Choral Music Reviews Where Your Bare Foot Walks


Music: David N. Childs (b. 1969) Text: Rumi (with World English translation by Coleman Barks) SATB divisi, with piano Publisher: Walton Music Approximate performance time: 5’20” (approximately) Complete audio performance is available on the Walton Music website.


Childs utilizes three Rumi poems (translated by Georgia native and leading Rumi expert, Coleman Barks) for this evocative and delicate selection. Dedicated to his wife, Lesley, the piece premiered at their 2008 wedding.


Childs is careful to provide


very detailed composer notes where he encourages expansive use of rubato throughout. He also speaks to issues of blend and provides other text painting suggestions. The lovely soprano melody is a bit challenging due to its intervallic leaps and it moves independent of the alto, tenor and bass parts in several parts. The piano accompaniment will sit well under the fingers of an accomplished pianist. This unique love song has programming versatility; with the depth of text meaning, it will allow for meaningful classroom discussion.


I want to be where your bare foot walks, because maybe before you step you’ll look at the ground. I want that blessing; I open and fill with love and all objects evaporate. All the learning in books stays put on the shelf. Poetry, the dear words and images of song, comes down over me like water; I want to be where your bare foot walks, because maybe before you step you’ll look at the ground. This is how I would die into the love I have for you; As pieces of cloud dissolve in sunlight; This is how I would die into the love I have for you.


Abide with Me


Music: William Henry Monk (1823-1889) Arranger: Greg Jasperse Text: Henry Francis Lyte (1793-1847) SATB divisi, unaccompanied Publisher: Ausberg Fortress Approximate performance time: 3’45”


Greg Jasperse, Assistant Professor of Vocal Jazz and Director of Gold Company/GCII at Western Michigan University, is best known for his vocal jazz and show choir arrangements and professional vocal work with groups like Vertical Voices and Sixth Wave. One of the things I love about Jasperse, however, is his ability to write pieces that work well in either the vocal jazz or traditional choral performance worlds. His arrangement of the hymn, Abide with Me is one such example (Want proof? Listen to St. Olaf Choir’s rendition (https://www.youtube.com/watch?v=iaI__UfcGPk)


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Dr. Diane Orlofsky


This setting of the hymn tune, Eventide, explores “crunch” dissonances found in most vocal jazz arrangements, moving from dissonance to resolution to dissonance in effortless and text appropriate ways. The tenor section is featured on melody for the first section (quarter note = 68); sopranos take the lead in the second section (quarter = 84) over an open- fifth bass ostinato) and the final stanza moves to quarter= 92, modulating up a fourth.


this poignant hymn supports the plea for Divine Help to be present through loss and hardships.


If Ye Love Me


Music: Philip Stopford (b. 1977) Text: John 14:15-17 Publisher: Ecclesium Publishing SATB divisi, unaccompanied Approximate performance time: 3’48”


British born composer Philip Stopford began his career as a singer in the choir of Westminster Abbey. Most of the music he has composed has been written for his own choirs and this setting of If Ye Love Me is no exception (composed for the main Cathedral Choir of Chester Cathedral). The piece alternates between sparse harmonies that open up to full lush chords, utilizing mixed meters (3/4, 5/4, 6/4, 3/2, 2/4). I have always been intrigued by Stopford’s use of repetition of text; for example, he chooses to repeat the phrase “keep my commandments” three times (even though it is not reiterated in the John 14 passage).


It is as if he is foreshadowing a later


conversation between Christ and Peter (John 21: 15-17) where the question “Do you love me?” is repeated three times. This is an excellent teaching piece that will reinforce part independence, blend, and unified diction through the use of accessible dissonance. This will be a thoughtful and beautiful addition to the repertoire for advanced high school groups and church or community choirs. Want a great program pairing with this Stopford composition? Try the well-known setting of the same text by Thomas Tallis (1505-1585).


Jasperse’s sensitive harmonization of


Dr. Diane Orlofsky is Professor of Music and Director of Choirs at Troy University, where she oversees the choral program and teaches undergraduate and graduate classes in music education. She is the conductor of the Troy University Concert Chorale and the Director of the Troy University vocal jazz ensemble, frequency.


August/September 2017


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