“Five from the Folder: SATB through History” by Peggy Dettwiler

FIVE FROM THE FOLDER: SATB THROUGH HISTORY by Peggy Dettwiler

 

1. (Renaissance) "Jesus Said to the Blind Man" (Jesus sprach zu dem Blinden), SATB,  Melchior Vulpius (ed. Eggebrecht), Concordia 9801027

 Expressive a cappella setting of the miracle found in Luke 18: 41-43. Three characters: narrator, Jesus, and the blind man. Text painting galore! Effectively sung in English or German.

 

2. (Baroque) "O Jesu Christ, meins Lebens Licht" (O Jesu, Lord, Thou Light of Life), SATB, J.S. Bach (ed. Ross), Theodore Presser 312-41571

Originally composed for outdoor funeral services.  Pachelbel-style cantus-firmus chorale fantasy.   Elegant setting for organ with two treble instruments OR Winds or Strings.

 

3. (Classical) "Laetatus sum."  SATB, Johann Michael Haydn (ed Stein), Theodore Presser 312-41607

Joyous setting of Psalm 122: 1&7. Classic classical style. Mini sonata form. Levels of rhythmic activity and varied articulation. Keyboard accompaniment. Orchestral score and parts available.

 

4. (19th-Century) "Mitten wir im Leben sind," SSAATTBB, Felix Mendelssohn Bartholdy, Carus-Verlag Stuttgart or CPDL

Glorious a cappella chorale motet set to text by Martin Luther when Mendelssohn was only 21.  Men intone the chorale; women respond antiphonally. Full chorus cries out first in block chords then in contrapuntal style. 

 

5. (20th-Century) "Libera me," SATB, Lajos Bardos, Editio Musica Budapest Z. 8331

Powerful a cappella setting of the most dramatic text from the Funeral Mass.  Some unison and two-part lines with portamenti for fearsome effects.  Sudden dynamic changes. Incorporates “dies irae” chant.  Ends with beautiful soft homophonic chords in the SAT voices.

 

(“Five from the Folder” provides brief, text-length reviews of vocal works currently in the folders of choral directors throughout the United States.  To share five from your folder, contact Scott Dorsey at )