The Sacred three is a 'smooring prayer' said at night before bed, as the peat fire in the house is banked so that it may be revived in the morning. It was collected in the Western Isles of Scotland. In the setting I have tried to capture the peacefulness and quiet of the prayer. In many ways it reminds me of the occasions in my childhood when, with my family, I would visit these islands on sailing holidays.
In the musical composition entitled Alla Luna, Richard Gibson uses a wide variety of choral textures , from intensely antiphonal passages with extensive divisi, through solo and accompaniment writing to playful contrapuntalism, while tracing the melancholic imagery of Giacomo Leopardi's poem of the same title. Written in 1819, Leopardi's Alla Luna describes an address to the moon in which the poet reflects upon the themes of lost opportunity, the transient pleasures of youth and the remembrance of past happiness. The split parts require a degree of musical independence from members within each section, but the sonorousness of the resultant harmonies are guaranteed to reward the extra effort required of individual choristers. The vibraphone was chosen as the perfect vehicle to accompany the aethereal lunar character of this piece, although a piano or electronic keyboard could be used as an adequate, albeit second-best substitute.
O Lune is the result of two shorter pieces I wrote then revisted. The first I wrote as a class assigmnent on my own poem; the second as an excercise in choral writing I put together on the same words for a Vancouver Chamber Choir workshop. When I later revisited the pieces, I felt a strong link betwen the two, and that the multiple voices and shimmering harmonies of the second piece seemed to directly respond to, or echo the soprano's call in what has become the first movement.
Four Choral Settings of poems by New Brunswick poet, Charles G. D. Roberts (1860-1943).
This set of choral pieces was composed in 2011 at the suggestion of a friend, who thought I should set some New Brunswick poems to music. I looked up these wonderfully evocative poems by Charles G.D. Roberts, and found each of his descriptions and images of the shores of the bay created its own musical atmosphere. The pieces all relate to the land and seascapes around the Bay of Fundy.
The stark harmonies and contrapuntal textures of this piece evoke the windswept tidal basin at the apex of the bay. The text offers glimpses of the rich historic seafaring past of the region and a comparison with its desolate present.
This piece has a rural pastoral mood as it describes an idyllic evening overlooking the shores of the bay. The poet observes the darkening colours of the bay and offers a prayer of thanks for the beauties of nature.
The repetitive rhythm and minor tonality of this piece reflect the movement of the waves on the
bay, as the darkening stormy mood causes the poet to reflect on a lost love.
This poem explores the mysterious sudden arrival of winter. The frost of the title is represented by the single note ostinato in the accompaniment, around which the voices weave a tapestry of images.
These three songs won the Atlantic Voices Competition in Ottawa, Ontario in 2009. The two outer songs are lively, jaunty and energetic and in compound time. The middle song is slower, quieter, more reflective and quite lovely. The whole set is another example of Dr. Cooper's ability to catch the mood and feeling of poetry and to set it in harmonic language that is accessible to most choirs.
Keeping with the tradition of choral church music, I wanted to keep the ebb and flow of Gregorian melodies present throughout the piece. I also wanted to explore the possibilities afforded by the medium of equal voices: starting in unison, slowly expanding, eventually reaching much greater heights later in the piece. Most important, however, was the text: I considered it very carefully while writing the work, attempting to paint a musical image of the words. Above all, I strove to reflect the core of the prayer in every musical phrase: Sing, my tongue, the Saviour’s glory.
Keeping with the tradition of choral church music, I wanted to keep the ebb and flow of Gregorian melodies present throughout the piece. I also wanted to explore the possibilities afforded by the medium of equal voices: starting in unison, slowly expanding, eventually reaching much greater heights later in the piece. Most important, however, was the text: I considered it very carefully while writing the work, attempting to paint a musical image of the words. Above all, I strove to reflect the core of the prayer in every musical phrase: Sing, my tongue, the Saviour’s glory. This piece, RM ACH 044 is the same as RM ACH 043 except that there is a piano reduction.
Winner of the 1991 Canadian Federation of Music Teachers National Award
'Though challenging, the satisfaction derived from the inherent beauty of the work repaid the rehearsal and performance effort many time over' - Paul Murray conductor of first performance
'Fine sense of direction, superb contrapuntal writing and expressively appropriate setting of the text' - Violet Archer, composer
I have always loved the Ave Maria text, and have heard it set many different ways. This was actually my second setting of the text. I was experimenting with harmonically formed melodies and chromatic growth when I came up with the opening notes. Initially I wasn’t certain where these notes would lead. Suddenly, I saw a line of pilgrims walking slowly on a dusty road, calling out to Mary: Ave, Ave Maria…
Keeping with the tradition of choral church music, I wanted to keep the ebb and flow of Gregorian melodies present throughout the piece. I also wanted to explore the possibilities afforded by the medium of equal voices: starting in unison, slowly expanding, eventually reaching much greater heights later in the piece. Most important, however, was the text: I considered it very carefully while writing the work, attempting to paint a musical image of the words. Above all, I strove to reflect the core of the prayer in every musical phrase: Sing, my tongue, the Saviour’s glory.
After a quiet 'atmospheric' beginning this piece settles into a pleasant, light rock feel
that appeals to younger singers. Suitable for choirs that can sing unison and simple two- part harmony with a good sense of rhythm and phrasing.
Bridal Entrance (both versions) is a new piece for the bride who wishes something a bit different on her big day. The songs have different options that allow you to personalize the performance.
1. There are two versions- the Bride's version and the Couple's version that allow a slightly different emphasis in the words. (See below)
2. Each song is available in a number of keys that can be matched to the singer's voice. G-for high voice, Eb for middle range voice, C for lower voice. Note, G sung down an octave may suit some very low voices.
3. The bride can insert her name in various parts of the song.
4. The song has various repeats built in that can be used to co-ordinate the walk down the aisle with the singing of the song.
5. You may request that a personalized version of the song is made available to you with date, place, bride's name and other information included that will serve as a memento of the big day. ($25.00)
Bride's Version
(Bride's name,) (Bride's name,) (Bride's name,) let this day be your day. (Bride's name,) (Bride's name,) (Bride's name,) you look lovely on your day. Your wedding day. This day of love, perfect love. Love, perfect love. Joyful all conquering love. (Bride's name), let our love enfold you on your special day. God bless this your day.
Bridal Entrance (both versions) is a new piece for the bride who wishes something a bit different on her big day. The songs have different options that allow you to personalize the performance.
1. There are two versions- the Bride's version and the Couple's version that allow a slightly different emphasis in the words. (See below)
2. Each song is available in a number of keys that can be matched to the singer's voice. G-for high voice, Eb for middle range voice, C for lower voice. Note, G sung down an octave may suit some very low voices.
3. The bride can insert her name in various parts of the song.
4. The song has various repeats built in that can be used to co-ordinate the walk down the aisle with the singing of the song.
5. You may request that a personalized version of the song is made available to you with date, place, bride's name and other information included that will serve as a memento of the big day. ($25.00)
Couple's Version
(Bride's name,) (Bride's name,) (Bride's name,) let this day be our day. (Bride's name,) (Bride's name,) pledge ourselves forever to be one. Forever one. Hearts, minds, and souls. Hearts, minds, and souls. Joyful this special day. Our love will conquer all troubles when we become one. God bless this our day.
