Spirit, Moving Over Chaos

Transcription

1 Clark/White Chorus, oboe or C inst., ercussion, ot. handbells, kybd. Text by Patricia Blaze Clark Music by David Ashley White

2 2 David Ashley White s secular and sacred comositions are widely erormed and ublished. He has received numerous commissions throughout his career, including most recently rom the Association o Anglican Musicians, the Roman Catholic Archdiocese o Galveston/Houston, and the Royal School o Church Music in America. Since 1980, ASCAP has recognized him with an annual award or his activities in comosition. In sring 2007, Gothic label released White s Praise the Sirit. This recording, sung by the Palmer Choir, Palmer Memorial Eiscoal Church, Houston, Courtney Daniell Kna and Brady Kna, co-directors, contains more o White s anthems, motets, service music, and hymns. Scott Cantrell, writing in the Dallas Morning News, described White as having a natural eel or vocal line, but also a keen ear or glowing harmonies. Lindsay Koob, in The American Record Guide, wrote, His music reveals a distinctly Anglican ring and sirit, yet its Yankee heritage shines through as well. White was comoser-in-residence at the Mississii Conerence on Music and Liturgy in 1991, 1995, 2003, and 2012, and in 1998 he was comoser-inresidence at the Evergreen Church Music Conerence in Colorado. He was the 1993 winner o the comosition contest sonsored by St. Paul United Church o Christ in Chicago or his estival anthem Cantate Domino, ublished by Paraclete Press. Other irst rizes have come rom the Virginia Bandmasters Association, the Texas Federation o Music Clubs, and the Eiscoal Diocese o Alabama. In addition to the extensive ublication o White s choral and instrumental music, his hymns are readily available through a number o sources: the Eiscoal Church s The Hymnal 1982 and Wonder, Love, and Praise; The United Methodist Hymnal and its sulement; the hymnal o the United Church o Christ in Jaan; Great Britain s Worshi Songs Ancient and Modern; and Hymns o Universal Praise, ublished by the Chinese Christian Literature Council LTD, among others. Three collections o his hymns are ublished by Selah Publishing Co., Pittsburgh, Pa.: Sing, My Soul: The Hymns o David Ashley White (1996), Songs or a New Creation (2002), and New Harmony: A Har o Thousand Strings (2006). The latter, in collaboration with hymn oet Richard Leach, ays homage to asects o Southern hymnody style. With a Bachelor o Music in oboe erormance and a Master o Music in comosition, both rom the University o Houston, White, a seventh-generation Texan, earned the Doctor o Musical Arts rom the University o Texas at Austin. He is currently director o the University o Houston Moores School o Music and holds the Margaret M. Alkek and Margaret Alkek Williams Endowed Chair

3 & # # # 21 Oboe 1 32 Title on inal oboe itch, gradually add assorted itched/unitched bells and other delicate ercussion, SATB, termed organ Atmoshere & # & # # 32 Comoser 2 & # # # # # Oo & # & # # P # w # # w & # 32 # # w # w# Sir - it, mov -ing ov - er cha reeating - os, as bring necessary - ing to maintain light where sustained there sound. was 4xx-xxx Title 3 w & # # & # # & w be to us a light, re - veal - ing w Text 2002 Gemini Press International / Tritone Press / Tenuto Publications. All rights administered by Theodore Presser # Comany. All rights # reserved. Used & by ermission # Music 2002, 2012 Selah Publishing Co., Inc. All rights reserved. Praise to God, a - mong us dwell - ing, raise the Sir - it giv - light. & w & # F # # # # # Author Chorus, with Atmoshere To Betsy Cook Weber and the 2012 Alaska All-State Treble Choir Chorus, oboe or C inst., ercussion, ot. handbells, and keyboard Patricia B. Clark, 1997 David Ashley White, 2002, 2012 Introduction & # q=ca. 63, mysterious, reely & # # #. # U & # # # # J # J P F P & # # U dedication Transition 1 On downbeat o inal choral itch, add organ/iano/synthesizer edal tone to Atmoshere. I layed on iano, lay octaves Begin random keyboard clusters (two or more itches simultaneously), not limited to this articular octave. As sounds accumulate (all gently layed), they lead to Section 1: F 3

4 & # & # Oo # # Continuing Atmoshere, edal # tone(s), and clusters 4 Section 1 Chorus # # # # # Sir - it, mov -ing ov - er cha - os, bring - ing light where there was & # be to# us a light, re -# veal -ing & # Sir it, Pmov ing ov er cha os, # raise to God, a mong us dwell & # Fbe to us a light, re - veal - ing # # Breath, in - still ing an - i - ma # # # # # - - ing, raise the Sir - it giv - ing # # # light. Transition 2 Continuing Atmoshere, edal tone(s), and clusters with crescendo to P as chorus enters - - tion, giv -# ing lie, in -orm -ing soul, Section 2 Continuing Atmoshere, edal tone(s), and clusters Praise to God, a - mong us dwell - ing, raise the Sir - it giv - ing light. Chorus & # & # F breathe in# to all our be # ings # lie that makes # the Bo dy & # # # raise to God, a - mong us dwell - ing: # Title 4xx-xxx # # # raise the Sir it giv ing Coyright 2005 Selah Publishing Co., Inc. Printed in the U.S.A. on recycled aer. It is illegal to hotocoy this music. P bring - ing light where there was Breath, in - still - ing an - i - ma - tion, giv - ing lie, in - orm -ing breathe in - to all our be - ings lie that makes the Bo - dy & # # Praise to God, a - mong us dwell - ing: raise the Sir - it giv - ing # # # whole. soul, lie. whole. lie. 2 Title 4xx-xxx Transition 3 Coyright 2005 Selah Publishing Co., Inc. Printed in the U.S.A. on recycled aer. It is illegal to hotocoy this music. Continuing Atmoshere, etc., with crescendo to F and with increasing rhythmic activity, as chorus enters

5 & # # # # P Ater chorus & # enters, Atmoshere, # etc. continues with gradual crescendo to as chorus # should have little ercussion underlay. & # # # # # & # # # Section 3 Chorus Author Pow - er, Lie -orce, In - sir - a - tion, blow - ing, breath -ing, brood -ing & # # call, en - liv - en, and em - ow - er or your work, both ar and near. & # # # # & # ƒ # # & # # # Praise to God, a -mong us dwell - ing, raise the Sir - it giv - ing & # # & # # here, strength. # # # # & # may reeat inal measures o this section in order to achieve the desired eect. & # ire a -& # # new your # chur - ch s sir - it, show the ath # Oboe we ought to choose. & # & # # # & # # # Praise to God, a - mong us dwell - ing, raise the Sir - it giv - ing ire. & # # # # & # # # # # #. j Sir - it, mov -ing ov - er cha - os, bring - ing light where there was P & # & #. # U # be to us a light, re - veal - ing SATB, organ Coyright 2005 Selah Publishing Co., rit. Inc. Comoser and oboe* begin in canon (two or three canonic entrances, coming a ew beats aart). Follow chorus dynamic with diminuendo to the end the last choral statement o melody 32 2 *In a reely exressive style, the oboe enters as the inal art o the canon, shortly ollowing the last choral entrance. As the choral art o the canon begins to end and the Wind, in - lam - ing ear - illed bod - ies, send - ing them to tell the News, solo oboe line emerges more, Atmoshere, edals, and clusters should graceully make a diminuendo, gradually leaving the oboe line unaccomanied. I necessary, the oboist & # 2 Title 4xx-xxx Printed in the U.S.A. on recycled aer. It is illegal to hotocoy this music. # # & # # # # Oo J # J P F P F & # # U #

6 Wind, in -lam -ing ear -illed bod - ies, send - ing them to tell the News, 6 & # ire a - new your chur - ch s sir - it, & # Transition 4 # # show the ath we ought to Section 4 Praise to God, a - mong us dwell - ing, raise the Sir - it giv - ing Chorus, ater ercussion Atmoshere is established # # # # Sir - it, mov -ing ov - er cha - os, bring - ing light where there was & # be to us a light, re - veal - ing & # Oo At the inal oboe itch, Atmoshere begins, again, as in Introduction, delicato. # rit. # # As chorus ends, ercussion continues briely, staggering entrances o bell sounds and then ading away to nothing. choose. ire. # 4xx-xxx Title

7 Comoser s note Sirit Moving Over Chaos had its genesis as a simle hymn, consisting only o an exressive melodic line with a suggested handbells accomaniment, one that comrised only six itches (D, E, F #, G #, A, and C), all taken rom the tune. When the hymn was recorded a ew years later by the Choir o Palmer Memorial Eiscoal Church, Houston, Texas (Praise the Sirit, Gothic Records, G-49254, also available on itunes), co-director Brady Kna suggested that we imrovise sontaneously, an intriguing aroach at the outset o a recording roject and certainly a challenge! First, we decided only to use soranos and altos, although a mixed choir, or men, would also be aroriate. We ound a large banner in the Palmer narthex with tiny bells sewn into it, and that was gently shaken to create a mysterious oening eect. Other available ercussive sounds were added as the music rogressed. One o the singers was also an oboist, with instrument at hand, so she joined in. Brady layed a edal tone D on the organ, then adding tone clusters that created a wonderully 32 murky eect that eventually roelled us to the high oint o the iece. I continued the cluster eect on a synthesizer, also including ragments o the melody. It is in this sirit o imrovisation that this ublication was reared. What is contained on these ages does not necessarily have to be ollowed literally rather, this notation could be viewed as an architectural outline, erhas insiring new ideas. The ortions marked transition are intended to be brie, acting as a connection rom one section to the next. The itches or itched ercussion and keyboard imrovisation are these, in any aroriate octave. Suggestions or instruments to be used: 1. Rather than oboe: lute, clarinet, violin, or cello. 2. Synthesizer alone would be ideal, rather than organ or iano. 3. Percussion: bells o all kinds, in addition to handbells. Also vibrahone, glockensiel, inger cymbals, gong, tubular chimes any tinkling kind o ercussion. 4. Har, and almost anything else that would add eective and suggestive color. & # # & # w w w 7 & w w #