CANTALA, Lawrence University Women’s Choir perform a perfect version of “Almas de Barro” by Santiago Veros live in concert on October 12, 2019 in Lawrence Memorial Chapel under the direction of Dr. Phillip A. Swan.
A performance of “A Gaelic Blessing” (John Rutter) by the Unity Singers during the 2019 ACDA National Conference in Kansas City, MO.
MEMORIAL — René Clausen
2003 Raymond W. Brock Memorial Commission
Performed by The Concordia Choir, Orchestra & Friends
Peter Halverson, baritone soloist
Rene Clausen’s “MEMORIAL” was inspired by the events of 9/11. The piece is written for baritone solo, mixed chorus, and full orchestra, and is approximately twenty-five minutes in length. The January 2003 issue of Choral Journal contains an article that discusses the work. Following is a quote from the composer about his commissioned piece:
It is probably more instructive to consider the choice of text and inspiration for the work together with a description of the music. Though presented as one continuous movement, the composition follows a program of sorts that has four sections.
The music of the first two sections, sub-titled “September Morning” and “The Attack,” develop imagery that is visceral, evocative, and highly programmatic in style. September Morning attempts to musically paint the picture of a beautiful, sunlit September morning in New York City. In this opening section the chorus is used as a section of the orchestra, intoning wordless vocalises in a Debussy-like tone poem. Premonition of the attack is then heard in the orchestra as the music moves into The Attack sequence.
As might be expected, the attack on the World Trade Center towers inspires music, which is highly dramatic, and employs non-traditional instrumental and vocal techniques that depict the catastrophic chain of events. The music is dissonant, rhythmically intense, and colorful, making use of extended percussion and the entire ranges of instrumental and choral forces. The only text used in the first two sections is the phrase ‘0 God, why have you forsaken me?’ The word for God is also presented in Hebrew – Adonai. The reason for this minimal use of text owes to actual nature of witness responses to the shocking, unfolding drama of the attack on the towers.
From my study of videotapes, news segments, and documentaries, the most common immediate responses of witnesses were exclamations of shock and horror-such as “0 God!” It was a moment in time when the vocalism of words in thoughtful sentences gave way to sensory overload and the abbreviated, clipped cries of disbelief “Where is God?” was a question that vexed every terrifying cry that day.
The second half of the piece, subtitled “Prayers” and “Petitions,” moves away from programmatic description of physical world events to musical evocation of spiritual response to these events. The “Prayers” section is set for baritone solo, chorus, and orchestra.
The text of the solo uses portions of a series of prayers written by Dr. Roy Hammerling of the Concordia College religion department. These prayers were written during the week of the attacks on 9/11/01, and are intercessory in nature. Under the baritone solo, the chorus intones a prayer-like aleatoric chant based on the structure of a Buddhist “Metta Meditation” -a three-part series of personal meditations.
The final section, “Petitions,” is an elegiac and introspective musical prayer for mercy, mutual understanding, and hope for the future. The primary text is one simple phrase, “0 God, shine your light on us, and we shall be saved.” However, this phrase is presented–first sequentially and then simultaneously–in English, Latin, Hebrew, and Arabic. In juxtaposing these languages, some of which are the languages of cultures at war with one another, it is the hope of the composer that in so doing we may find a common ground of higher being, and be called away from darkness into light. The piece ends with a quiet Kyrie-a plea for God’s mercy on this world.
Of course, it is a high honor. I have so little compositional credentials to bring to this important task. I am amazed, humbled, and thankful to ACDA for allowing me this opportunity. Although I would like to say many things, my most sincere hope is to honor the victims of the events of 9/11 with a work that is honest, hopeful, and cleansing.
Tihei mauri ora!
E ngā mana, e ngā reo, e rau rangatira mā
Tēnā koutou, tēnā koutou, tēnā koutou katoa.
Haere mai… welcome!
The New Zealand Choral Federation invites you to the World Symposium on Choral Music 2020. 11-18 July 2020
The wait is over…
EARLYBIRD REGISTRATIONS FOR WSCM2020 ARE NOW OPEN AND WE’VE RELEASED THE LINE-UP.
Following an unprecedented number of applications, we’re thrilled to announce the stunning line-up of 24 world-class choirs and more than 40 distinguished choral practitioners coming to Auckland in July 2020.
As WSCM2020 Artistic Director John Rosser comments, “From so many fine submissions, we have been able to select not only a wonderfully diverse and exciting programme, but also one of the highest quality.”
See the full list of choirs and presenters, and get a taste of what’s to come.
Register for the Symposium before 31 July 2019 and you’ll save a minimum of 10% on fees with our Earlybird registration offer.
If that’s not enough reason to come to WSCM2020, there are many others! New Zealand has a world-wide reputation for its clean, green and beautiful landscapes of mountains, countryside, lakes and beaches, as well as its safe and friendly cities, and its delicious food, wine, coffee and craft beer. And now you have an excuse to visit!
- 1 August – 31 December 2019: Advance registrations
- 1 January – 18 July 2020: Standard registrations
- 11-18 July 2020: The 12th World Symposium on Choral Music
For information on fees and offers, head to Registration Fees and the registration Terms and Conditions.
A performance of “Jubilate Deo” (Pietro Ferrario) by The Aeolians of Oakwood University (Jason Max Ferdinand, conductor) during the 2019 ACDA National Conference in Kansas City, MO.