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forces. Therefore, the form is meant to be flexible and each section easily repeated.


The piece itself is homophonic, allowing the text to take center stage. I recommend the piece be sung in German, but the English translation, also done by Liebergen, is a good one and is also an option. The quick, light tempo and triple meter gives it a happy, pleasant feel and can fit nicely alongside other Renaissance madrigals.


Adding a


recorder consort to this piece would also be effective.


The different recorders could simply double each vocal line, adding some nice texture. Liebergen has also added via his edition some fairly simple dynamic markings that give the repeats some life. Performing this with a strong feeling of “1” is highly encouraged.


This particular arrangement by Patrick Liebergen is perfect for any advanced middle school or high school women’s chorus setting. Members of the ensemble can easily play the percussion parts (included in the arrangement) while singing. There are many cross-disciplinary lessons to be taught here; one might involve the history teacher in a lesson on Renaissance life,


while incorporating the dance styles, dress, food and performance practice of the period. One could also ask the German teacher to help with pronunciation and include a short German lesson on the country, its traditions and the composer himself.


As far as


programming, this piece is a solid opener, but because of its short length, it is recommended that it be programmed alongside other Renaissance-style madrigals and canzonets.


Erin Colwitz received her Bachelors of Music from the University of Minnesota in 1998 in education. She taught in the Centennial/Lino Lakes School District for four years while also singing professionally with the Minneapolis-based Grammy- nominated Dale Warland Singers.


Dr.


Colwitz later completed the Master of Music (2004) and Doctor of Musical Arts (2007) degrees from the University of Southern California in choral music with minors in musicology, sacred music and music education.


Dr. Colwitz is Associate Professor of Music and Director of Choirs at UAH. She


Erin Colwitz serves as AMEA Choral Music Reviewer


conducts the Chamber Choir, Concert Choir, teaches beginning and advanced conducting, music history, choral methods courses, supervises student teachers and is also teaching a new HISTORY OF THE BEATLES class this semester. Dr. Colwitz is an active adjudicator and clinician around the Southeast. She most recently traveled to Thailand and Costa Rica to work with collegiate and high school aged choirs and orchestras. Dr. Colwitz is founder and advisor to the ACDA student chapter at UAH and has served on the Alabama ACDA board as the Repertoire and Standards Chair for Community Choirs. She is also a national board member and the Alabama representative for the National Collegiate Choral Organization.


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