REVIEWS
FROM THE SEPTEMBER 2005
ELEKTRA'S "THIRTY TOP PICKS"
Harp
of Wild LISTEN
Notes from Elektra's "Thirty
Top Picks" by Diane Loomer.
"The text for this tender, endearing
work is Emily Bronte's beautiful poem “Harp of Wild”.
Written for SSAA and Piano accompaniment, Bevan sets the
text above an imaginative piano accompaniment that allows
the pianist to play well into the keys while at the same
time convincingly evoking the sounds of a harp. This type
of accompaniment gives the choir a secure and encouraging
base from which to sing and yet never gets in the way of
the music or the text. The harmonic language is adventurous
but not dissonant. Bevan is explicit in his dynamics and
precise in tempi. This provides the conductor, pianist and
singers with an excellent road map from which to work, thereby
allowing them to bring the primary emphasis to the text
and its meaning. Excellent compositional craft is at work
here with phrases, dynamics, and choices of keys all supporting
and highlighting the glorious, poignant lines of Bronte's
text. This piece won the 2004 Association of Canadian Choral
Conductors Composition Competition. Once you sing it, you'll
understand why." – DL
To
Morning LISTEN
Notes from Elektra's "Thirty
Top Picks" by Morna Edmundson.
After a somber and mysterious introduction by the piano,
the opening vocal line of this setting of William Blake's
poem sounds and feels like a sacred work, but the line “O
holy virgin” refers not to the Virgin Mary but to
“morning” herself, “clad in purest white”.
Scored for piano and voices in three parts, the emphasis
is definitely on the text, creating lots of opportunity
for your choir to sing expressively and with good diction.
In spite of a harmonic language that is quite adventurous,
this piece sings beautifully and the lines are well crafted
for voices. Clear dynamic contrasts and frequent unisons
in a fairly low range contribute to this piece's beautiful
unfolding, mirroring the sunrise it describes. The climax
comes in the last chords by the choir, at which point you
need a few first sopranos who can sing one high Bb with
poise. We never hesitate to use just a few voices in spots
like this. – ME
FROM THE
JANUARY 2005 ISSUE OF
THE AMERICAN
ORGANIST
Ave Maria
"Allan Bevan is an extremely talented composer of
ravishing sacred choral music in a traditional style. This
Ave Maria won first prize in the equal voices category of
the 1999-2000 Association of Canadian Choral Conductors
Associated Publishers Composition Competition, and if your
choir can't sing it you should hire two good sopranos to
perform it just so your congregation can hear something
as beautiful as this. The two solosits rest after the first
eight measures while the two-part trebles continue. Then
the soloists sing to the end, and the "choir"
only joins with them to provide harmony for the last three
measures. The piece could be sung by a two-part choir or
just two soloists. This is beyond recommended."--Rollin
Smith. listen
Ave Verum
Corpus
"Here's another one! If this were by Gabriel Faure
it would be a classic. Fortunately, it probably will be.
Talk about easy and effective! Colla Voce was established
in 1996 to publish quality music literature from around
the world and is edited by Henry Leck, who is on the faculty
of Butleer University. He is founder and director of the
Indianapolis Children's Choir."--Rollin Smith.
NOU
GOTH SONNE UNDER WODE:
A Meditation on the Crucifixion
World Premiere performance by
Pro Coro Canada and the Pro Coro Chamber Orchestra,
Timothy Anderson, narrator; Jolaine Kerley, soprano;
Richard Sparks, conductor.
Winspear Centre in Edmonton, Alberta
"It was Mozart's Requiem that drew 1,700 people to
Pro Coro's Good Friday concert, but it was the world premier
of Bevan's Nou Goth Sonne Under Wode that propelled them
to their feet at its conclusion, and for good reason.
...The choir, soloist Jolaine Kerley, narrator Timothy Anderson
and a select group of Edmonton Symphony players delivered
what sounded like it could be a definitive performance of
this contemporary work...Anderson did a theatrically accomplished
job of conveying the persona of Christ in His excruciating
last hours and as raconteur of the gospel story about Jesus'
physical and psychological torment on the cross...[The]
Kyrie is technically masterful and moving...almost pastoral,
as though the deity addressed were the great consoler...Bevan's
orchestration is full of fine detail right down to some
imaginative timpani parts..."
-Bill Rankin, The Edmonton Journal, March 27th, 2005
the
following reviews are from the Spring 2005 issue of
The
Choral Room
This
is an informative choral newsletter published quarterly
by Spectrum Music.
Peace,
by Allan Bevan, English text,
Classica Music, MV #009,
SATB acappella. audio
clip
PDF
sample
This is a stunning setting of the famous Henry Vaughan
(1622-1695) text that was also set by Elgar. Taken from
Silex Scintillans written in 1650, the poem begins “My
Soul, there is a Country far beyond the stars.”
Bevan sets the text with brilliant homophonic writing
in contrast to moving counterpoint that is quite striking
in gesture. Many key changes are transitioned in such
a way as to add wonderful elements of surprise both harmonically
and as part of
the text versification. As the piece builds in power,
the tempo becomes quicker and the harmonies more complex.
This is a provocative setting.Bevan is highly regarded
in Canada, winning numerous awards, making him
a composer of sizable distinction. This piece won the
2002 Ruth Watson Henderson Composition Competition. Difficulty
rating 5. $1.85
The
Souls of the Righteous,
by Allan Bevan, English text,
Classica Music, EVW #007,
TTBB a cappella. audio
clip
It is so appropriate that this piece dedicated to the
memory of the composer’s father and set to a text
from
Wisdom 3:1-3 be scored for men’s voices. The striking
harmonies filled with richness of phrase gesture are uncanny.
Bevan loves to change keys and seems to do it effortlessly.
The range requirements for the men are reasonable but
also expand into larger demands. The basses must have
a solid C but at a triple piano. The tenors must be able
to phonate a high a2 in the tenor range on a double forte.
This composer obviously understands and is able to write
for the voice in an uncanny fashion to bring the most
out of his music. The harmonies and counterpoint are extremely
effective. This lament to his father’s death has
a universal language that touches everyone. Difficulty
rating 4. $1.85
Harp
of Wild, by
Allan Bevan, English text,
Classica Music, EVW #004,
SSAA and piano. audio
clip
Set to a text by Emily Brontë (1818-1848), this composition
won the Association of Canadian Choral Conductors
Composition Competition in 2004. Crossing voice parts
and suspensions add to the atmospheres created in this
music. Filled with numerous key changes and challenging
rhythms, the piece would be tremendously
successful with the accomplished woman’s chorus.
The lyrical counterpoint, in contrast to full homophonic
sections on ever changing dynamics, makes the piece an
artistic challenge. After some very complex writing in
the middle section of the piece, it concludes simply in
two and three parts with the second altos having the capability
of
singing a low e sharp. Difficulty rating 4-5. $1.85
To order any of the music in this newsletter contact:
Spectrum Music
1844B Massachusetts Avenue, Lexington, MA 02420
Phone: 781 862-0088 Fax: 781 861-1335 e-mail: info@spectrum-music.com
Visit their web site at www.spectrum-music.com.
THE
FOLLOWING RELEASE IS EXCERPTED FROM:
The Elektric Wire,
the newsletter of the Elektra Women's Choir of Vancouver,
Diane Loomer and Morna Edmundson, conductors
Harp
of Wild, by
Allan Bevan, English text,
Classica Music, EVW #004,
SSAA and piano. audio
clip
"Images of mist-covered,
wind-swept moors set the backdrop for Elektra Women’s
Choir’s romantic spring
journey, Harp of Wild. Allan Bevan’s sensitive musical
setting, varying tempos and wide dynamic ranges combined
with Emily Brontë’s evocative poem result in
the perfect composition for Elektra’s spring concert.
The title catches the
imagination first as the music stirs conflicted thoughts
of unrequited love and springtime.
Canadian Allan Bevan’s excellent composition craft
is found in the phrases, dynamics, and choices of keys
all supporting and highlighting the glorious lines of
Brontë’s text. The harmonic language of Harp
of Wild is adventurous but not dissonant. The piece won
the 2004 Association of Canadian Choral
Conductor’s Composition Competition and Elektra
is looking forward to bringing it to Vancouver audiences."
-The Elektric Wire, April 2005.
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