The team at YRM is growing!

Publisher | YRM, composers | Thursday, January 21st, 2010

Yelton Rhodes Music is fortunate to welcome two bright, young and talented individuals to our staff!
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NILS PIETER DE MOL VAN OTTERLOO

If you’ve ordered music recently from YRM, you’ve likely already been in touch with Nils. He’s charged with processing music requests and handling customer correspondence. He also helps to keep the office in order, and assists the publisher with special projects.

Nils is originally from Marblehead, Massachusetts and studied music at the Berklee College of Music in Boston. He also pursued additional music studies at Bates College in Maine and at the Rotterdam Conservatory in the Netherlands. As a composer he likes to experiment with various electronic mediums, and has produced a number of ambient/alternative tracks on which he performed as a vocalist, guitarist and bassist. Nils is also a part-time photographer and is always searching for creative techniques and methods for his photographic endeavors.

He claims to have played field hockey in high school… with the girls. We’ll just have to trust him on that. :)

Examples of Nils’ music may be heard at http://myspace.com/otterbop.
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DALE TRUMBORE

Dale joins the YRM team as a score editor (specializing in Sibelius digital notation) and will soon be a contributing writer/blogger here at Choralicious.com as well.

She’s a native of Chatham, New Jersey, and just recently moved to Los Angeles to pursue her master’s degree in Music Composition at the University of Southern California. Along with her graduate studies, Dale keeps active composing a variety of concert works covering the spectrum from choral to instrumental. Her string quartet “How it will go” was premiered last fall by the Kronos Quartet, and she’s currently completing a commission for the Orange County Women’s Chorus to be performed this May. In addition to composing, Dale is an accomplished pianist and choral singer (she’s been performing this past year as a soprano in the USC Chamber Singers).

Dale may apparently live and breathe music, but she also holds a black belt in karate!

A sampling of Dale’s compositions may be heard at http://myspace.com/daletrumbore.

Randi Grundahl Rexroth: My True Love Hath My Heart

Publisher | a cappella, choral music, composers, famous poets, love, men's, secular, women's | Thursday, June 4th, 2009

randi-rexroth
When YRM’s submission review committee first looked at Randi Grundahl Rexroth’s My True Love Hath My Heart… we knew we had to publish it! The piece is a lovely and playful madrigal (a cappella) with a charming text written by Sir Philip Sydney, one of the Elizabethan Age’s most prominent figures.

What makes the way that Rexroth adapted the text particularly special is its ability to accommodate a variety of gender references. My True Love Hath My Heart is composed for either women’s or men’s chorus (download the first three pages of each score as a PDF by clicking on the links), with each voicing able to use either “his” or “her” pronouns. This flexibility allows a chorus to express themselves precisely as they’d like!

Randi shares the following story about the inspiration for the piece:

“I needed to give my boyfriend a Christmas gift, but I was not able to buy him much. After speaking with my mother, who is a composer herself, she sent me the Philip Sydney text. She had tried to set herself, but had come up short. I remember her saying “I wanted to compose a contemporary madrigal, but I just couldn’t hear it”. As soon as I received the words I heard this piece.

I wrote the song as a solo and recorded it as my gift. A month later, I arranged the piece to be an SSAA arrangement that would be used in our wedding. The choir that sang My True Love Hath My Heart was made up of students from the schools where we teach and was touted as a highlight of the ceremony.”

Randi Grundahl Rexroth’s My True Love Hath My Heart:

Randi Driscoll: What Matters (2002)

Publisher | Topics, choral music, composers, gay & lesbian, men's, mixed, secular, women's | Monday, July 21st, 2008

Two performances of “What Matters” by Randi Driscoll: the first by the composer (YouTube video), the second by the Gay Men’s Chorus of Los Angeles (an audio file:click the play button).


“What Matters”
Words, music, and performance by Randi Driscoll

This is an arrangement by Kevin Robison available in three voicings sung here is the TTBB version.

What Matters (2002)
COMPOSER :: Randi Driscoll
ARRANGER :: Kevin Robison
INSTR :: chorus and piano
DURATION :: 04:00
YR2R11v1 Full score (TTBB) $1.85
YR2R11v2 Full score (SATB) $1.85
YR2R11v3 Full score (SSAA) $1.85

Lyrics

you were the brightest angel heaven had ever seen you walked in with a story to tell and ten thousand tongues to scream and you said doesn’t your heart beat the same as mine haven’t i told you a thousand times isn’t the air in my lungs the same air you breathe so who cares whose arms i’m all wrapped up in who cares whose eyes i see myself in who cares who i dream of who cares who i love heaven help me for i am lost what a price my love did cost but here i am standing strong and i am free and didn’t we share the same sunrise and sleep in the same moonlight isn’t the blood in my veins the same blood you bleed so when i die and they lay my body down the peace that i will find is the peace that brings you all around doesn’t my mother cry like everyone my father grieve for his lonely son isn’t my rainbow a little brighter because so who cares whose arms i’m all wrapped up in who cares whose eyes i see myself in who cares who i dream of no it doesn’t matter who i dream of ’cause in the end it only matters that i was loved and am loved love has no face

Copyright 2000 New Light Media

Notes by Randi Driscoll:

When I first heard the story of what happened to Matthew Shepard, I was saddened and outraged. I wanted to kick in my television, rip out my heart and cry all at the same time. I was horrified at what humans were capable of. However, I then remember seeing his parents, outside in the rain, shortly after his funeral. I was speechless and stricken by their sense of compassion and decency. I clearly remember the way the Shepards told us to pray for Matt and not harbor any feelings of hatred for his attackers. I also remember clearly how they described their son as a man who would not want us to hate…because Matthew loved and accepted everyone. Their grace moved me to tears.

So with that, I went into my bedroom and wrote a song about Matthew and the love he represents. I planned on sending a taped copy to his parents, as a form of my own personal condolences.

Later that month, however, I was playing a show at Borders Books and Music in San Diego. I was thinking of Matt a lot that day and for some reason, I chose to sing Matt’s song (which I hadn’t really even finished yet). What happened next was amazing. Men and women of all ages came up to me in tears and expressed how they had been so moved by what happened to Matthew. A mother of two small children reached for my hand and cried. A man came up to me and spoke through his tears. People clutched one another, crying. It was then that I realized how Matthew’s story had touched so many others

And then there was Dana. Dana LeeWood is another musician from San Diego. She was performing that evening as well. When Dana heard the song, she began to sob and immediately began to tell the audience how passionately she felt about this incident. It seemed Dana’s brother had taken his own life, due to the pressures he felt being a gay man in today’s world. Dana encouraged me to record the song. She pursued me for several weeks, bringing people to shows and talking about Matt’s story.

Finally in January, Dana amazed me by giving me some free studio time she had won at Studio West in San Diego. With the help of many musicians who shared their time and talents, and a small company in LA, we were able to record this song.

Dana hoped to share the song with many people by selling the CD single. We agreed that the only way to do this was to have all of the proceeds from the single go to anti-hate crime organizations: i.e.. The Matthew Shepard Foundation.

We decided to release only a limited pressing. We chose not to do a major media press release in hopes of maintaining the integrity of the project, but rather hold a small fund raiser at a local venue in town, Twiggs coffeehouse. Imagine our surprise when on March 5th, 1999, the intimate coffeehouse was packed to the gills with people. Local citizens and musicians came to help support the cause and to perform. A local publication, Slamm magazine, took out a full page ad on the benefit, and Tracy Page Presents donated prizes for a raffle. The evening was so beautiful. It brought me to tears to see the room packed with people who cared so very much.

That same evening we informed the audience about anti-hate crime organizations and made web site addresses available for them to take home. We were able to sell over over 200 CDs that evening alone. I can remember driving home with a feeling of hope that I hadn’t had in a while.

Through my contacts with anti-hate crime organizations, I was invited to meet with Judy Shepard on Easter Sunday in Laramie, Wyoming, to speak with her and share Matthew’s song. I sat next to a woman who had, only six months earlier, lost her son to a vicious hate crime. Yet, there was no hate that I could see. She spoke of her son with a warm smile….and with grace…always grace. She seemed determined to have his death not be in vain as she spoke about her hopes for a better tomorrow.

Along with Judy, there were many other angels that weekend in Laramie. Gathered outside of the courthouse in Laramie for a press conference in support of active measures against hate were members of GLSEN, Cathy Renna of GLAAD, Valerie Baker-Easley of LAMBDA , Marlene Hines of the North West Coalition Against Malicious Harassment, Jerry Switzer from the B.E.A.R. Foundation and many of Matthew’s friends. People standing together on common ground, grieving the loss of Matthew and praying for a better tomorrow. People breathing the same air…under the same Wyoming sky.

Since that time almost two years ago, I have traveled to over sixty cities in the USA and Canada performing the benefit single at charity events, pride festivals and concerts. I have traveled to several high schools and colleges with New Light Media as part of a program featuring the screening of the documentary Journey to a Hate- Free Millennium. I have also appeared as Judy Shepard’s guest in Oakland and the Millennium March on Washington.

I thank God for what this experience has taught me. I thank him for the numerous e-mails that I have received from people who have heard the song. People who have chosen to share their most intimate details with me. Stories of love, acceptance and hope. I also thank God for the people I’ve met at shows. I thank God for the woman who lost her friend to a suicide, for the man who received a copy of the song as an Easter gift and for the strangers who hug me with tears in their eyes and say thank you.

And I thank God for the Shepards. I have often said that this work is the most important work I have ever done….and this song, .the most important one I have ever written. I have seen angels, who believe as I do, that love is unconditional…that love has no face.

Jerry Ulrich: New YRM Composer

Publisher | choral music, composers, famous poets, golden years, love, memories, mixed, women's | Tuesday, January 29th, 2008

Jerry Ulrich photo
For our first post of 2008, we’d like to welcome Jerry Ulrich to our roster of incredible choral composers!

Jerry is an ASCAP award-winning arranger/composer, originally from Illinois. He’s currently Associate Professor of Music and Director of Choral Activities at the Georgia Institute of Technology, where he directs two mixed choirs and the all-male Georgia Tech Glee Club. His numerous compositions and arrangements in the catalogs of several publishers in the US and abroad have sold over 80,000 copies. His music has been performed at Carnegie Hall, Lincoln Center, throughout New York City and on national radio and television, as well as throughout Europe, Asia, and Australia.

Yelton Rhodes is pleased to offer three of Jerry’s choral compositions: I Know a Garden (text by Robert William Service), Music, when Soft Voices die (text by Percy Bysshe Shelley) and When You Are Old and Gray (text by William Butler Yeats). All three pieces are deeply romantic, with a twinge of melancholy. Ulrich’s choral writing is robust and colorful, featuring elegant melodic exchange between the parts, and a lush tonal harmonic language. His music has a very madrigal-esque quality.

The composer himself offers the following insights to his compositions (click on the titles to download and view partial score PDFs):

I Know a Garden (SATB and piano)

Robert William Service was born on January 16, 1874 to a Scottish bank clerk and the daughter of an English factory owner. At the age of 15 he followed his father into the banking business, but in 1896 he immigrated to Canada. He spent several years in the Yukon, and the austere landscape is infused into many of his poems. During his life, he traveled extensively in North America and Europe and died in 1958. This setting was composed in October 2002 for the Southeast Alaska Music Festival Honors Chorus.

Music, when Soft Voices die (SSAA and violoncello)

[This] is a setting of the familiar Percy Bysshe Shelley poem. Its somewhat haunting and incomplete melodic character is intended to reflect the melancholy nature of the text. It was composed in April 2004, and is dedicated to the composer’s Hofstra University Music Department colleagues with appreciation.

When You Are Old And Gray (SAB and piano)

[This] is a setting of a pensive poem written from the perspective of an older person reflecting on a missed opportunity for love at an earlier age. The Nobel Prize-winning Irish poet William Butler Yeats (1865-1939) was one of the foremost figures of 20th-century literature. Yeats’ years of unrequited love to Maud Gonne (including four unsuccessful marriage proposals) is reflected in the poem. The composition is dedicated to the composer’s mother and in honor of his father, who were married for 57 years.

Paul Des Marais: Search

Publisher | a cappella, choral music, composers, death and mortality, famous poets, mixed | Thursday, August 23rd, 2007

paul desmarais

Search, three movements for unaccompanied SATB chorus, was composed by Paul Des Marais in 2002. It’s a beautiful and reflective work set to poetry by W.S. Merwin, Theodore Roethke and Mark Doty, revolving around the journey of mortality. The composer describes this journey as being…

…full of feeling: full of fear, full of anger, full of sadness, and - sometimes - resolved by a quiet acceptance of the inevitable.

The movements are 1. the birds on the morning of going (with words by W. S. Merwin), 2. The Waking (with words by Theodore Roethke), and 3. The Retrieve (dream fragment), with words by Mark Doty. Click on the links to view partial score as downloadable PDFs.

Regarding the last movement, Des Marais writes the following:

In the poem by Mark Doty, revolving around the last days of his partner, the feeling of refusal is very powerfully described. Wally, Doty’s partner, hears madrigal-like, beautiful voices inviting him to come, to dance with them. And his reply: “I’m not ready yet; I’m not ready yet.” But it was a dream, and he did go.

Search was first performed by the Los Angeles Chamber Singers under the direction of Peter Rutenberg on June 9, 2002.

Karlan Judd: What a Gay ‘Ol Christmas Tree

Publisher | choral music, christmas (secular), composers, gay & lesbian, humor, men's, mixed | Tuesday, August 7th, 2007

gay ol tree

For those who celebrate Christmas, there’s the fond memory of being kids and giving Santa a wish list of items they’d like to see under the tree come Christmas morning. But why should kids get all the fun? Why should this experience be relegated to our pre-pubescent years only?

Composer Karlan Judd and lyricist Joshua Ravetch had this idea in mind when asked to create a piece for the West Coast Singers, to be performed on their winter concert. Imagine being at an holiday party for adults and someone asks you to share your Christmas wish list. You do so with gleeful joy… just as if you were a kid. Now, imagine that party with a queer twist, and you have What a Gay ‘Ol Christmas Tree.

Adapted from a traditional melody, the mixed chorus version of this piece was new to the YRM catalog last year. But Karlan Judd recently created a version specifically adapted for men’s chorus as well. It’s “hot off the printing press” this week! You can peruse the first and last few pages (as downloadable PDFs) of both the men’s chorus and the mixed chorus versions by clicking on the links.

Karlan composed and arranged two other pieces for the same West Coast Singers concert which are published by Yelton Rhodes: This Time Next Year (based on Auld Lang Syne but with a contemporary text) and The Twelve Gays of Christmas (a traditional favorite also with a queer twist!).

What a Gay ‘Ol Christmas Tree (as performed by the West Coast Singers)

Ruth Huber: Sacred Circle

Publisher | choral music, composers, mixed, winter solstice, women's | Friday, July 27th, 2007

wreath

Among Winter Solstice pieces in the YRM catalog which were composed initially for women’s chorus, Sacred Circle by Ruth Huber has been one of the most popular for more than 10 years! Her spirited melody touches not only on specific Winter Solstice symbols and meanings, but it gives a wink and a nod to other traditional holidays of the season.

Ruth writes the following:

My first chorus, Tapestry (the Austin Women’s Chorus) was invited to take part in a holiday concert with other choruses in Houston… I believe. It was a big event for us and we were excited to go, but what to sing? I wanted something that would celebrate the connection between traditional holiday carols and ancient Winter Solstice rites, using the symbol of the wreath to unite and include everyone. Such a piece didn’t exist. So I wrote it, and the wonderful women of Tapestry learned it in just a few weeks… shifting meters, key changes and all!

Ruth was kind enough to indulge our request that she prepare a voicing/arrangement of the piece for mixed chorus as well, and we’re happy to announce that it is now available! She also prepared a new edition of the SSA voicing which contains some minor revisions.

You can view the first few and the last few pages (as a PDF) of both the mixed chorus voicing and the women’s chorus voicing by clicking on the links.

Sacred Circle

Paul Leavitt: Oseh Shalom

Publisher | choral music, composers, hanukkah, men's, mixed | Friday, July 13th, 2007

oseh shalom

The office at YRM has received several inquiries regarding our newest offerings of Hanukkah-appropriate music. So, in response to their requests, Paul Leavitt’s Oseh Shalom has been selected for today’s blog entry (with more Hanukkah-related pieces to be featured in the near future).

Paul intended for this music to be a prayer to God to make peace for all of Israel and for all of us. Its message is one of increasing importance in the midst of escalating violence throughout the world. The composer himself tells how the piece came about:

When the director of the Gay Men’s Chorus of Washington, Jeff Buhrman, asked me to write a commission piece for their 2003 holiday concert, I was needless to say flattered. The stipulation was that the piece had to be in Hebrew, and needed to be written for men’s chorus and brass quintet. There is a dearth of men’s choral music in Hebrew with brass accompaniment, I’ll admit. As the US was gearing up for war in Iraq, Jeff suggested we go “the peace route”. “Any suggestions?” I asked. He said, “How about the text to ‘Oseh Shalom’?”. “I love the text, but that’s kind of like rewriting ‘Let it be’ by the Beattles with a brand new melody. It’s one of the most popular songs in Hebrew in the world”. I continued to ponder the idea as the piece started to assemble itself in my inner ear.

Oseh Shalom is available for men’s chorus and mixed chorus, and YRM offers piano-vocal scores in addition to the full scores for chorus and brass quintet (2 trumpets, horn, trombone and tuba). Click on the links to view the first six pages of the piano-vocal score for each voicing.

Oseh Shalom (as recorded by the Gay Men’s Chorus of Washington, DC)

Steve Milloy: Children, Go Where I Send Thee

Publisher | choral music, christmas (sacred), composers, men's, mixed | Wednesday, July 11th, 2007

exeter

Steve Milloy is one of YRM’s most popular arrangers. It’s because he always brings a little something extra to everything he does… there’s typically some kind of twist that one may not expect. Children, Go Where I Send Thee is a perfect example of his exceptional talents as an arranger. A traditional African-American spiritual, this piece gives a count-down not unlike The Twelve Days of Christmas, where each number has a specific Biblical reference. It’s a piece meant for Christmas because the “one” is the “little bitty baby born in Bethlehem.”

Steve’s extremely clever arrangement was inspired by 40’s big band sounds, most notably Woody Herman’s Four Brothers in which a quartet is featured in front of the band. So, if you’ve think you’ve heard pretty much all the stylistic settings of African-American spirituals possible… you better hold on until you’ve heard this arrangement! It begins with a bang with a fast big band swing, and the energy is non-stop until the very end.

Children, Go Where I Send Thee is available for two voicings, one for TTBB quartet, men’s chorus and piano, and one for SATB quartet, mixed chorus and piano (click on the links to view the first six pages of score as a PDF).

And if you’re hungry for more, please check out Steve’s other unique settings of African-American spirituals, Mary Had a Baby and Behold that Star!

Children, Go Where I Send Thee (as recorded by the London Gay Men’s Chorus)

Jerald Thomas Hawhee: Two Rossetti Carols

Publisher | choral music, christmas (sacred), composers, famous poets, mixed | Thursday, July 5th, 2007

Rossetti

Christina Rossetti (1830-1894) was an English poet whose words touched not only upon the spiritual (she was a strong high-church Anglican… so much so that she turned down two suitors due to religious differences, breaking her heart in the process), but also on physical beauty and the sublime in nature.

Jerald Thomas Hawhee has set two of her poems as Christmas carols, In the Bleak Midwinter and Love Came Down At Christmas with original music. The composer himself writes himself about his concept of these works available together in Two Rossetti Carols:

I’ve always liked Christina Rossetti’s simple, understated use of imagery. There’s a kind of home-spun quality to the poetry that makes it very immediate and personal, and I tried to convey something of this hearth-like warmth in my settings. Especially in “In the Bleak Midwinter” the harmonies are dense and quite closely written in order to evoke contrasting colors/feelings of isolation and warmth, exultation and humility. Each verse represents a variation on the same theme. The piece begins in a low–almost cramped–register and slowly, verse by verse, different voices take up the theme in their own idiomatic fashion, culminating in the song of the angels; the women (divided into four parts) soaring high into the stratosphere. The final verse brings us down to earth again to look inward and “turn all these things over in our hearts.”

The setting of “Love Came Down At Christmas” is simpler and more straightforward. The contrast between the introspective, personal nature of the holiday versus collective/community worship is highlighted by the use of an alto soloist (who introduces the theme) and the full choir which then takes up the theme and expands upon it. I revised the piece in 2000 to include a modulated section for a solo quartet to play on this dichotomy, create greater contrast and coloristic interest.

Two Rossetti Carols: You can view the first four pages of In the Bleak Midwinter (for SSAATTBB chorus a cappella) by clicking here, and the first three pages of Love Came Down At Christmas (for SATB chorus a cappella) by clicking here.

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