North American Choral Series. Nancy Telfer. Requiem aeternam. Female Choir. (SSAA and piano, perc.) Edition Music-Contact

Transcription

1 North American Choral Series Nancy Telfer Requiem aeternam Female Choir (SSAA and piano, perc.) Edition Music-Contact

2 Nancy Telfer, * 1950, is a Canadian composer and choral conductor. She has composed music for choirs, bands, orchestras and solo performers. Her music has been commissioned from performers in many countries and is published in Canada, the United States and Europe. Nancy Telfer received her education from the University of Western Ontario, Canada, and has presented seminars in Europe, Asia, Australia, South America, Africa and North America. She believes that all music should delight the ears, capture the imagination of the mind and feed the soul. The Peninsula Women s Chorus commissioned Nancy Telfer to compose Requiem aeternam in 1995 in memory of Valera, a choir member who had died. Nancy asked the choir to brainstorm for visual images that they might connect with this former member. The images helped Nancy to become familiar with both the choir and the deceased member and she was inspired by the images to write the lyrics. The piece begins with images of the long process that nature needs to create a beach: a picture that suits the eternal nature of a requiem. The images of light (lux perpetua) help to convey the celebration of Valera s life. The choir is located near San Francisco on the west coast of the United States where whales are a source of curiosity and a symbol of ageless continuity. In the Dies Irae, people are encouraged to take responsibility for the destruction of nature. The throbbing eighth notes and repeated ostinato starting in m 46 add some urgency to the request for mercy. The repetition in the Offertorium accompaniment is more meditative in nature to fit with the choir s chanted parts. Solo speakers are used to add some drama as well as focused sincerity to the pledge. One of the images that the choir contributed was a description of years without birds and then, without warning, flocks and flocks of them suddenly arriving on the shore and then the sea creatures coming back, too: an incredible renewal of nature. That excitement is captured in the Sanctus and Hosanna. The image of waves was saved for the last movement because it is, perhaps, the most eternal image of all. The dynamics create an ebb and flow in the sound. Sometimes the melody is passed from voice to voice, each line a slightly different shape, like the waves. Throughout the music both sacred and secular images are included to link humanity s understanding of nature with an understanding of the spiritual.

3 Reqiem aeternam Music by Nancy Telfer English Text and Music by Nancy Telfer 2008 Edition Music-Contact (Germany). All rights reserved. Reproduction of this publication without permission of the publisher is a criminal offense and subject to prosecution.

4

5

6

7

8

9

10

11

12

13

14

15

16

17

18

19

20

21

22

23

24

25

26

27

28

29

30

31

32

33

34 Performance Notes I. Requiem aeternam The first words in SI, AI and AII provide a background for SII and should be murmured with a blurred articulation to add mystery to the shimmering of the close pitches. At m the articulation should be very precise and clear to convey the sound of the stones clacking. At m. 34 SII still has the main sound and each of the other parts has its own canon to surround the audience with a swirl of sound. The piano creates little gestures like the movement or sound of a single bird. In m , the left hand creates the underwater throb of the whale. II. Dies Irae The sections of this movement are presented with different dramatic styles. All accents should be strong. At m and the singing should be devoid of human emotion to show that people have lost a connection with nature. In contrast, the cantabile sections should show deep concern and anguish. Each question should be sung to sound like a question, not a statement. Note: In m. 8 there is a choice of lyrics to suit the natural occurrences in the location of the performance. The piano helps by punctuating the music with accents and chords and creating an insistent urgency with repeated eighth notes. III. Offertorium The choral singing is in a smooth, chant-like style while the piano provides a stasis with the repeat rhythms. Each speaker should have a voice that is distinct from the other speakers. They should sound as if they intend to keep the promises. The dramatic change in dynamics and articulation in m suddenly rips the fabric of the music. The glissando should be sung in full voice. IV. Sanctus and Hosanna The upward sweep of the piano introduction sets the mood of excitement. At m the rhythms imitate the movements of the birds. The Maestoso that follows should sound full and glorious. The excitement returns in m. 35 and continues to the end, even in the quiet last word. VI. Agnus Dei The last movement begins hesitantly with a single voice. The rest of the choir uses the dynamics to create the effect of waves. The solo at m. 10 becomes more confident and continues to repeat the same words with a beautiful melody while the choir presents the main message. At m. 20 the piano assists with the dynamics creating long waves and also adds smaller waves with the pitches moving up and down the keyboard. At m and the choir creates the sound of waves with a series of entries. In m all movement stops and the singers focus on a few moments of peace. The final dynamics create one last wave. Note: The piano part is crucial to the overall effect. Although the percussion is optional, it adds many sounds that are evocative of nature on the shore.

35 Text Requiem aeternam The sea has sculpted the ageless patterns of time on the sand. At the dawn of each morning a different pattern appears. Rough stones knocking together, Pebbles polished to a smooth finish by the sea. Smaller and smaller they become sand on the sand, minute changes over time. Each tiny grain of sand travels with the sea right up onto the beach, then out to sea again Requiem aeternam, lux perpetua And with the light comes the age-old hymns of whales and seabirds. Below: the slow-motion throbbing from the great humpbacked whales, Their massive bodies filled with power. Do their songs tell of a fragile existence? Of the fears for tomorrow? A constant struggle for survival. A multitude of languages: laughter, sorrow;longing, joy. Et lux perpetua And with the softening of the light, one by one the sounds are recycled to the atmosphere. Requiem aeternam II. Dies Irae Destruction! Day of wrath! Fire! Drought! Chemicals! Earthquake! Will the whole world be consumed? While our eyes have been mesmerized by the flowers and stars, we have been poisoning insects and polluting the skies. What can we plead? Innocence through ignorance? Innocence through arrogance? Who can ignore the natural laws without courting disaster? As we rejoiced with the sunlight upon the waves, we have been oblivious of travesty below. Has the sentence been passed? Is the judgment upon us? Hear our belated cry! We join our voices with the wails of pain from each threatened species. Our eyes are now opened; our arms are outstretched to help in whatever way we can. Our minds strain to understand what is needed. Have mercy upon us For all the sins that are past, for all the time that is lost. Destruction! By participating in destruction, we have polluted our own souls. Have mercy upon us. III. Offertorium Hear the prayers of the land. We offer you sacrifices: Promises to renew the earth, To plant the seeds, to nurture plans that once were started by those who are no longer with us. We offer you sacrifices so that the sun and the stars shall cast everlasting light upon the dead. Light, darkness; life, death. Hear our prayers. IV. Sanctus and Hosanna The birds have arrived; the birds have arrived! Hundreds gather on the shore. Stepping along the sand, Picking at the insects, jumping, swooping, they arrange themselves in groups. They dance and preen, then flock to the sky and down again. Out of the bleak winter of death has come this beauty, this incredible beauty. God has opened the heavens and the birds have come. Hosanna Look to the sea! The dolphins have come, leaping! The whales have come, breeching! Hosanna! Sanctus. V. Agnus Dei Agnus Dei, qui tollis peccata mundi. Have mercy upon us for all we have left undone. Help us to be conscious of how we live from day to day. Agnus Dei, qui tollis peccata mundi. We remember the dead as living. Like the waves: The never ending spirit; the timeless motion; the continuous recycling of life. Agnus Dei, who knows when or how each wave will come? Or what shape it will take? Agnus Dei, dona nobis requiem sempiternam. Grant them rest, everlasting rest, the freedom of the open sea the serenity of the dawn the timelessness that comes with eternal peace Agnus Dei.

36 Other Compositions of Nancy Telfer in Edition Music-Contact De Profundis Mixed Choir (SAATBB) EMC Gloria Female Choir (SSA) EMC Ninety-Nine Names of God Mixed Choir (SAATTBB) EMC Sicut cervus desiderat Female Choir (SSA) EMC Flower Song Female Choir (SSA) EMC Requiem aeternam Instrumental (perc.) EMC Edition Music-Contact General Manager: Piroska Horvath Artistic Director: Aurelio Porfiri PO Box 1265 D Pohlheim / Germany Telefon: +49 (0) / Telefax: +49 (0) / mail@edition-music-contact.de Internet: