SATB a cappella
text by Marjorie Pickthall (public domain)
3 min duration
email composer for score

commissioned by the Three Choir Festival: Georgetown Bach Chorale, Grand River Chorus and the Bach Elgar Choir

SERENADE

Marjorie Pickthall: a Book of Remembrance, by Lorne Pierce. The Ryerson Press, Toronto, 1925

Dark is the iris meadow,
Dark is the ivory tower,
And lightly the young moth’s shadow Sleeps on the passion-flower.

Gone are our day’s red roses,
 So lovely and lost and few,
 But the first star uncloses

A silver bud in the blue.


Night, and a flame in the embers Where the seal of the years was set,— When the almond-bough remembers How shall my heart forget?

4 min
SSA a cappella
Text: Raymond Knister (public domain)
email composer for score

Commissioned by the Oriana Women’s Choir (Toronto)

Raymond Knister:

Novelist, short-story writer, and poet, John Raymond Knister was born in 1899 at Ruscomb, near Stoney Point, Lake St. Clair, where he drowned while swimming in August 1932. He left his widow Myrtle Gamble and a daughter Imogen Givens. Educated at Victoria College, University of Toronto, and Iowa State University, Knister made a sparse living first on his father’s farm near Blenheim, Ontario, and then as a journalist, man of letters, and editorial staff member of Ryerson Press. He lived in Chicago, Toronto, Hanlan’s Point, Port Dover, and Montreal. His two published novels are White Narcissus (1929) and My Star Predominant, the latter about the last years of the John Keats. Knister edited Canadian Short Stories in 1928. It was left to others to collect and publish his imagistic poetry: Dorothy Livesay in Collected Poems (1949), and David Arnason in Raymond Knister: Poems, Stories, and Essays (1975). Anne Burke published Raymond Knister: An Annotated Bibliography in 1981.

[https://rpo.library.utoronto.ca/poets/knister-raymond]

Poem in complete unabridged form:

Thin ridges of land unploughed Along the tree-rows
Covered with long cream grasses Wind-torn.

Brown sand between them, Blue boughs above.
… .
Row and row of waves ever In the breaking;

Ever in arching and convulsed Imminence;
Roll of muddy sea between; Low clouds down-pressing And pallid and streaming rain.

Notes from the composer:

This poem is in the imagist style. The composition alternates non text with text, this juxtaposition is meant to suggest to the listener that there is something beyond the immediate; an alternation of imagined verses reality. The music is presented without text first, transporting the listener somewhere else, they are then comforted by the same, or familiar music with text from the poem which offers another image to ponder. “The Orchard on the Slope” is a musical reflection, offering a moment of repose in our world.

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SATB a cappella (no divisi)

Commissioned by Bishop Watterson High School, Ohio USA [Ryan Jenkins]

3 min

Text by Marjorie Pickthall

Published by GIA: here

“The Road I Trod” is an anthem for mixed chorus, with no divisi. It features a unison opening which presents the melody clearly. The tenors and basses enter on a drone while the soprano and alto sing the melody again, in a canon. The voices join together at the cadence to bringing a sense of closure. The work develops with an imitative section with staggered entries of each section culminating in a final passage with expressive swells in the soprano, tenor and bass while the alto sings the melody again.

The anthem speaks to themes about home, joy, love, togetherness and finding comfort in faith. The canonic texture speaks to images of wandering, and longing, while the homophonic cadences reassure us, a coming together in completeness. The imitative sections bring about ideas of loss of faith and questioning of faith – journeying. Again, the homophonic cadential ideas warm us and put us back together, they heal us.

The text is an excerpt from British born, Canadian poet Marjorie Pickthall. The poem “Going Home” in the public domain worldwide.

TEXT: O, had your hand been in my hand
As the long chalk-road I trod,
The green hills of the lovely land
Had seemed the hills of God.

**CANCELLED DUE TO COVID 19 VIRUS PER UNIVERSITY RULES**

Matthew Emery’s DMA Composition Recital featuring music inspired by architecture.

“Buildings” for chamber ensemble and “Barren Cabin, Tin Roof” for chamber ensemble and mixed chorus.

Performers: The Elmer Iseler Singers – Lydia Adams, Marie Bérard [violin], Eric Abramovitz [clarinet], Leslie Newman [flute], Jamie Drake [percussion], and Yvonne Choi [piano]

March 29th, 5:00pm, Free Admission. St. Anne’s Anglican Church (Toronto)

Facebook Event Link

Orchestra

2222 4221 1 + Timp Strings (min: 87654)

Percussion: Bass Drum only

6.5 min duration

Plangere Editions 2019

Purchase conductors score orchestra version

Score and Parts available from Plangere

“Unanswered Letters” is a lyrical piece which unfolds using variations in colour and textures. The music is inspired by the ideas of the ordinary: dishes left undone, emails unanswered – mail that goes unopened. I am inspired by things that may be seen as unremarkable by others by searching out beauty in everyday life.

It is a work that is inspired by the lists we make: things to do, things we want to do, hope to do, should do, don’t do. The work is a piece which strips away the unnecessary and whats left is only what is needed.

Premiered by the Winnipeg Symphony Orchestra January 2020.

Read by the Toronto Symphony Orchestra, upcoming performances by the Windsor Community Orchestra, University of Toronto Campus Philharmonic Orchestra and Etobicoke Philharmonic

Listen to a 20 second clip, archival recording not for commercial use