JANUARY 2020
the chosen Gospel text. Of note however, is the Litany of Praise which de Silva adapts from Tobit to be sung following the Reception of the Consent. Te flexible writing means it can be used to mark other ritual actions such as the Blessing and Giving of Rings, or the Blessing and Giving of the Arras. Consider this, from GIA’s Wedding Music Series, to enhance participation at weddings and to unify the hearts of those celebrating through the gift of song.
Love Tat Deepens with the Years. Music by Marty Haugen. For cantor, assembly, choir, keyboard and guitar, with C instrument. G-9347, $2.15.
Owing to its Celtic-inspired melody and gently lilting rhythms, Marty Haugen’s new piece easily engages a cantor-led assembly to elevate their participation in shared blessing over married couples. It is flexibly composed to accompany marriages, anniversaries, or vow renewals and contains texts befitting each occasion. Te verses, when executed “simply and not too fast,” leave metric and melodic space to bless each person by name (and even includes a musical formula for adapting multi-syllable names!). Te C instrument part is present throughout the piece and included in the octavo. If a choir is not part of the celebration, the publisher also had made a solo edition for cantor and assembly available (G-9389). Exploring the marriage rite and enhancing the role of those gathered is made more meaningful and easier by the presence of these such octavos in the repertoire.
Something Beautiful. Music by Paul Tate. Words by Shirley Erena Murray. For choir, keyboard, guitar, and C instrument. G-9095, $2.20.
Topically geared to themes of creation and the Holy Spirit, Murray’s text affirms the goodness and uniqueness of humanity. Te musical setting from Paul Tate echoes its gentleness and simplicity across three stanzas, culminating in a two-part verse in which oblique counterpoint dissolves into a coda of overlapping phrases. As expected, the accompaniment is richly pianistic
yet quickly accessible, traversing an expansive range on the keyboard and using various harmonic colors. Te melody and message make the piece well-suited to high school or youth choirs, and for use at confirmations and retreats, or liturgically at Pentecost. Te “Something Beautiful” octavo includes a C instrument part which, never detracting, serves as a conversational companion to the piano and vocal writing.
Praise Be to You. Words and Music by Tony Alonso. For choir, cantors, assembly, keyboard and guitar, with C instrument and cello. G-9758, $2.55.
From the 2018 Encounter collection comes this chorus of praise based on the writings of St. Francis of Assisi. Specifically based on his Canticle of the Creatures, the text reminds us of the call, firmly echoed by Pope Francis, to care and respect all of God’s creation in its many forms. Te piece engages the assembly promptly with its concise response during the litany-like verses. Alonso’s energized writing propels the piece into a three- part refrain for soprano, alto and, to be safe, tenors, while nimble piano arpeggios maintain its forward momentum. A choral bridge of “alleluias”—deftly culled from LASST UNS ERFREUEN—allows the choir to shine with a subtle reference to this other well-known treatment of the same text. Te substantial octavo includes a thorough assembly edition, but the full splendor of Chris de Silva’s orchestrations necessitate purchase of the parts for cello and C (or B-flat) instruments. Naturally suited for the season of creation and the feast day of St. Francis, this piece also fits numerous occasions that call us to praise God in our everyday lives.
About the Reviewer
Mark Scozzafave is a consultant, composer, and director of music ministries at Old St. Patrick’s Church in Chicago, Illinois.
27
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68
