Carnegie Hall Concert - June 2024
This page is for the singers at my Carnegie Hall Concert on June 23, 2024.
Please utilize all videos needed to learn the music for the concert. A listing of the songs is included and links to where you can purchase the music, if needed.
The premiere piece LOVE MOST EXCELLENT, LOVE DIVINE can be downloaded by clicking on the link below.
There is also a link for rehearsal tracks for the portion of the concert you will be singing with Don Krudop. He will be conducting Dan Forrest's TE DEUM. You can check out Don's website and get to know him before we all connect in NYC.
Please utilize all videos needed to learn the music for the concert. A listing of the songs is included and links to where you can purchase the music, if needed.
The premiere piece LOVE MOST EXCELLENT, LOVE DIVINE can be downloaded by clicking on the link below.
There is also a link for rehearsal tracks for the portion of the concert you will be singing with Don Krudop. He will be conducting Dan Forrest's TE DEUM. You can check out Don's website and get to know him before we all connect in NYC.
Concert Repertoire
I. Soli Deo Gloria (Pavane Publishing - P1507)
II. Here In the Silence (Hinshaw Music - HMC2551)
III. Be My God (Lorenz Publishing - 10/5239L)
IV. There Is a Balm in Gilead (Lorenz Publishing 10/4499L)
V. Love Most Excellent, Love Divine (Unpublished CLICK HERE for SATB Score)
Repertoire for Don Krudop
Te Deum by Dan Forrest (Jubal House - 8753272)
CLICK HERE for rehearsal tracks
All music is available through Popplers Music
CLICK HERE for a PDF with links to each piece for easy ordering.
II. Here In the Silence (Hinshaw Music - HMC2551)
III. Be My God (Lorenz Publishing - 10/5239L)
IV. There Is a Balm in Gilead (Lorenz Publishing 10/4499L)
V. Love Most Excellent, Love Divine (Unpublished CLICK HERE for SATB Score)
Repertoire for Don Krudop
Te Deum by Dan Forrest (Jubal House - 8753272)
CLICK HERE for rehearsal tracks
All music is available through Popplers Music
CLICK HERE for a PDF with links to each piece for easy ordering.
Rehearsal Tracks
Tracks are part specific. If you are using headphones, the demo recording will be in the left ear and the piano playing the part will be in your right ear. The Conductor tracks are with the demo recording only and will give you a chance to see how I will conduct the pieces. I have included a few notes for each piece which are found beside the Conductor Tracks. CLICK HERE for a downloadable PDF with the performance notes for each piece.
I. SOLi Deo Gloria
|
PERFORMANCE NOTES:
1. Be sure all vowels are pure Latin pronunciation. 2. The opening choral fanfare should have lots of energy. A similar fanfare will return in the final piece as well. 3. Keep the mixed meter sections very rhythmic. 4. The lyrical section (mm. 40-61), MEN very legato, WOMEN keep the rhythmic feeling going throughout. 5. Watch for all crescendos and execute them all. 6. The last GLORIA is very strong but in octaves so it must be spot on for pitch! |
Soprano Track
|
Alto Track
|
Tenor Track
|
Bass Track
|
II. Here in the silence
|
PERFORMANCE NOTES:
1. Watch for rests, these are the places where you can take a breath. Otherwise carry through or stagger breathing throughout. 2. Dynamics are extremely important in this piece. Make a difference between your mezzo piano and mezzo forte. 3. NO BREATH at measure 43, the singers on the recording take a breath - PLEASE do not follow them - make a crescendo leading to the downbeat of 44 and take your breath in m. 45. 4. I will use rubato in this piece more than the recording does - be ready for that. 5. We will stagger breathing on the final note and put a very, very small "s" on the end. |
Soprano Track
|
Alto Track
|
Tenor Track
|
Bass Track
|
III. Be My God
|
PERFORMANCE NOTES:
1. I will be conducting this piece in 2. 2. Breathes can be taken only on the rests written in the music. 3. The verses have a syncopated feel - emphasize it - sing very rhythmically. 4. The chorus (starting m. 43) is very tight harmonies. Be sure to be accurate on your pitch. 5. The bridge (mm. 60-76) is also rhythmic and the biggest moment of the piece. The text is also very declamatory - sing with conviction. 6. Stagger breath when needed, especially mm. 92-94. 7. The ending we will cut off as the piano plays the last note. Carry "God" to the downbeat of the last measure. |
Soprano Track
|
Alto Track
|
Tenor Track
|
Bass Track
|
IV. There is a balm in Gilead
|
PERFORMANCE NOTES:
1. Think long lyrical lines - very legato throughout. 2. Always put a little crescendo into the moving half note chord changes in the middle of each chorus (mm. 8-9, 24-25). 3. No breath following the chord changes (mm. 29-30) and leading into m. 31. This is one of the big moments in the piece. Take your breath on the rest in m. 31. 4. Watch dynamics throughout. 5. Crescendo into the fermata at m. 44. Stay strong holding the chord - no decresendo. 6. It ends very quiet. The last "in Gilead" should be piano. Basses be very careful as you move to the final E falt. |
Soprano Track
|
Alto Track
|
Tenor Track
|
Bass Track
|
V. Love most excellent, Love Divine
|
PERFORMANCE NOTES:
1. The opening should feel the same as the opening from SOLI DEO GLORIA - very grand! 2. Make sure to really articulate throughout - I want the message to be clear. 3. At mm. 33-35 don't be afraid to really punch those words. The singing should match the text. 4. Bring our inner moving parts at mm. 46-49. This is an extension of the chorus from the first time around. 5. Know where your part goes when we go into the new section at mm. 54-63. Some non-typically chords here. 6. I will use rubato (more than the recording) during the a cappella section at mm. 80-85). No breath after the first fermata at m. 81. 7. The orchestra rejoins us at m. 86 the following measures are a huge build up for the key change. Everyone sing out. 8. The final verse at m. 91 is big but save something for the very end. I also need a few sopranos on the descant part. 9. At m. 98 the first "O love" is end of the descant - all sopranos join on the "O love" leading to the downbeat of m. 99 - this also a tempo. 10. The ending is like the beginning - m. 117 is obviously the climax but save something for a crescendo into the final cut-off. Sopranos who have the B flat in them, we will determine how many needed for the concert hall. |
Soprano Track
|
Alto Track
|
Tenor Track
|
Bass Track
|