It has become a passion of mine to compose and arrange music for choir. There is nothing more satisfying than hearing a group of singers enthusiastically realize one’s musical vision. When I write choral music, both the text and melody have to capture my imagination and trigger my emotions.
“All My Trials” is my most currently performed choral work. The arrangement of this folk hymn came from a long-standing, deep appreciation of traditional music. When I was a teenager in the 60s, I constantly sang folk songs while accompanying myself on guitar in girl scouts, youth group and casually among friends. Occasionally, I would perform them in high school assemblies. I treasured these songs in my collection of albums by Joan Baez, Pete Seeger, Peter, Paul & Mary, and other notable folk song artists. Later, when I studied the Kodály Approach to Music Education, I more fully grasped the power and importance of folk music as a vivid art form that has withstood the test of time. In the Kodály curriculum, musical concepts are taught through the traditional songs of the child’s culture; in other words, the child’s musical “mother-tongue.”
“All My Trials” is Pre-Civil War and comes from the Anglo Southern Gospel tradition. It was later transported to the Bahamas thereby acquiring its gentle calypso lullaby qualities. The song tells the story of a mother on her death bed, telling her children, “no matter how bleak the situation seems, the struggle will soon be over.” Many artists have recorded this simple masterpiece, including Joan Baez and Harry Belafonte.
I have two choral settings of “All My Trials.” One was composed for Soprano, Alto, Tenor and Bass voices plus piano, bongo and soft rattle. The other is essentially the same, except it is for all treble voices: Soprano, Mezzo-Soprano and Alto.
My arrangement of "All My Trials" was performed in a concert June 10th by the choral group, Serenade, directed by Dr. Bryan Baker, as a part of the Old First Church Concert Series in San Francisco. This concert was sponsored by NACUSA, the National Association of Composers, USA, San Francisco Chapter. The recording can be found in the Media Page of my website. I want to thank my friend and brilliant choral conductor, Martha Wall, for introducing “All My Trials” in this performance.
Three years ago, I created a choral setting for “Jovano Jovanke,” a haunting folk song from Macedonia, a small country in the Balkan Peninsula. This work is scored for Soprano, Mezzo-Soprano and Alto parts plus piano accompaniment. It was recently published by Colla Voce in their International Series.
I originally heard “Jovano, Jovanke” when I was taking a Balkan folk dance class in college.“ I was captivated by its melody and unusual meter thus leading to the creation of my arrangement. Due to its location, culture and complex history, Middle Eastern influences are prevalent in Balkan music, e.g. 7/8 meter and use of the Hijaz or Phrygian Dominant mode.
The textual content of “Jovano, Jovanke” is a familiar one that transcends cultures. Two young people are in love, but the girl’s mother won’t let them be together.
I have also written choral settings for a variety of other folk songs, including the Child Ballad, “Henry Martin” and the poignant spiritual, “Child of God.” Ten years ago, I created a choral triptych, entitled, “California Collage.” The thematic material of each section is based on two contrasting California folk songs.
In addition to folk arrangements, I have several original works, based on different texts. For example, the lyrics of my choral composition “In Moments of Peace” were written by a friend who recently passed away. I was touched that this piece was performed at her memorial service. “On the Sea” a work for SATB plus piano and cello uses the powerful text by John Keats. Currently I am working on a cycle of choral compositions based on Robert Louis Stevenson’s A Child’s Garden of Verses.
Writing for chorus is a never-ending source of joy!
Watch the performance here.