Now I know what you’re thinking. It’s not that Hot Cross Buns. It’s not the Hot Cross Buns that you thought we had gotten past by now, those four measures of ignominy that haunt the deepest recesses of your early instrumental music education memories. It’s not that inane ditty that you practiced, repeating those three notes over and over, tormenting your parents and your siblings until finally, after what seemed like a very long time but probably was not very long at all, it was burned into your memory, burned into the memory of your fingers, those three notes:
B, A, G
B, A, G
B, A, G.
No, it’s not that Hot Cross Buns. It’s a different one.
Chances are good that if you’re a choral director, you already have a choice selection of canons in your bag of tricks, ready to be brought out at a moment’s notice to fill out the last few minutes of a rehearsal, or to keep the students from getting too restless and rowdy on a long bus ride – or simply because “we haven’t sung this one in a while”.
Although he is little recognized today, the English composer Sir Charles Villiers Stanford (1852 – 1924) was one of the most prominent musicians in the English-speaking world at the end of the 19th and early 20th centuries, and he had considerable influence on the work of many composers and musicians whose work is better known.
This article posted today, April 21, 2020, on my ChoralNet blog.
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I have read the New York Times every morning for much of my adult life, although lately there have been mornings when I have put this activity off until later in the day…there just hasn’t been much good news. It’s difficult to find articles that aren’t directly or indirectly related to our current shared situation.
This gem, beloved by my choirs, was one of my favorite canons to teach to and sing with children, and a staple of my children’s choir repertoire for many years. I first came across it the early 1990s in a book I can’t find right now, a little red book of traditional songs in English used for students of English as a foreign language at schools in twentieth century continental Europe. I taught As I Went Over Tawny Marsh to my students at Blue Rock School and at most of the other elementary schools I taught at afterwards.
My students always called this song Tawny.
I’m thrilled to announce that today I begin a weekly blog on ChoralNet, the professional networking site for the global online choral community. ChoralNet is operated by the American Choral Directors Association (ACDA), which I’ve been a member of for years. It’s a distinct honor to be invited to share my work with choral musicians through this forum, which reaches thousands of members, all over the world, every day.
On Monday, March 25, 2019 the Nashville Symphony was thrilled to host The Third Annual Schermerhorn Invitational Choral Festival at the hall under the direction of Dr. Tucker Biddlecombe, Director of the Nashville Symphony Chorus and Director of Choral Activities at Vanderbilt University’s Blair School of Music. Six choirs from Middle Tennessee public high schools gathered for a day of music making with each other and Nashville Symphony musicians, which culminated in a performance for family and friends at the end of the afternoon.
A wonderful time was had by all!
Nashville’s 13th annual Bach festival – our beloved BACHanalia – will be held:
Friday, March 29, 2019 from 4 – 10 pm
Christ Church Cathedral
900 Broadway in downtown Nashville.
This event is one of the highlights of the musical year in Music City.
A broad spectrum of musicians from our unique community come together at this time each year to present this one-of-a-kind six-hour concert-without-pause devoted to Sebastian’s music, generously hosted by our friends at the cathedral in their beautiful sanctuary.
For the last several years I’ve had the privilege of learning of the program and schedule ahead of the event and voila! here it is. It’s hard to believe a whole year has gone by.
or, Love and Music
This lovely eighteenth century canon was a staple of my school choirs’ repertoires throughout my entire teaching career. I came across it in a songbook when I first started teaching at Blue Rock School in the early 1990s, and I believe I taught this to every choir I directed until I left teaching in 2014. I taught it to every age group: elementary, middle school, high school. Over the years, How Great is the Pleasure became a kind of unofficial choir theme song for my vocal ensembles, and although it was not something we often sang in performances (especially with older groups of children), we sang it on a regular basis, often as part of our warm up or to close a rehearsal. I never met a child who did not love to sing this song.