- and for the singers in all our choirs who didn't know him, but may be touched in some way by this music. The process started -- and stopped -- many times. In the end I wrote music that is reflective, lush and lyrical, with the text always foremost.
I have been attracted to Elizabeth Bishop's Sonnet for some time. Each phrase seems to sing itself off the page: "I am in need of music that would flow over my fretful, feeling finger-tips"; "O for the healing swaying, old and low, of some song, sung to rest the tired dead"; "There is a magic made by melody"; "Held in the arms of rhythm and of sleep". These seem appropriate words for David Nott, his family, and the extended community of his former students.
i carry your heart
Hinshaw HMC2719
Dedicated to Carolyn Minear by her friends and colleagues in recognition of her passionate pursuit of quality arts education for all students and teachers and her ability to find beauty in all around her.
Voicing: SSA chorus with piano
Duration: c. 2'30"
Text: e. e. cummings (1894-1962)
i carry your heart with me (i carry it in
my heart) i am never without it (anywhere
i go you go, my dear; and whatever is done
by only me is your doing, my darling)
i fear no fate (for you are my fate, my sweet) i want
no world (for beautiful you are my world, my true)
and it's you are whatever a moon has always meant
and whatever a sun will always sing is you
here is the deepest secret nobody knows
(here is the root of the root and the bud of the bud
and the sky of the sky of a tree called life; which grows
higher than soul can hope or mind can hide)
and this is the wonder that's keeping the stars apart
i carry your heart (i carry it in my heart)
I Do Not Sleep
Boosey & Hawkes 48023941
For my friend Lori Lovell
Voicing: SSA chorus with piano
Duration: c. 3'
Text: Mary Elizabeth Frye (1905 - 2004)
Do not stand at my grave and weep,
I am not there; I do not sleep.
I am a thousand winds that blow,
I am the diamond glints on snow,
I am the sun on ripened grain,
I am the gentle autumn rain.
When you awaken in the morning's hush
I am the swift uplifting rush
Of quiet birds in circling flight.
I am the soft star-shine at night.
Do not stand at my grave and cry,
I am not there; I did not die.
This well-known text, attributed to Mary Elizabeth Frye, has been an inspiration for a number of composers and a consolation for those than sing and hear it. I am attracted to the lines that speak to what I am, rather than what I am not. I am... diamond glints on snow, sunlight on ripened grain, gentle autumn rain, the swift uplifting rush of quiet birds, the soft star that shines. There is a comfort in this inter-being, in knowing that all things are only one.
i thank you god for most this amazing
Boosey & Hawkes 48004616
For the Cincinnati College-Conservatory of Music Women's Chorus, Stephanie Mitchell, director
Voicing: SSAA chorus a cappella
Duration: c. 3’
First Performance: Cincinnati College-Conservatory of Music Women's Chorus,
Cincinnati, Ohio, David L. Brunner, guest conductor, November 19, 1994
Text: e. e. cummings (1894-1962)
i thank You God for most this amazing
day: for the leaping greenly spirits of trees
and a blue true dream of sky; and for everything
which is natural which is infinite which is yes
(i who have died am alive again today,
and this is the sun’s birthday; this is the birth
day of life and of love and wings: and of the gay
great happening illimitably earth)
how should tasting touching hearing seeing
breathing any–lifted from the no
of all nothing–human merely being
doubt unimaginable You?
(now the ears of my ears awake and
now the eyes of my eyes are opened)
LISTEN
The fragmented nature of e. e. cummings' poetry is reflected in many small musical sections that, however, have a broad overall architecture. Colorful harmonies shimmer. As always, a sensitivity to text setting. Take time to be expressive nad reflective of the text.
If I Could Fly
Boosey & Hawkes 48023042
For Bill Worrell, in appreciation of his spirit and his art
Voicing: SA chorus with piano
Text and Tune: Bill Worrell 06/01/06 -- 4:56 p.m. Just north of Clines Corners.
Ravens soaring in a beautiful watercolor sky.
Duration: c. 2'40"
Ravens dance above me
Floating in the sky
Softly touching wings
Gravity's defied
Their joy is evident
And the pleasures they derive
Ride the winds with no effort
Makes me wish that I could fly
If I could fly I would go
To the gulf of Mexico
I would visit the clouds
Touch the mountains laced with snow
I would marry the wind
A million things I would try
No limit would be too high
If I -- if I -- could fly
They call my name as they circle
I hear it as they cry
My soul aches to join them
But they are soaring way too high
They send a message from the spirits
Who were once as you and I
I understand what they tell me
They say some day --
some day --
Some day I am going to fly
Bill Worrell's If I Could Fly, wall mounted limited edition bronze sculpture
I have, on a number of occasions, set the words of Bill Worrell, a Texas sculptor, poet, and in his words "Texas' most unknown songwriter." Last fall Worrell sent me a home recording of him singing If I Could Fly, accompanying himself on the guitar. On every other occasion, I have newly composed music to his words, but was moved by the honesty of this gentle melody and so, offer this arrangement of his musical ideas.
The poem was written to honor his good friend Linda Yell, who was quite ill at the time. The text speaks of soaring, of floating, of peacefulness and release from gravity. The raven, representative of the ancient symbol of the soul, "call my name as it circles" and tells me that I, too, someday will fly.
There is an intimate quality and personal, private nature to these words. Sing them thoughtfully and expressively, as a solo singer might. Worrell's own performance has a strong sense of rubato, a freedom from the rhythm that fits the nature of the words. Take time in the rhythm and tempo to reflect. Sing with ease and grace. imagine what it might feel like to actually soar.
Worrell's sculpture If I Could Fly is a wall-mounted bronze, of an arching figure, reaching upward, grasping a staff crowned with a raven, the ancient symbol of the soul. In my home is a gift from Worrell, this bronze mounted on rock titled Someday I Will Fly, a tall figure, head thrown back, in one gesture of surrender, openness and gratitude, arms staff and shield embracing the sky. Both so appropriately embody the spirit of this text. You can view them at www.davidbrunner.com.
In The Beauty Way
Boosey & Hawkes 48004783
For Doreen Rao and the 1997 Choral Music Experience Teacher Training Institute
Voicing: SATB chorus and treble voices with piano
Duration: c. 6’
First Performance: CME Institute Chorus, Northern Illinois University, DeKalb, Illinois,
Doreen Rao, conductor, August 1, 1997.
Text: Leo Platero
Mother Earth, my mother
Father Sun, my father
Tonight your children have desires in prayer
Tonight your children desire your kindness.
Look upon us with positive thoughts
Look upon us by taking care of us.
May we the children sing in beauty
in the beauty way.
See listing under Mixed Choirs for annotation.
Isn't That Something?
Boosey & Hawkes 48019151
Commissioned by the Mississippi Girlchoir, Lillian Lee, director, for Treble Song 2005
Voicing: SSA chorus with piano
Duration: c. 3'20"
First Performance: Mississippi Music Educators Association/American Choral Directors
Association state convention Treble Song Honor Choir, Jackson, MS,
David L. Brunner, conductor, April 9, 2005
Text: Daniel Ladinsky
Isn't that something?
I
Like when
The music happens like this:
Something in His eye grabs hold of a
Tambourine in me.
Then I turn and lift a violin in someone else,
And they turn, and this turning
Continues.
It has
Reached you now.
Isn't that
Something?
LISTEN
The text was intriguing and created a lot of discussion among the girls, evoking a much deeper meaning when internalized than appears on the surface. The mixed meter is challenging, yet playful and fun. The honor choir really enjoyed working on the piece and were delighted to see David's reaction as it came alive for him for the first time. The Mississippi Girlchoir performed the commission again on their spring concert and will sing it this summer while on tour in England.
Lillian Lee
Director, The Mississippi GirlchoirIsn't That Something? was commissioned by the Mississippi Girlchoir for the third annual Treble Song, a state-wide honor choir for girls in grades 7 - 12, sponsored by the Mississippi Girlchoir and held in conjunction with the annual MMEA/ACDA State Convention in Jackson, MS. 140 choristers rehearsed with David Brunner for two days, and the premiere was presented April 9, 2005.
This playful text by Daniel Ladinsky captivated my imagination the first time I read it. our interconnectedness is evident by the turning, turning of one to another, stirring a tambourine in one, lifting a violin in someone else, until... wait! It has reached you now. We've become our own orchestra! Isn't that something? The question "Isn't that something?" recurs frequently, almost nonchalantly, yet with a real sense of surprise and delight in our fortuitous collaboration.
Let the language shape the rhythmic ideas. Sing lightheartedly and with a sparkle in your eye.
Jabberwocky
Walton Music #00116954
J. W. Pepper Editor's Choice
Voicing: SSA chorus with piano
Duration: c. 3'05"
First Performance: Sing-A-Mile-High International Children's Choral Festival, David Brunner, guest conductor, Denver, CO, July 1, 2012
Text: Lewis Carroll (1832-1898)
'Twas brillig, and the slithy toves
Did gyre and gimble in the wabe:
All mimsy were the borogoves,
And the mome raths outgrabe.
"Beware the Jabberwock, my son!
The jaws that bite, the claws that catch!
Beware the Jubjub bird, and shun
The frumious Bandersnatch!"
He took his vorpal sword in hand;
Long time the manxome foe he sought --
So rested he by the Tumtum tree
And stood awhile in thought.
And, as in uffish thought he stood,
The Jabberwock, with eyes of flame,
Came whiffling through the tulgey wood,
And burbled as it came!
One, two! One, two! And through and through
the vorpal blade went snicker-snack!
He left it dead, and with its head
He went galumphing back.
"And hast thou slain the Jabberwock?
Come to my arms, my beamish boy!
O frabjous day! Callooh! Callay!"
He chortled in his joy.
'Twas brillig, and the slithy toves
Did gyre and gimble in the wabe:
All mimsy were the borogoves,
And the mome raths outgrabe.
LISTEN
I have always LOVED David Brunner's music. And it seems like he has written a blockbuster for almost every occasion. Jabberwocky is no exception! The opportunity to work with choralographer Yvonne Farrow and the 300 voices of Sing A Mile High International Children's Choral Festival provided David the forces necessary to present a very dramatic work, which simply exploded on stage. The visual effects hinted in the piece are exceptional, and David has "done it again." That is, he has created a very accessible work for children's choirs that has extraordinary potential.
Jena Dickey
Founder and Artistic Director
Young Voices of Colorado
To create choralography for the premiere of David L. Brunner's composition, Jabberwocky, my research went beyond Alice in Wonderland to a story from the 1800's on which Carroll's text may have been based. I also used a colorful translation of the nonsensical poem which worked out perfectly with my concept. From this, I created choralography for the "plot" which included the Township (aka Greek Chorus), the Mayor, our Hero the shepherd boy and the frightful Jabberwock. Brunner's superb melody and dramatic musicality provided me with clear visual pictures as I listened to the work over and over, allowing movement to appear in mind's eye. Along with the text, the tone and feel of the piece created by the instrumentation and vocalization, provided me with ample fodder for choralography. Our very first meeting was the day I set the work on the Sing A Mile High Massed Choir. David was delighted with what I had come up with, he himself seeing it for the first time, as I taught the children. His generosity of spirit as I lead the movement rehearsal, willingness to jump in when I needed help musically and his joy at learning the movement with the children, was humbling and a huge confirmation that he was pleased with the choralography because it did not take away from his work, but enhanced it. A choral director asked if he and I had worked together previously. I took this as a great compliment and testament to the clarity of the piece, which was the basis of my inspiration. I define my work as the marriage of movement, drama and concert choral music, without sacrificing the choral sound. Jabberwocky is a great example of a successful union between the two choral arts. In the world of theater there is a phrase, "If it's not on the page, it's not on the stage". Meaning it all starts with the writer, or in this case, the composer. Jabberwocky is certainly "on the page"!
Yvonne Farrow
Master Choralographer
www.gotchoralography.com
Lewis Caroll's playful language and vivid description of the Jabberowky has captivated me for many years and the invitation to write a piece for the 2012 Sing A Mile High Children's Choir Festival in Denver was finally the occasion to set it to music.
The text is filled with curious words which evoke fantastic images. The music is all about dramatic story-telling -- angular melody, strongly defined rhythm, and some quirky bits of harmony combine to provide singers the opportunity to use text and tone to bring the spectacle to life.
It was a special joy to collaborate with Yvonne Farrow, whose creative choralography brought a fanciful theatricality to the premiere, as the chorus of 290 singers took on the character of the townspeople, the mayor, and the young hero, and took flight en masse as the dreaded Jabberwock! It was highly imaginative and great fun!
Though Jabberwocky can be performed effectively without staging, you may wish to consider adding movement. Complete information about Yvonne's work can be found at www.gotchoralography.com and information about staging or licensing the movement for Jabberwocky with Yvonne Farrow's copyrighted choralography can be obtained from her directly at choralographer@aol.com.
Jubilate Deo
Boosey & Hawkes 48004849
Voicing: SSA chorus with brass and organ. Brass parts available for purchase from the
publisher 48001621. Full score and orchestral version parts on rental from
the composer. (also available for SAB mixed chorus)
Duration: c. 3'10"
Text: Sacred Latin text from Psalm 100
Jubilate Deo omnis terra;
Servite Domino in laetetia.
Introite in conspectu ejus in exultatione.
(O be joyful in the Lord all ye lands,
serve the Lord with gladness,
and come before his presence with a song.)
Know that the Lord alone is God;
he has made us, and not we ourselves;
we are his people, and the sheep of his pasture.
Sing joyfully to God all the earth;
serve the Lord with gladness
Enter into his presence with great joy!
LISTEN
Vocaal Ensemble Kerkrade
This festive setting of Psalm 100 uses only fhe first three verses, in both English and in Latin. it should be sung with great rhythmic energy and textural clarity. The words should always be distinct. The interplay of colors and textures of organ, brass and voices is also important.
Just Enough
(TBA)
Voicing: SSA chorus with piano
Duration: c. 3'
Text: Nanao Sakaki (1923 - 2008)
soil for legs
axe for hands
flower for eyes
bird for ears
mushroom for nose
smile for mouth
song for lungs
sweat for skin
wind for mind
just enough
Laughing Song
Boosey & Hawkes 48019732
For the Lake Agassiz Girls Choir, Fargo, North Dakota, Pamela Burns, Artistic Director
Voicing: SSA chorus with piano
Duration: c. 4'18"
First Performance: The Lake Agassiz Girls Choir, David L. Brunner, conductor,
Fargo, North Dakota, May 4, 2008.
Text: William Blake (1757-1827) Songs of Innocence
When the green woods laugh with the voice of joy,
And the dimpling stream runs laughing by;
When the air does laugh with our merry wit,
And the green hill laughs with the noise of it;
When the meadows laugh with lively green,
And the grasshopper laughs in the merry scene,
When Mary and Susan and Emily
With their sweet round mouths sing "Ha, Ha, He!"
When the painted birds laugh in the shade,
Where our table with cherries and nuts is spread,
Come live & be merry, and join with me,
To sing the sweet chorus of "Ha, Ha, He!"
LISTEN
William Blake has captured a playful innocence in the words of the Laughing Song. There's a lightness and carefree quality in the very landscape: green woods, dimpling streams and the air itself laughing with our merry wit; meadows, grasshoppers and our playmates Mary, Susan and Emily sweetly singing "Ha, Ha, He!" There's an invitation for us to live and be merry and join with them to sing the sweet chorus. Who can resist?
Sing with flexible voices, keeping a lighness in your singing, especially the moving eighth note passsages. The laughs themselves should be full of breath. Listen carefully at each unexpected key change!
Mira Has Finished With Waiting
Boosey & Hawkes 48024248
For Sandra Snow and the women of mirabai
Voicing: SSAA chorus, soprano solo, cello, tabla and jangle stick
Duration: c. 3'
First Performance:
Text: Mirabai (1498 - 1547)
O friends on this path,
My eyes are no longer my eyes.
A sweetness has entered through them,
Has pierced through to my heart.
How long did I stand in the house of this body
And stare at the road?
My Beloved is a steeped herb, he has cured me for life.
Mira belongs to Giridhara, the One Who Lifts All,
And everyone says she is mad.
The third and final movement of the three Ecstatic Songs, on texts by Mirabai, was written for the inaugural performance of the women's ensemble mirabai, conducted by Sandra Snow. All three movements were recorded by the ensemble as the centerpiece of their premier recording. This movement has musical material that seems familiar, melodic gestures similar to those of the previous movements, and the reappearance of the solo cello as the longing in Mira's voice. There is a sense of resolve in her words, a steadfastness and determination, culminating in the repeated phrase "Mira belongs to Giridhara", (Sanskrit for "holds the mountain") the One Who Lifts All. Mira's matter-of-fact final statement reflects her awareness of, and unconcern for, others' opinion: "And everyone says she is mad."
See additional program notes about the set of Ecstatic Songs under All I Was Doing Was Breathing.
moments
Boosey & Hawkes 48023696
trampled spring grass, spring green garden, summer heat, beach of white sand, drizzling rain, leaves of autumn, winter full moon
For Ernesto Epistola, with loving thoughts
Voicing: unison chorus with piano
Duration: c. 2'
Text: Ernesto Epistola
i.
trampled green grass
someone else has seen
the wild purple orchids
ii
spring green garden
nothing whiter
than her sunlit hair
iii
summer heat
wreathe weavers gather
orange straw flowers
iv
beach of white sand
east the silver moon
west the orange sun
v
drizzling rain
child's wagon in the weeds
fire engine red
vi
leaves of autumn
finally get their wishes
yellow and red petals
vii
winter full moon
with tinge of yellow
fields of sunflowers
I was inspired to write these tiny unison pieces for an elderly friend on some of his haiku. Of his many poems I chose seven about the seasons to form a little set that I've called "moments". I like the asymmetrical nature of this number and it's fortuitous "lucky" attributes! They are little glimpses, written as single line melodies, short phrases with no text repetition, and only a bit of accompaniment. Sparse, yet fully there. Like haiku.
Mrs. Snipkin and Mrs. Wobblechin (from Two for Fun)
Boosey & Hawkes 48004300
For the Glen Ellyn Children's Chorus, Doreen Rao, conductor
Voicing: SA chorus with piano
Duration: c. 1'15"
Text: Laura E. Richards (1850-1943)
Skinny Mrs. Snipkin,
With her little pipkin,
Sat by the fireside a-warming of her toes.
Fat Mrs. Wobblechin,
With her little doublechin,
Sat by the window a-cooling of her nose.
Says this one to that one,
"Oh! you silly fat one,
Will you shut th window down? You're freezing me to death!"
Says that one to t'other one,
"Good gracious, how you bother one!
There isn't air enough for me to draw my precious breath!"
Skinny Mrs. Snipkin,
Took her little pipkin,
Threw it straight across the room as hard as she could throw;
Hit Mrs. Wobblechin
On her little doublechin,
And out of the window a-tumble she did go.
LISTEN
This companion piece to Eletelephony is a conversational chattering between two friends with widely different personalities. Each voice assumes the role of one of the characters in a spirited and playful exchange characterized by an incessant rhythmic "chatter". This perpetual motion is enhanced by the piano accompaniment, which drives the piece. The text is set syllabically, in a declamatory manner, and highlighted musically as the verbal altercation escalates, culminating in a brief imitaive passage which "tumbles" to its conclusion.
Music Came and Startled Me
Boosey & Hawkes 48023353
For the Maitland (FL) Middle School singers and instrumentalists and their directors Lori Lovell, Lisa Hopko, and Eric Mendez, for performance at Riverside Church, New York City, on May 23, 2014
Voicing: SA chorus with piano (chamber orchestra version also available)
Orchestral score and parts available from Boosey & Hawkes #48023354
Duration: c. 4'10"
First Performance: Maitland Middle School singers and instrumentalists, Riverside Church, New York, NY,
May 23, 2014
Text: Stacy Barton
AHHH... ah... Ah... ah... Ah... ah... ah...
music came and startled me, played a song of reverie,
played a song I knew for certain, one i'd heard above the curtain
from it myths, forgotten dreams, bubbled up and burst the seams.
deep within the music woke, i yearned for flighted fancy, hope.
sound and song came over me, grasped my hand and played with me.
music beckoned, "take a chance, jump off the earth, with eagles dance!"
i waited, closed my eyes to see, took a breath and sang with glee.
then i jumped, then not at all, and suddenly was very small
and earth and wood and sky and sea descended far away from me.
on storied song i soared the air, found surprises waiting there:
lyric beauty, notes of grace, melody and rhythmic space.
i watched my feet float past the ground, they framed the world inside its sound
and all at once i knew before, i had flown on music's score.
when at last i reached the earth, my soul inside had given birth
and looking up but rooted down i found the sky was all around.
in that sky that stretched so wide, music danced on every side.
when i was small i think i flew; as a child i'm sure i knew of ancient myths,
forgotten dreams, all flown on wings of song it seems.
Order orchestral version parts
David Brunner's music is some of my absolute favorite, and our recent commission, Music Came and Startled Me, is at the top of that list! I am always amazed at how intuitively he brings text to life with elaborate moments of word painting and instrumental flourish. His music is challenging, yet accessible, to my middle schoolers, while giving them depth and breadth of emotion with which to connect. This particular commission, for middle school symphony orchestra and chorus, is a testament to David's commitment to providing meaningful musical experiences for musicians of all ages. Given the unique instrumentation and parameters of their capabilities, Dr. Brunner created a tapestry of orchestral color which adds nuance to the poetry and supports the young singers in their broad phrases. Collaborating with David Brunner is always a cherished experience, and is even more so when it is connected to a birth of a shared inspiration. In my experience, conducting and performing Brunner's music has yielded stronger musicians with an aesthetic appreciation for beautiful poetry and lyricism.
Dr. Lori Lovell, director
Maitland Middle School choirs
My friendship with and admiration for Lori Lovell, choral director at Maitland Middle School, was the inspiration for this work. She came to me with (yet another) idea for a grand collaboration, this time involving singers from her choirs, along with instrumentalists from her colleagues' groups, Lisa Hopko (orchestra) and Eric Mendez (band), for a performance scheduled at Riverside Church in New York City. In addition, her poet friend Stacy Barton had written words that I found imaginative and full of wonder.
The text, excerpted from Stacy's larger poem, Flight, beautifully describes yearning, dreaming, and the sensation of flying, a childhood dream I had on more than one occasion and can still feel. "When I was small i think I flew; as a child I'm sure I knew of ancient myths, forgotten dreams, all flown on wings of song it seems." My attention kept returning to the initial phrase "music came and startled me," which seemed the perfect title.
The full orchestration (48023354 and available as a digital download from the publisher at www.halleonard.com) for strings, winds, piano and light percussion, is colorful and of moderate challenge, though the piano version works nicely, as well.
There is a gentle lyricism and a dance-like quality throughout, with buoyant, lifted phrases. Sing with a clear and beautiful tone, clean diction and a sense of wonder and possibility.
My Heart Soars
Boosey & Hawkes 48004784
For the 1998 Oklahoma Elementary All-State Chorus, Janet Galvan, conductor
Voicing: SA chorus with flute and piano
Duration: c. 2'30"
First Performance: Oklahoma Elementary All-State Chorus,
Janet Galvan, conductor, January 28, 1998
Text: Chief Dan George
The beauty of the trees,
the softness of the air,
the fragrance of the grass,
speaks to me.
The summit of the mountain,
the thunder of the sky,
the rhythm of the sea,
speaks to me.
the faintness of the stars,
the freshness of the morning,
the dew drop on the flower,
speaks to me.
The strength of fire,
the taste of salmon,
the trail of the sun,
and the life that never goes away,
they speak to me.
And my heart soars.
David Brunner, established as a composer of beautiful melodies that are incredibly "singable", has another winner with My Heart Soars. One child in Oklahoma told me that he had always like the text, but the setting had made him understand it more. He said that he felt as if his voice and spirit literally lifted out of his body as he sang the climactic text, "and my heart soars". Another child commented that she had never sung high notes so easily. The marriage of text and music is exquisite. This is a marvelous addition to the repertoire. Thank you, David Brunner!
Janet Galvan
Ithaca CollegeThis well-known Native American text speaks of an intimate relationship with nature and the earth. Beauty, softness, fragrance and freshness abound. This is a sensual text, in that each phrase conjures images that stimulate our senses of sight, hearing, touch, taste and smell. Savor it! Allow yourself freedom to shape the musical phrases with sensitivity.
Never a Child as He
Boosey & Hawkes 48004588
Voicing: unison chorus with piano
Duration: c.1'50"
First Performance: Gloria Musicae Young People's Choir, David L. Brunner, conductor,
Sarasota, Florida, December 1991
Text and melody: James Niblock
Never so lovely a child as he,
Born in a stable lowly.
Never a face so fair to see,
Child of all Most Holy.
Humble His Birth, yet King to be,
Never a child as He.
Out on the hillside shepherds did pray;
Wise men their gifts were bringing,
Led by a star to where he lay,
Child of the angels singing,
Never a child as He.
Never on Earth a night like this,
Angles and men in chorus.
Never a birth awesome as His;
Heaven is open'd before us.
God's own son abiding here,
Never a gift so dear.
Never a child as He.
Never a Child as He is an arrangement for unison voices over a gently undulating piano accompaniment. Each verse of the modal melody is set over a differing accompanying texture. The innocence of the text coupled with the simple, folk-like character of the melody results in a charming lullaby, appropriate for children or adult voices in unison.
Now Touch the Air Softly
Walton Music HL00144547
For the Contra Costa Children's Chorus in honor of Artistic Director Iris Lamanna's retirement
Voicing: SSA chorus with oboe and piano
Duration: c. 3'
First Performance: The Contra Costa Children's Chorus, Iris Lamanna, director, St. Mary's
College Chapel, Moraga, California, June 5, 2011.
Text: William Jay Smith
Now touch the air softly.
Step gently. One, two...
I'll love you till roses
Are robin's-egg blue;
I'll love you till gravel
Is eaten for bread.
And lemons are orange,
And lavender's red.
Now touch the air softly,
Swing gently the broom.
I'll love you till windows
Are all of a room;
And the table is laid,
And the table is bare,
And the ceiling reposes
On bottomless air.
I'll love you till Heaven
Rips the stars from his coat,
And the Moon rows away in
A glass-bottomed boat;
And Orion steps down
Like a diver below,
And Earth is ablaze,
And Ocean aglow.
So touch the air softly,
And swing the broom high.
We will dust the gray mountains,
And sweep the blue sky;
And I'll love you as long
As the furrow the plow,
And However is Ever,
And Ever is Now.
LISTEN
Now Touch the Air Softly was written for the Contra Costa Children's Chorus in celebration of Founder and Artistic Director Iris Lamanna on her retirement. William Jay Smith's poem has a simple elegance that I found immediately attractive, and I was intrigued by the subtitle A Pavane for the Nursery. A pavane is, historically, a sedate and dignified couple dance in a slow duple meter, which I hoped to suggest in a broad feeling of two. The 6/8 meter lends a gentle rocking feel, suggestive of a nursery lullaby, as do the accompaniment figures in the piano. The repetition of the simple counting of "one, two... one, two..." and echoes of this figure in the oboe become a soft and tender lulling to sleep.
Sing with beauty of tone and a sensitivity to the sound, rhythm, and meaning of the words.
The message is simply "I'll love you forever."
O Little Town of Bethlehem
Boosey & Hawkes 48004883
For my dear niece,Kendal, her mother and grandmother, with love at Christmas
Voicing: SA chorus with piano
Text: Phillip Brooks (1835-1893)
Duration: c. 3'50"
What a beautiful melody! The traditional text is enhanced by flowing melodic lines, warm harmonies, and a gently rhythmic accompaniment that aptly depicts the glow and tenderness of Christmas.
J. W. Pepper & Son, Inc.
An expansive and charming new melody, unfolding through a series of modulations, brings these familiar words to life. Sing long melodic lines with a lyric ease and sense of shape.
O Music
Boosey & Hawkes 48004549
For the Children's Honor Choir, 1994 Florida State ACDA Convention, Henry Leck, conductor
Voicing: SSA chorus with cello and piano. Orchestral version by Ron Ellis.
Full score and parts available on rental from the composer. (also available for mixed chorus)
Duration: c. 4'
First Performance: Children's Honor Choir, Florida State ACDA Convention,
Knowles Chapel, Rollins College, Winter Park, Florida, Henry Leck, conductor,
November 11, 1994.
Text: Kahlil Gibran (1883-1931)
O music, in your depths we deposit our hearts and souls.
Thou hast taught us to see with our ears and hear with our hearts.
LISTEN
See listing under Mixed Choirs for annotation.
On Christmas Morn
Boosey & Hawkes 48004712
For the Children's Aid Society Chorus of New York City, Francisco J. Nunez, director
Voicing: unison chorus with piano
Duration: c. 3'
First Performance: Children's Aid Society Chorus, Francisco Nunez, conductor,
St. Patrick's Cathedral, New York, New York, December 19, 1996
Text: Ruth Sawyer (1880-1970)(adapted from an old Spanish carol)
Shall I tell you who will come
to Bethlehem on Christmas morn,
Who will kneel them gently down
before the Lord, new-born?
One small fish from the river,
with scales of red, red gold,
One wild bee from the heather,
one gray lamb from the fold,
One ox from the high pasture,
one black bull from the herd,
One goatling from the far hills,
one white, white bird.
And many children, God give them grace,
bringing tall candles to light Mary's face.
The words of this old Spanish carol tell of the scene around the manger in Bethlehem, an assembly of gentle creatures and many children of all backgrounds. It should be sung gently, with sincerity and warmth.
One Song
Hal Leonard HL 01167303
Voicing: SSA chorus with piano.
Duration: c. 3'
Text: Author Unknown
One song can spark a moment,
One whisper can wake the dream.
One tree can start a forest,
One bird can herald spring.
One smile begins a friendship,
One handclasp lifts a soul.
One star can guide a ship at sea,
One word can frame the goal.
One vote can change a nation,
One sunbeam lights a room.
One candle wipes out darkness,
One laugh will conquer gloom.
One step must start each journey
One word must start each prayer.
One hope will raise our spirits,
One touch can show you care.
One voice can speak with wisdom,
One heart can know what's true,
One life can make a difference,
You see, it's up to you!
Painted Memories
Boosey & Hawkes 48018859
Commissioned by the Kentucky Music Educators Association for the 2004 KMEA All-State Children's Choir, Robert Paugh, Coordinator, Ann Small, conductor
Voicing: SA chorus with oboe and piano. Orchestra version by Ron Ellis.
Full score and parts available on rental from the composer.
Duration: c. 8'
First Performance: KMEA All-State Children's Choir, Ann Small, Conductor,
Louisville, Kentucky, February 2004
Text: Bill Worrell
I fly in the night so high.
With the spirits I soar
Dancing among the stars.
In this ecstasy mysteries are made clear.
Melodies fill my ears
with crystal voices,
Revealing all my wonderings.
My energy has no boundaries.
I fly.
I am bathed in the nectar of euphoria,
I fly.
In my blissful flight the motion of the spheres
Ushers Dawn into my chambers.
She fractures my slumber,
Her brightness dims my vision.
Brighter and brighter she grows
As she clasps my feet
And locks me to the Earth.
I must sketch my visions.
Upon the walls of the canyons with great care
I paint my memories.
LISTEN
Bill Worrell's Painted Memories
Bill Worrell is a Texas sculptor and artist whose work moved me in a gallery in Santa Fe, New Mexico a few summers ago. His sculptures are full of spirit, grace and power, and the evocative poems he writes to accompany them are words of magic. I was transfixed by the wonder of the art and transported by the imagination of the words.
Painted Memories accompanies a bronze triptych and reflects Worrell's interest in and influence by the early cave paintings in the Lower Pecos River area, fragments of the Shaman's experience.
"Soaring with the spirits", "dancing among the stars", "flying unbounded". This freedom and movement of the spirit is reflected in the music and its weightless, unfettered feeling of flight. The appearance of the dawn dims my vision and clasps my feet to the ground. The vividness of my spirit's night flight, however, forces me to paint. "I must sketch my visions". "Upon the walls of the canyon, with great care, I paint my memories". The experience is transformed into art and leaves behind a record, a faint remembrance of the vivid reality.
I hope this music captures some part of the awe and wonder of the Shaman speaker and of Bill Worrell's art.
Psalm 150
Boosey & Hawkes 48005017
Commissioned by the Miami Children's Chorus, Timothy A. Sharp, Music Director
Voicing: SA chorus with piano
Duration: c. 2'
First Performance: The Miami Children's Chorus, Timothy A. Sharp, director, Miami, Florida,
April 2001
Text: John Davies (1569-1626)
To Him with trumpets and with flutes,
With cornets, clarions, and with lutes,
With harps, with organs, and with shawms,
With holy antnhems and with psalms.
With voice of angels and of men,
Sing Alleluia; amen, amen.
LISTEN
This is our second commission of David Brunner and we are overjoyed with the work he has crafted for us, Psalm 150. With a text by John Davies, David uses changing meter and shifting harmonies to create a challenging work that is an excellent addition to the repertoire for children's choirs. The children of the MCC have enjoyed learning and singing this piece. Bravo, David, for another fine work!
Timothy A. Sharp
Miami Children's ChorusJohn Davies' paraphrase of the 150th Psalm says much in few words and brings familiar sentiments to life in a new way. Each line of text is infused with exultation, which is echoed in the vocal fanfare figures. The singing throughout should be clear and articulate, with focused energy and crisp diction. The accompaniment could be adapted effectively for organ.
Radiant Sister of the Day
Boosey & Hawkes 48019153
Commissioned by the Riverdale Women's Chorale, Riverdale High School, Murfreesboro, Tennessee, Jeremy D. Jones, conductor, in honor of Founding Conductor, John T. Bryan
Voicing: SSAA chorus with piano
Duration: c. 3'
First Performance: Riverdale High School Women's Chorale, Murfreesboro, Tennessee,
Jeremy Jones, conductor
Text: Percy Bysshe Shelly (1792-1822), To Jane: The Invitation
Radiant Sister of the Day,
Awake! arise! And come away!
To the wild woods and the plains,
And the pools where the winter rains
Image all their roof of leaves,
Where the pine its garland weaves
Of sapless green and ivy dun
Round stems that never kiss the sun;
Where the lawns and pastures be,
And the sandhills of the sea --
Where the melting hoar-frost wets
The daisy-star that never sets,
And wind-flowers, and violets,
Which yet join not scent to hue,
Crown the pale year weak and new;
When the night is left behind,
And the blue moon is over us,
And the multitudinous
Billows murmur at our feet,
Where the earth and ocean meet,
And all things seem only one
In the universal sun.
LISTEN
In Radiant Sister of the Day, David Brunner has one again exhibited his mastery of wedding text to tune. This piece literally leaps off the page with wild abandon with its exuberant intervals, clashing dissonances and quieter pools of tonal mood change. Be prepared for some surprising twists and turns in both melodic and harmonic structure. Radiant Sister of the Day is not an easy choral piece, but is well worth the effort required, for both performer and listener. It has been a very positive and rewarding experience working with David on this project. The students have loved learning this enjoyable and exciting piece. I believe many others will respond favorably to this great addition to women's choral repertoire.
Jeremy D. Jones, Conductor
Riverdale Women's ChoraleRadiant Sister is a joyous setting that sweeps the listener into a beautiful world of color, space and daylight. The women enjoyed singing this gem, often remarking how "easy" or "great" it felt in the voice. We often saved rehearsing Radiant Sister until that moment in rehearsal we most needed a lift out of the ordinary. It can function similarly on a concert program, providing momentum and sonorous beauty.
Sandra Snow
Conductor, Women's Chamber Ensemble
Michigan State UniversityI was immediately drawn to the evocative quality of Shelley's poem, its scents and sounds, colors and qualities. The statement "Radiant Sister of the Day" is used as a refrain that calls us to come away to wild woods and plains, lawns and pastures, and the place where earth and ocean meet.
The singing should have a youthful enthusiasm that delights in each new scent and scene, and a momentum, carried forward by the playful rhythms and undercurrent of pulsation to that place where "all things seem only one in the universal sun".
Rain Stick
TBA
Dedicated to the past and present members of The Frederick Children's Chorus, Frederick, MD, Judy DuBose, Founder and Artistic Director, in celebration of their Twenty-fifth Anniversary
Voicing: SSAA chorus with piano and rainsticks
Text: Heaney Seamus (b. 1939)
Duration: c. 3'30"
First Performance: The Frederick Children's Chorus, Judy DuBose, conductor,
Frederick, Maryland, May 9, 2010
Judy Dubose, founder and artistic director of the Frederick Children's Choir, commissioned Rainstick for their 25th anniversary in 2010. After considering many texts with celebratory or sentimental themes, we decided, rather unexpectedly, on Heaney Seamus' delightful poem which describes the sounds and sensations of this natural music-maker. Surely a novelty in Heaney’s native Ireland, the poet evocatively captures not only its sounds with bits of onomatopoeia (“glitter drizzle” and “sluice-rush”), but also the rather childlike delight in handling one of these sticks, an ingenious new toy.
Scored for three-part treble chorus, piano and eight rainsticks (though there could be more), the music has a certain sense of expectancy, rhythmic vitality, and playfulness. You can experiment with different kinds of rainsticks (bamboo, cactus, and other materials), length (from as small as eight inches to four or more feet), number and placement. Suggestions are given as to the “choreography” of these sticks to produce different speed and timbre of sounds, but this is also open to experimentation. Decide what you like best!
The Shepherd's Carol
Boosey & Hawkes 48018988
Voicing: Unison chorus with piano
Duration: c. 3'
Text: Anonymous
We stood on the hills, Lady,
Our day's work done,
Watching the frosted meadow
That winter had won.
The evening was calm, Lady,
The air so still,
Silence more lovely than music
Folded the hill.
There was a star, Lady,
Shone in the night,
Larger than Venus it was
And bright, so bright.
Oh, a voice from the sky, Lady,
It seemed to us then
Teling of God being born
In the world of men.
And so we have come, Lady,
Our day's work done,
Our love, our hopes, ourselves
We give to your son.
The sentiment of this anonymous text is one of simple wonderment. This night was different than others: the stillness of the air, a lovely silence, the brightness of the star, a voice from the sky. Respect for the Lady is brought by hardworking shepherds, who offer themselves in homage to her son.
The tempo is unrushed, the singing pure and honest.
Simple Boat
Boosey & Hawkes 48018989
Commissioned by Weerter Gemengd Koor "VIVACE', Kammerkoor Cantate Venlo, Beeker Liedertafel and Chevremonts Mannerkoor 1912 Kerkrade, Dion Ritten, Artistic Director, in his 25th Anniversary as Conductor, for the Sierra Leone Project of War Child Netherlands
Voicing: SATB and treble choirs with piano. Orchestra version by Ron Ellis. Full score
and parts available on rental from the composer.
Duration: c. 7'15"
First Performance: Weert Munttheater, Kerkrade Wijngrachttheater, Dion Ritten,
conductor, October 1 and 2, 2004
Text: Irish Fisherman's Prayer/The Way of the Bodhisattva
Dear Lord, be good to me.
The sea is so wide
And my boat is so small.
-----
Regard your body as a vessel,
A simple boat for going here and there.
Make of it a wish-fulfilling gem
To bring about the benefit of beings.
-----
May I be a guard for those who are protectorless,
A guide for those who journey on the road.
For those who wish to go across the water,
May I be a boat, a raft, a bridge.
LISTEN
I know David Brunner as a very fine composer and person. For his compositions he always chooses interesting and profound texts. Simple Boat is a perfect combination of texts from an Irish Fisherman's Prayer and a Buddhist text. It is an expressive work, composed with great musical integrity and beautiful melodies. The first performance of Simple Boat was very emotional and moving and had a marvelous response by the audience, who gave a standing ovation. Thank you, David, for, again, a very valuable enlargement of the choral literature.
Dion Ritten
Conductor, Weeter Gemengd Koor "VIVACE"
The NetherlandsThe occasion of an anniversary is always a reason to celebrate. When my friend Dion Ritten approached me to write a piece for his 25th anniversary with his choirs, I was eager to do so. What made the project even more compelling was his wish that the concert become an opportunity for greater awareness and a way to contribute to a greater cause. His choice was the Sierra Leone project of War Child Netherlands. It was a collaboration I had to be a part of.
The choice of texts was a crucial one for me. I believe the plight of the child is beautifully captured in the words of the Irish Fisherman's Prayer: "O Lord, be good to me. The sea is so great and my boat is so small." These words of helplessness in the face of an overwhelming sea are the only words sung by the chorus of children. The adult community of singers respond with two Buddhist writings from The Way of the Bodhisattva: "Regard your body as a vessel, a simple boat for going here and there. Make of it a wish-fulfilling gem to bring about the benefit of beings." "May I be a guard for those who are protectorless, a guide for those who journey on the road. For those who wish to go across the water, may I be a boat, a raft, a bridge."
This helping community offers itself as the vehicle for crossing the water. The refrain "a simple boat" recurs throughout the piece, not only as a unifying device, but also a reminder that we, personally, possess the simple means to bring about the benefit of beings. That we, individually, can be a bridge or boat for those who have need of one.
The Buddhist image of crossing the water or going to the other shore is the movement to enlightenment or awakening, from suffering to liberation, forgetfulness to mindfulness, duality to non-duality.
Sing the melodic lines with gentle shape and grace. Take time for the music to unfold and expand. Sing the words as if they were your own.
The Singing Will Never Be Done
TBA
For the Orlando Children's Chorus and their directors Trey Jacobs and Carolyn Minear on their Fifth Anniversary
Voicing: SATB and treble choirs with piano
Text: Siegfried Sassoon (1886-1967)
Duration: c. 5'50"
First Performance: The Orlando Children's Chorus, Trey Jacobs, conductor,
Orlando, Florida, spring 2001
How fortunate we were to be able to commission a piece for singers about singing! It offered our students an opportunity to reflect and share what singing does for them and for the world. They were then able to see how the composer set the text to enhance the meaning of the words, offering their own insights for each phrase. After the premiere, one of our youngest singers said he wanted the last not to stay with him all summer, so the "singing will never be done" until he returns in the fall! We loved how the children's voices appear and reappear at appropriate moments throughout the SATB setting, with the children and adults playing off of one another. I cannot think of a more fitting way to celebrate a fifth anniversary than to commission one of our favorite composers to write about singing. Thank you, thank you.
Carolyn Minear
Director, Orlando, Children's Chorus
Sir Brother Sun
Boosey & Hawkes 48019446
In loving memory of former MCC chorister Christie Prieto. Commissioned by the Miami Children's Chorus, Timothy A. Sharp, Music Director
Voicing: SSAA chorus with piano. Chamber orchestra version full score and parts available
from the publisher 48019465
Duration: c. 4'
First Performance: Miami Children's Chorus and players from the New World Symphony,
Timothy A. Sharp, conductor, Miami, Florida, October 27, 2006
Text: St. Francis of Assisi (1181/82-1226)
Praised be you, my Lord, through our Sister Mother Earth, who sustains us, governs us, and who produces varied fruits with colored flowers and herbs.
Praised be you, my Lord, through Brother Wind and through the air, cloudy and serene, and every kind of weather.
Praised be you, my Lord, through Sister Moon and the stars in heaven, you formed them clear and precious and beautiful.
Praised be you, my Lord, through Brother Fire, through whom you light the night and he is beautiful and playful and robust and strong.
Praised be you, my Lord, with all your creatures, especially Sir Brother Sun, who is the day and through whom you give us light. And he is beautiful and radiant with great splendors and bears likeness of You, Most High One.
LISTEN
Order orchestral version parts
In Sir Brother Sun, David Brunner has crafted another excellent piece for children's chorus and chamber orchestra. David's melodic idea, voicing and dynamic contrasts make the text of Saint Francis of Assisi breath new life with each statement of praise. The balance between chorus and orchestra is also what makes this such an excellent composition. At no time does the texture of the orchestra overpower the voices. Though wonderful with piano, performing this piece with orchestra is a must. Only then will you gain a true perspective of each voice as it speaks.
Timothy A. Sharp, Music Director
Miami Children's ChorusI've had the pleasure, on three occasions, to write commissioned works for the Miami Children's Chorus and their director Tim Sharp. Both Yo le Canto todo el Dia and Psalm 150 are rhythmic and angular, but with differing message and effect. The invitation to write a piece for treble singers with chamber orchestra was the perfect opportunity to set a text I've always loved, one which suggested expansive, lyrical lines.
The words of St. Francis of Assisi express a delight in all things of the universe: earth, wind and air, moon and stars, fire and sun. They are referred to endearingly as our sisters and brothers, and each enriches our lives with beauty, strength, sustenance, playfulness, radiance and splendor.
The evocative nature of the text is reflected in the changing textures and colors of the orchestration, highlighted by solo winds. Though this piece can be performed effectively with piano, I encourage orchestral performances, when possible.
The first performance took place in Miami Beach on October 27, 2006, with the Miami Children's Chorus and players from the New World Symphony, led by Tim Sharp.
Sir Christemas
Boosey & Hawkes 48019826
For the Children's Chorus of Washington, Joan Gregoryk, Founder and Artistic Director
Voicing: SSA/SSA choirs, organ, trumpet I and II, horn, trombone, tuba, timpani, triangle
and orchestra bells. Full score and parts available for purchase from the
publisher #48019827.
Duration: c. 3'51"
First Performance: The Children's Chorus of Washington, Joan Gregoryk, conductor,
Washington D. C., December 15-16, 2007
Text: Anonymous c. 1500
Nowell, nowell.
Who is there that singeth so,
I am here, Sir Christemas.
Welcome, my lord Sir Christemas!
Welcome to all, both more and less.
Come near, come near.
Nowell, nowell.
Dieu vous garde, beaux sieurs,
(God keeps you, beautiful sirs)
Tidings I you bring:
A maid hath born a child full young.
Which causeth you to sing:
Nowell, nowell.
Christ is now born of a pure maid:
In an oxstall he is laid,
Wherefore sing we all a brayde:
Nowell, nowell.
Buvez bien, buvez bien par toute la compagnie.
(Drink well, drink well by the whole company)
Make good cheer and be right merry,
And sing with us now joyfully:
Nowell, nowell.
Order brass, percussion and organ parts
Our Holiday Concert traditionally includes organ, brass quintet and percussion, and for the 2007 concert we wanted to feature a new work that combined those forces with two or more of the four CCW ensembles. David chose the poem Sir Christemas and wrote a celebratory and joyful piece with resounding bells, organ and brass interludes, and sections for unison, two and three part chorus. It begins with a triumphant "Nowell" and ends with a spirited "Welcome" sung by the tutti choruses. The more contemplative middle section featured the youngest singers proclaiming in the purity of their unison voices: "Christ is now born of a pure maid; in an ox-stall he is laid." David has written a stirring piece that will become a standard in the repertoire for treble voices and brass quintet.
Joan Gregoryk
Founder and Artistic Director
Children's Chorus of WashingtonThe opportunity to write something for treble chorus and brass for the Christmas season came at the invitation of Joan Gregoryk, Artistic Director of the Children's Chorus of Washington, whom I have been delighted to hear on a number of occasions. What has resulted is a fanfare of welcome for the season.
The festive and cheerful nature of the anonymous Renaissance text Sir Christemas, in English and French, was the perfect impetus. It first appears in a manuscript of English and Latin songs, dating probably from Edward IV to the early years of Henry VIII. An early appearance as a carol is attributed to Richard Smart, rector of Plymtree, Devon, from 1435-1477.
The chorus alternately sings in unison, three parts and antiphonal double choir. Brass, organ and percussion combine to bring color and brilliance to the texture, and there is, at times, a vaguely Medieval feel to the music, characterized by the Lydian modality (raised 4th), open sonorities, angular rhythms and the quotation of the Puer Nobis theme.
The singing should be bold and joyful. Welcome Sir Christemas!
Solidaridad
Bosey & Hawkes 48005125
In memory of Linette Perez Wilson. Commissioned by the Richardson All District Elementary Choir, Lindy Perez, Director, for the 2003 Texas Music Educators Association Convention
J. W. Pepper Editor's Choice
Voicing: SA chorus with piano
Duration: c. 4'
First Performance: The Richardson All District Elementary Choir, Lindy Perez, Director,
at the 2003 Texas Music Educators Association Convention, San Antonio, Texas
Text: Amado Nervo (1870-1919)
Lark, we will sing!
Waterfall, we will jump!
Brook, we will run!
Diamond, we will shine!
Eagle, we will fly!
Dawn, we will be born!
LISTEN
The title, "solidarity", symbolizes to me what singing in a choir is all about -- the joining together of a group of people for a common goal -- making beautiful music together. The text is joyful and uplifting, the perfect poem for a children's choir song. The rhythms are spirited and playful and truly capture the Latin style of the piece. The accompaniment cleverly creates text painting of a lark and a waterfall. The intervals were challenging, but so exciting when we got them right! Thank you so much for being a part of this music experience for me and the All-District Choir!
Lindy Perez
Richardson All-District Elementary Choir...a marvelous cross-cultural feature that we recommend very highly!
Editor's Choice
J. W. Pepper & Son, Inc.Mexican poet Amado Nervo (1870 - 1919) was sometimes referred to as the "monk of poetry", as he had studied for the priesthood but abandoned it for writing. A leading figure for modernismo, his poetry is known for its simplicity and musical phrasing, both of which attracted me to his poem Solidaridad. Its short and direct lines command us to sing, jump, run, shine, and fly. We are like the lark, the waterfall, the brook, the diamond, the eagle. Finally, like the dawn, we are born. In solidarity we are all these things.
The music is rhythmic, dance-like and playful. At the same time, your singing should be free and unbounded. Feel the style, dance the rhythms, become the music.
Southern Gals
TBA
Commissioned in honor of the Fifth Anniversary of the Girl Choir of South Florida, Wallis Peterson, Artistic Director
Voicing: SSA chorus with piano
Text: The Homespun Dress; Prettiest Little Gal in the County, O; Sourwood Mountain;
The Black Mustache; When I Was a Young Girl; The Paw Paw Patch
Duration: c. 6’50"
First Performance: The Girl Choir of South Florida, Wallis Peterson, conductor,
Fort Lauderdale, Florida, May 16, 2010
When I first began contemplating a piece to commemorate the Girl Choir of South Florida’s fifth anniversary, there were three things of which I was sure: first, that the work be accessible to and compelling for all of our choristers, from the brand-new-to-choir 7 year-olds to the 18 year-olds who had sung with us since our inception; second, that the work include texts and/or melodies from Folksongs of Florida, as I wished to conclude the musical travels in our concert, Journeys and Destinations, by arriving back here in the south; and lastly, that a “Florida” composer create the piece. Having seen you work with many treble choirs throughout the years, and having had wonderful musical experiences with my own choirs as we’ve sung your compositions, you were our first choice.
I speak for all of us in the girlchoir when I say that you not only met, but exceeded our expectations with “Southern Gals”! The medley format allowed all three of our choirs to sing both independently as well as en masse. The variety of texts -- tender to cautionary to playful -- were well-chosen for girls, and the musicality and sensitivity of your settings were much appreciated by performers and audience members alike. “Southern Gals” was just what we had hoped for, and was an outstanding conclusion to our 2010 season!
I would also like to thank you for taking the time to work with our choristers -- your warmth and encouragement, as well as you musical suggestions and insights, made a lasting impact on all of us.
Wallis Peterson, Artistic Director
The Girl Choir of South Florida
Spiritual Musick
Boosey & Hawkes 48020980
For the Berks Classical Children's Chorus, Dail Richie, conductor, Reading Pennsylvania
Buffalo Niagara Youth Chorus, John Fleischman, Jr., conductor, Orchard Park, New York
Cantare Children's Choir, Catherine Glaser-Climie, Calgary, Alberta, Canada
Cantare Children's Choirs of Oakland, Julie Hayden, conductor, Oakland, California
Cincinnati Children's Choir, Robyn Lana, conductor, Cincinnati, Ohio
Colorado Children's Chorale, Deborah DeSantis, conductor, Denver, Colorado
Con Brio in Columbus, Emily Gill, conductor, Columbus, Ohio
Dunfermline Junior Chorus, Mandy Miller, conductor, Dunfermline, Scotland
Fairfield County Children's Choir, Jon Noyes, conductor, Orange, Connecticut
New Orleans Children's Chorus, Cheryl Dupont, conductor, New Orleans, Louisiana
Princeton Girlchoir, Lynnel Joy Jenkins, conductor, Princeton, New Jersey
Young Naperville Singers, Angie Johnson, conductor, Naperville, Illinois
Youth Choral Theater of Chicago, Paul Caldwell, conductor, Chicago, Illinois
Voicing: SSAA chorus with piano, snare drum, brass drum and triangle (also available for mixed chorus)
Duration: c. 2'44"
First Performances: fall 2010 - spring 2011
Text: Christopher Smart (1722 - 1771) From Jubilate Agno, fragment B, part 4
For the spiritual musick is as follows.
For there is the thunderstop, which is the voice of God direct.
For the rest of the stops are by their rhimes.
For the trumpet rhimes are sound bound soar more and the like.
For the Shawm rhimes are lawn fawn moon boon and the like.
For the harp rhimes are sing ring string and the like.
For the cymbal chimes are bell well toll soul and the like.
For the rest of the stops are by their rhimes.
For the flute rhimes are tooth youth suit mute and the like.
For the dulcimer rhimes are grace place beat heat and the like.
For the clarinet rhmes are clean seen and the like.
For the Bassoon rhimes are pass class and the like.
God be gracious to Baumgarden.
For the dulcimer are tather van fan and the like and grace place etcetera are of the bassoon,
For beat heat weep peep etcetera are of the pipe.
For ev'ry word has its marrow in the English tongue for order and for delight.
LISTEN
David Brunner is a major contemporary composer and we in the community of children's choirs are fortunate that he chooses to write for our choristers. Whether setting profound texts in his stunning lyrical style such as in To Be Young and A Song To End All War, or creating energetic rhythms in the incredible Yo le Canto todo el Dia (to mention just a few), David melds wonderfully chosen words with exquisitely crafted music.
David describes the text of Spiritual Musick as “quirky, engaging and enigmatic,” and his music is a perfect match. He has chosen a march-like, declamatory style to portray the playful nature of the rhymes. The vocal lines are quite accessible for the performers, while the challenge lies in complementing an interesting and unique texture comprised of a rhythmic piano accompaniment (marked agitato) and three percussion parts. The result is pure delight!
David was the special guest at our Winter Concert titled “Winter Changes – The Music of David Brunner,” which included seven of his pieces. The choristers and audience alike responded enthusiastically to David’s warmth, grace and amazing musicianship. As Haydn once said of Mozart, I believe may also be said of David Brunner: “He has taste and beyond that the most enormous skill and artistry.”
Jon Noyes
Music Director & Founder
Fairfield County Children's ChoirSpiritual Musick was written for thirteen children’s choirs from the U.S., Canada and Scotland who “purchased” me at the Chorus America silent auction in 2009. Auction organizer and composer friend Paul Caldwell didn’t have to persuade me to donate this in support of Chorus America’s work.
The piece is a quirky setting of Christopher Smart’s unusual text from Jubilate Agno, a long free-verse manuscript written between 1759 and 1763, during Smart's confinement for insanity in St. Luke's Hospital, Bethnal Green, London. The text straddles the fine line between madness and genius, and displays an organization and imagination that rings quite true.
Benjamin Britten memorably used Smart’s text in his Rejoice in the Lamb, for SATB chorus and organ. This version is set for treble voices with piano and a little band of snare drum, bass drum and triangle. It’s a rhythmic, angular, declamatory recitation of the instrument rhimes (“For there is the thunder-stop, which is the voice of God direct. For the rest of the stops are by their rhimes.”) It will have its thirteen premieres in the 2010-2011 season, as well as a performance by the Children’s Honor Choir at the ACDA National convention, conducted by Henry Leck.
Enjoy the quirky rhymes and odd little melodies. Really articulate the words, make the music march along, and wonder (along with me) who Baumgarden might be!
Star Giver
TBA
Commissioned by Dr. and Mrs. Ray and Pam Heller for the Nebraska Choral Arts Society
Voicing: SSA chorus with piano
Text: Macrina Wiederkehr
Duration: c. 4'30"
First Performance: The Nebraska Choral Arts Society/Nebraska Children's Chorus, David Brunner, guest conductor, Omaha, Nebraska, March 11, 2007
LISTEN
When the Nebraska Choral Arts Society commissioned David Brunner to compose a new piece for the combined forces of our many children's choruses, we anticipated a thoughtful setting of text with appeal to a broad listening audience. When David delivered Star Giver, we were delighted to find our expectations far exceeded. Star Giver exemplifies that outstanding, yet sometimes elusive, union of text and music unique to the craft of a master composer.
When David traveled to Omaha and rehearsed our children's choirs before conducting the world premier, he was everything one desires in a clinician. in addition to his gracious manner and consummate musicianship, he immediately developed a positive rapport with our singers. This is indicative of his nature as a genuine human being, perhaps the most important attribute of a sensitive artist, and that condition which informs the total musician.
After the premiere, I asked the singers in Bel Canto to express their individual impressions of Star Giver in one word. Their responses included the following: ethereal, evocative, humanistic, inspiring, interpretive, mysterious, shimmering, soothing and transcendent. That says it all.
Sean Burton
Conductor, Nebraska Children's Chorus Bel Canto
Sweet Are The Lips Of All That Sing
TBA
Written to celebrate the 25th anniversary of the Spokane Area Children's Chorus, Kristina Ploeger, Artistic Director
Voicing: SSA chorus with piano
Text: Oliver Wendell Holmes (1841-1935)
Duration: c. 3'30"
It was important for us to commission just the right piece to celebrate our 25th Anniversary of the Spokane Area Children's Chorus, so I asked the staff of the chorus who their "dream composer" for this piece might be. Knowing how beautifully divergent artists are, I expected to wade through quite a few "dream" scenarios from the six individuals giving input. The answer, however, was completely unified -- David Brunner. it is no wonder, as we have thoroughly enjoyed the musical grace, extreme attention to text setting and finely sophisticated construction of his music in the past.
Every step in the process of commissioning Dr. Brunner was a joy. Looking through the texts he provided made me anticipate the piece and our festival even more. My love of David Brunner's "Sweet Are the Lips of All That Sing" began the moment I read the first pdf. David knows when to support a unison melody with the most crystalline beauty of a perfect piano part. He knows how to create a fullness of sound with only treble voices that seems completely full. And he possesses a perfect understanding of how a tempo can breathe within a line to magnify the meaning of the text and make a truly moving experience for singers and audience alike.
It is always our desire to bring joy and beauty into this world. Because of David's fantastic musical realization of this beautiful Oliver Wendell Holmes text, and his motivating and uplifting work with all of our children, Leora Schwitters (Ranier Youth Choirs), Kris VanAuken (Oregon Repertory Youth Singers) and I were granted the ability to do this in celebration of our special event. "Sweet Are the Lips of All That Sing" is everything we dreamed of and more.
Kristina Ploeger
Artistic Director, Spokane Area Children's Chorus
Then, Now, Forever
Boosey & Hawkes 48019169
Commissioned by The Children's Chorus of San Antonio in loving memory of Bob McCormick, founding Tour Director
Voicing: SSA chorus with piano
Duration: c. 4'30"
First Performance: Children's Chorus of San Antonio, Marguerite McCormick, conductor,
San Antonio, Texas, May 1, 2005
Text: Bill Worrell, Bob McCormick
Breath of Life,
Great Spirit breathes into you
Into me.
Hearts,
Great Spirit set in your breast,
Set in my breast.
Souls,
Great Spirit set in your being,
Set in my being.
Breath,
That we may live,
Hearts,
That we may feel,
Souls,
That we may soar.
With these
Great Spirit gave us wings,
That you and I might fly together
In our journeys
And love forever.
-- Worrell, 5/9/00, 7:35 p.m.
Dreams are
but
the
wings of one's heart;
soaring to
heights which are
limited only by
the
outreaches of the
mind.
I was
I am
I will be
For then
For now
For ever
It's love that bridges
Yesterday to Tomorrow.
-- Robert E. "Bob" McCormick private collection
Beautiful melodies and a setting that brings to life these wonderful texts, Then, Now, Forever was an amazing choral music experience for our singers and staff. The work was commissioned to honor the memory of my husband Bob, who was a sometime poet and our Tour Director. Our choirs have performed many of David Brunner's pieces and I am always touched by the way he puts together just the right combination of line, rhythm, thematic textures, accompaniment and style. David found a poem by artist Bill Worrell that melded perfectly with one of Bob's both using the same three words: Then, Now, Forever.
During his Guest Composer Residency several days prior to the premiere, David shared insights with our singers about his work as a composer, teacher and conductor. It was a marvelous time for all of us. The experience of performing a brand new piece written to honor someone fondly remembered was made so much richer because of David's interaction with our young artists. He is, as one of our younger choristers remarked, " a real live composer!"
Marguerite McCormick
Artistic Director, The Children's Chorus of San AntonioThe evocative words of Texas artist Bill Worrell's poem "Then, Now, Forever" echo in those of Bob McCormick, to an almost uncanny degree. "For then, For now, Forever. It's love that bridges Yesterday to Tomorrow."
The union of breath, hearts and souls are the wings given by the Great Spirit that you and I might fly together in our journeys, and love forever. This seems a fitting tribute to Bob from the singers in the Children's Chorus of San Antonio and their director, good friend Marguerite McCormick.
Sing gently and remember our connection one with another.
This Magicker
Boosey & Hawkes 48019532
Commissioned by the Haydn & Handel Society Youth Chorus, Boston, Massachusetts, in celebration of conductor Matthew L. Garrett's 5th Season, 2004-2005
Voicing: SSA chorus with piano
Duration: c. 3'
First Performance: Handel & Haydn Society Youth Chorus, Matthew Garrett, conductor,
the Majestic Theater, Boston, Massachusetts, May 14, 2005
Text: James Broughton (1913-1999)
This Magicker
A Litany for Lou Harrison
A hail and a hallow to the Blessed Lou
He who lives in melodiosity
He who dwells on rhythmations
This magicker a temple singing
This magicker a priest to praise
This magicker a soul of joying
This magicker a generous world
He who abounds in reverberancity
He who resounds with gloryations
This magicker a pride of Apollo
This magicker a holy offering
This magicker a galaxy of tone
This magicker a cornucopia of tune
He who creates with compassionisity
He who elates with ecstaticization
This magicker a mountain dancing
This magicker an ocean keeping time
This magicker a harmony of meridian
This magicker a cosmos in key
All hair and hallow
All hallelujah here to
Blessed Lou
to our Saint Harrison
--Chez Panisse; Berkeley
15 May 1977
David Brunner's music is exquisitely crafted in a way that weds music and text so that both move fluidly from page to audience. A long-time admirer of his work, I often program his music for us by children's choirs, high school ensembles, and honor choirs at the middle and high school levels. I recently had the pleasure of working with him on a newly commissioned work for the Handel & Haydn Society Youth Chorus in Boston. After several initial conversations, we decided upon a remarkable text and, within a few short months, David delivered This Magicker, an inimitable celebration of musicians and all creators of art. Upon first reading, my students' eyes were transfixed to their scores, only to rise at the release of the final chord, their faces beaming with excitement. In addition to his attendance at our world premiere of this fascinating work, David was also kind enough to work with the students in a rehearsal setting. He immediately established a connection with them that demanded their musical best while remaining positive and energetic. David is a consummate musician whose love for life and people brings out the best in those with whom he works and in those who perform his imaginative pieces of art.
Matthew Garrett
Conductor, Handel & Haydn Society Youth Chorus
This Magicker was commissioned by the Handel & Haydn Society Youth Chorus for their conductor (and my friend) Matthew Garrett. The text was written by James Broughton and subtitled "A Litany for Lou Harrison" in honor of the American composer, in A Lou Harrison Reader, published by Soundings Press in 1987. I had been attracted to this poem since the days of my doctoral dissertation on the Choral Music of Lou Harrison and have always wanted to set these words, as I thought they quite literally "sang themselves off the page".A long series of unfortunate events became happy coincidences, as my search for text permission took me to publishers, librarians, neighbors, friends and family of the poet in Mexico, British Columbia, Texas, Washington state, the northeast and finally Bali!
The original text included "a hail and a hallow to the Blessed Lou", which was omitted here to allow for a less specific performance context, though my thoughts while composing were always of Harrison, whose spirit is embodied in the playful rhythms and impish wordplay. And so, I offer this, in homage to the "Blessed Lou, to our Saint Harrison", as well as the Handel & Haydn Society Youth Chorus, Matthew Garrett, and all us conjurers who delight in the making of music and art.
The text should be stunningly clear and articulate, the singing lighthearted and joyful, with a twinkle in the eye.
To Be Young
Boosey & Hawkes 48004785
For the Stetson University Children's Chorus and their director Ann Small. In memory of Alicyn Bouie.
Voicing: SSA chorus with piano
Duration: c. 2'15"
First Performance: Stetson University Children's Chorus, Ann Small, conductor,
Stetson University, DeLand, Florida, December 1997
Text: David McCord (1897-1997)
Blessed Lord, what it is to be young:
to be of, to be for, to be among,
be enchanted, enthralled,
be the caller, the called,
the singer, the song and the sung.
LISTEN
To Be Young is sensitive, singable, and moving. The text is simple yet profound. As with all of David's works, the text and vocal parts are appropriate for the age of the choir for which the piece is written, and the piano part enhances the piece, serving integrally as a part of the composition, not just as accompaniment. David Brunner is a master of melody. He understands young voices and this piece can be sung well by inexperienced singing. For best effect it does require musically sensitive conducting. Its overall effect is stunning... a winner on any choral program.
Ann Small
Director, Stetson University Children's ChorusThis short text is exceptional in sentiment and construction. It speaks of all that is embodied in youth -- a life that resonates with meaning and purpose, fullness, enchantment and magic. The wistfulness of mature perspective, however, is present as well. The piece unfolds simply. Sing it earnestly, wihtout rushing. Make the words your own.
Toucans Two
Boosey & Hawkes 48004504
Voicing: SA chorus with piano
Duration: c. 2'
Text: Jack Prelutsky
Whatever one toucan can do,
is sooner done by toucans two,
and three toucans (it's very true)
can do much more than two can do!
And toucans numbering two plus two
can manage more than all the zoo can.
In short there is no toucan who can do
what four or three or two can!
The rhythm of Jack Prelutsky's witty text inspired this playful, jazzy setting for two-part chorus and piano. The piano bass line imitates a string bass throughout, the children's spoken voices percussive brushes. Eighth note rhythms should be "swung" throughout. The playful exchange of spoken voice with sung parts should be rhythmically precise but conversational. The entire piece should be laid-back, jazzy and fun!
Viva la Musica!
Boosey & Hawkes 48023333
J. W. Pepper Editor's Choice
J. W. Pepper Basic Library
Voicing: SSAA chorus a cappella (also available for mixed chorus)
Duration: c. 2'
Text: Traditional
Viva la musica
Long live music.
SEE AND HEAR PERFORMANCE
(SATB version)
See listing under Mixed Choirs for annotation.
This short piece in its original SATB voicing was written for the Whiteaker Middle School 2010-2011 Concert Choir and their director Andrew Thomas.
The strong, bold character is immediately evident in the unison exclamations of the opening fanfare. An imitative section follows with each voice singing an independent melody, yet characterized by similar rhythms and compatible phrase contours. The piece closes with a thick cluster of tones and a short, final exclamation of the text in unison.
The old round Viva la Musica is the source of the text and the style was inspired by Viva Tutti and other, similar well-known, robust songs. The text is very repetitive and there should be a sense of buoyancy, clarity and lightness in the articulation. A steady tempo, clear diction, and precise ensemble is important, as is an energetic feeling of rhythm. Though the singing is full and vigorous, there should be a dance-like quality.
We Clasp the Hands
TBA
Commissioned by a gift of the Peninsula Girls Chorus 2006 and 2007 Graduating Classes in celebration of the 15th Anniversary season of the Peninsula Girls Chorus, Catherine Doyle Wesolek, Founder and Artistic Director
Voicing: SSA chorus with piano
Text: Wendell Berry (b. 1934)
Duration: c. 3'50"
First Performance: The Peninsula Girls Chorus, Catherine Wesolek, Artistic Director,
Burlingame, California, June 8, 2008
Welcome All Wonders
Boosey & Hawkes 48019534
Voicing: SA chorus with piano
Duration: c. 2'20"
Text: Thomas Traherne (1637-1674)
Welcome all wonders in one sight.
Eternity shut in a span.
Summer in winter, day in night;
Heav'n in earth and God in man.
Great little one, whose all embracing birth
Lifts earth to heav'n, stoops heav'n to earth.
There's something magical about these gentle words by Thomas Traherne. There is a wonderful sense of the non-duality of all things. In this moment eternity and the present, the seasons, day and night, heaven and earth, God and man become one. The strength and vulnerability of the "great little one" are also one and link our experience of heaven and earth.
One can sing these words as a lullaby, and can find additional meaning as we open ourselves to and welcome the wonder of this moment and the oneness of all things.
This lyrical melody and gently unfolding harmonies should be sung expressively, with warmth.
Who Built the Ark?
Boosey & Hawkes 48004804
For the St. Louis Symphony Children's Choirs and their director, Ethelyn Sparfeld, in memory of Mr. and Mrs. Henry McCoy
Voicing: SSAA chorus with piano
Duration: c. 3'
First Performance: St. Louis Symphony Children's Choir, Ethelyn Sparfeld, conductor,
St. Louis, Missouri, spring 1998
Text: Traditional Spiritual
Who built de ark?
Noah, Noah.
Tell me, who built de ark?
An I'll tell you brother Noah did, he built de ark.
Oh de animals went in one by one
de elephant chewing on a caraway bun,
de animals went in two by two,
de rhinasceros and de kangaroo
then de animals went in three by three
de bear, de flea an'de bumble-ee-bee.
Then de animals went in four by four
Ol' Noah got mad an' he hollered for more,
de animals went in five by five,
with saratoga trunks they did arrive.
Then de animals went in six by six,
de hyena laughed at de monkey's tricks.
Then de animals went in seven by seven,
said de ant to de elephant
"who are you shov'in?"
De animals went in eight by eight,
they came with a rush cause it was so late.
Oh, de animals went in nine by nine
Ol' Noah shouted:
"cut that line."
De aniimals went in ten by ten,
de ark, she blew hier whistle then,
and the voyage did begin.
Ol' Noah pulled de gang plank in,
and the voyage did begin.
They never knew where they were at,
'till de 'ol ark bumped on Arrarat.
Order from the publisher
The children... sang the first time and they were hooked. They liked the syncopation, word structure, and the phrasing. It was a big hit with the children and audience... the children were crazy about the piece.
Ethelyn Sparfeld
Artistic Director, St. Louis Symphony Children's Choirs
This retelling of the story of Noah is playful and unpredictable. Enjoy the musical puns. Use the text to spark your musical imagination. Sing with drama, but lightheartedly. Tell the story! Have fun!
Winter Changes
Boosey & Hawkes 48004505
For Dr. Robert E. Thomas, mentor and friend
Voicing: unison chorus with piano. Orchestral version full score and parts available on
rental from the composer.
Duration: c. 2'45"
First Performance: Columbus Symphony Children's Chorus, Sandra Matthias, conductor,
1994 National Kodaly Conference, Chattanooga, Tennessee
Text: Emily Clare Forsythe
I used to think on winter days
Some very unusual things.
Like the birds that fly south
Were happy hearts
Floating lively on wings.
And the icicles upon my door
Were sparkled glass
That rose from the floor.
The snow that made no sound
When it hit your roof,
Was glitt'ring cotton
Piled up in a poof.
I thought there were angels
talking to me from above,
When it was my mother
Whispering her love.
And the crackling fire
That was so hot and wild,
Was the love that my parents
Gave me as a child.
I used to believe in these little things
But now I know it was my imagination on wings.
But on winter nights,
When the snow is laying white,
I believe in these things
And close my eyes tight.
For it is not how old you are,
Not even you,
But it's your whisp'ring heart
That makes it all true.
LISTEN
Setting an exquisite text written by fifth-grader Emily Forsythe, David Brunner has created a stunning unison piece for intermediate-level treble choir and piano. Beginning with a brief piano introduction, this through-composed piece features a flowing melodic line, changing meters, and copious dynamic and expressive markings. With strict attention to musical detail, a sensitive performance will paint a portrait of winter beauty in the mind of the listener.
The piano part, sparse and mildly dissonant, is most supportive of the voices. Some wide melodic leaps will give singers good intervallic practice. The full gamut of the scale from c1 to e2 is incorporated throughout the piece, and the few appearances of f2 and g2 are well-prepared.
The Choral Journal
Emily Forsythe was a fifth-grader when she wrote the poem Winter Changes. Her mature insight and sensitivity, which are far beyond her years, and her innate lyric sensibility were the impetus for this work. The asymmetrical meters of the verses lend themselves to an unstructured, through-composed setting, yet there are fragments of the original theme which recur throughout the piece. Most important is the flowing of the melodic line and the simple and clear presentation of the text. The tempo is rubato, but not rushed. A thoughtful yet innocent mood should prevail.
Yo le Canto todo el Dia
Boosey & Hawkes 48004679
For the Miami Choral Society, Timothy A. Sharp, director
J. W. Pepper Editor's Choice
J. W. Pepper Basic Library
Voicing: SA chorus with piano (also available for mixed chorus and tenor/bass chorus)
Duration: c. 3’
First Performance: The Miami Choral Society, Timothy Sharp, conductor, Miami, Florida,
May 19, 1996
Text: Anonymous
So I am moving with my heart,
So I am leaving with a drum,
I sing to you all day long
with affection and joy,
So I am leaving with a drum
with affection and emotion.
SEE AND HEAR PERFORMANCE
Shanghai Spring Children's Choir
Conversation about Yo le Canto todo el Dia with Matthew van Dyke on the Choral Catalogue podcast
Yo le Canto is another example of the breadth and diversity of David's compositions. The children love the rhythmic energy and intensity of this piece. Yo le Canto is now a part of the core repertoire of the Miami Choral Society.
Timothy A. Sharp, Music Director
Miami Choral Society: A Children's ChoirThis piece, written by Florida composer David Brunner for the thirtieth anniversary of the Miami Choral Society, is an energetic, rhythmic, and infectious likeness to the music of Venezuela. Much information is provided on the cover, and the pronunciation and translation of the six short lines are included. They are repeated many times in the three-minute setting, along with a syncopated refrain on a neutral syllable.
Much of the piece's energy is provided in the rhythmically challenging piano accompaniment. Handclaps are added sparingly, but effectively, throughout. The two vocal lines, both in mid-range, are a little dissonant, more sustained, and independent of the accompaniment. The vocal parts perform complex rhythmic patterns in tandem.
Both the conductor and the accompanist should be well-prepared before rehearsing the piece; it would be an excellent choir for a festival.
The Choral Journal
The writing is rhythmic and angular, with strong contours and syncopated rhythms. The phrase that first appears in measures 13 - 16 and recurs often has a contrasting lyrical sensibility and should be phrased appropriately, while the refrain beginning in measure 32 (la la la) has a light, buoyant quality. The piano features prominently and should be strong and pedaled sparingly. Clapping should be bright, diction declamatory and crisp.
I've often been asked about the "y" or "j" consonant for "ya" and "yo" and have heard performances both ways. When I originally wrote this piece, a Venezuelan student of mine suggested that in less formal, "everyday" speech, it may be closer to the "j" sound and I like the percussive nature of that.
You Begin
TBA
Commissioned by the Inverclyde Schools' Junior Choir, Scotland, on the occasion of their 10th Anniversary
Voicing: SSA chorus with piano
Text: Margaret Atwood (b. 1939)
Duration: c. 3’15'
First Performance: Inverclyde Schools' Junior Choir, Palma Allan, conductor, Annual
Schools' Spring Concert, Greenock Town Hall, Scotland, April 2, 2009
LISTEN
"This song for us is an inspiration! We love it!" (from Claire and Jenna)
"You Begin is an interesting piece with lots of nuances and a beautiful text! It's a real privilege to have this song written for us by David!" (from Kerri and Hollie)
"I am one of the eldest members of this choir now and am so glad that I have the chance to sing You Begin. It is such a beautiful song and I really enjoy singing it. Thank you David. (from Monica)
Members of the Inverclyde Schools' Junior Choir
Greenock, Scotland
Boosey & Hawkes 48004849 (1999)
Voicing: SSA chorus with brass and organ. Brass parts available for purchase from the
publisher 48001621. Full score and orchestral version parts on rental from
the composer.
Text: Sacred Latin text
Duration: c. 3'10"