La Danza is from a collection of songs “Les soirées musicales”, a collection of songs finished in 1835 during Rossini’s post-operatic writing period. Even though La Danza is intended to be a stand-alone choral chamber work, Rossini’s dramatic background is evident in the catchy melodies, dramatic pauses, and characteristic flair; even the text is written by a librettist. The quick lilting rhythms in 68-time reference the tarantella, an upbeat Italian folk dance, and the rapid delivery of text evokes the ‘patter song’, a familiar element in comic opera.
Ständchen is an ultra-Romantic work, from its exotic key relationships to the mystical poetic text. Set for a soloist with the choir, the piece is very similar to a Lied, or an art song which attempts to create a mood by perfectly combining words and music.
The barbershop-quartet style in I Wish I was Single gives the listener a slice of 1800’s vaudeville entertainment. The piece itself lies somewhere between lowbrow minstrel entertainment and folk song, and would have been one element in a variety show of music, dance, skits, and humor. Often, the American minstrel show is associated with darker themes and coarse humor, but this song is a cheeky and jocular tale of a man who just can’t seem to find a wife.
We Rise Again presents the theme of ‘life goes on’ using the imagery of nature and children. The song is set as a series of three verses followed by a refrain; each refrain becomes more complex until the final a cappella presentation. The layers of descants, gentle syncopations, and improvisational melodic riffs evoke a pop style.
Glory Hallelujah is an African-American spiritual arranged for choir. This piece also relies on rhythmic syncopation, but in a much more relaxed way than We Rise Again. Note the call-and-response structure, dialect, and rich chord structures which are key elements in the spiritual style.
Hallelujah, Amen! is the final triumphant chorus from Handel’s oratorio Judas Maccabeus. Written in 1746, the oratorio actually references 2nd century stories presented in a musical language which is still fresh and exciting for the 20th century listener.
Quando m’en Vo is also known as Musetta’s Waltz from the second act of La Boheme. Musetta has just tricked her old suitor into leaving her alone at the café. She sees her former lover and teases him with this seductive song.
Rossini’s work La Carità is a Romantic work in music, text, and spirit. The title literally translates “charity” but poetically translates to “Divine Love.” While singing about this mystical cosmic love, the music revels in Romantic-period idioms: extremes in dynamics, unexpected chord progressions, rubato, and changing texture between solo and chorus voices.
Yo le Canto exemplifies the playful melodies and catchy rhythms of Venezuelan music. This pieces challenges singers with offbeat accents, syncopations, shifting meters, and independence from the piano accompaniment.
The melody and text to La Bonne Nouvelle were found by American composer Robert Sieving in a long out-of-print music textbook. The melody’s gentle character is highlighted by the craft of composition – the oboe, piano, and voice melodies entwine in different combinations as if in conversation. The sensitive nature of the piece reflects its origin as a Christmas lullaby.
The text for The Poet Sings is a composite of a poem by Richard Le Gallienne (1866-1947) and composer J. Randall Stroope’s reaction to this enigmatic text inspired by nature. J. Randall Stroope writes about his work:
“Humanity spends a lifetime trying to find a voice – trying to be heard. Even strong voices soon pass, but their messages light up stars in constellations far beyond their dreams. A voice never knows when its message is a light which others will use to navigate their lives. Send out the best messages, for they may be shaping future generations.”
Note the careful use of register to underscore the mood and themes: the piece begins with an ethereal sound and text using a small range of notes, but expands to a full range to emphasize the message – “stay the course, light a star, change the world where’er you are”.
Like many gospel pieces, Shine On Me has a text which can be interpreted on different levels. “Shine on me, Shine on me. I wonder if the lighthouse will shine on me” can be about searching for guidance on both a physical and spiritual level. The melodies fit into complex harmonies while a descant line ornaments and rises above the texture – all elements characteristic of the African-American improvisational style.
Stevie Wonder’s love song Knocks me off my feet leads to our last section. These pieces give Ragazzi an opportunity to show off a more popular style of singing. Put A Little Love In Your Heart is a combination of the 1968 hit with references to Love Train. The 1964 hit, C’mon Everybody, captures the energy and vitality associated with Elvis Presley’s performances, and the finale features a medley of ABBA’s hits.
Dedicated to the children of
Joyce Keil, Artistic Director
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