An American Requiem, Op. 80
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An American Requiem is a 45-minute work for chorus and orchestra, based on Civil War diaries, poems, and other writings. After the initial invocation from the perspective of a Charleston cemetery, the Requiem treats first the premonitions of war in Portents, with the movements “John Brown” and “Sumter.” The next section, Battle Lines, contains only “The Conflict of Convictions,” a large movement portraying the eruption of the War itself. This is followed by the three movements of The Aftermath: “Voices,” individual commentary from Confederate and Union soldiers; “Raven Days,” a setting of a heart-rending poem by Sidney Lanier; and “No More,” a setting of the American Spiritual. The Epilogue consists of "Great Fields, New Soil” and is a sober, but uplifting, hymn to reunification.
There are no soloists, as such, but members of the chorus chant the commentary individually in “Voices.” The orchestra calls for an electronically-simulated hammered dulcimer, and optional extra field drums in “Battle Lines,” to supplement the timpani and two percussion players called for. Written on a commission from the Lexington Singers, it was first performed by that ensemble and members of the Lexington Philharmonic, conducted by Jefferson Johnson, on November 14, 1999. Click here to listen to a recording. |
Scoring:
2 Flutes
2 Oboes (2nd alt. English Horn)
2 Clarinets in B♭
2 Bassoons (2nd with the low A extension)
4 Horns in F
2 Trumpets in C
2 Trombones
Bass Trombone
Tuba
Timpani (4)
Percussion (2)
Field Drums (2)
Snare Drum
Tubular Bells (or simulated church bells)
Hammered Dulcimer (Electronic Keyboard)*
Crash Cymbals
*A simple Hammered Dulcimer part, to be played on electronic keyboard, is written in the percussion part, but may be played by the rehearsal pianist from the vocal score, if neither percussionist plays keyboard.
Chorus
Strings
2 Flutes
2 Oboes (2nd alt. English Horn)
2 Clarinets in B♭
2 Bassoons (2nd with the low A extension)
4 Horns in F
2 Trumpets in C
2 Trombones
Bass Trombone
Tuba
Timpani (4)
Percussion (2)
Field Drums (2)
Snare Drum
Tubular Bells (or simulated church bells)
Hammered Dulcimer (Electronic Keyboard)*
Crash Cymbals
*A simple Hammered Dulcimer part, to be played on electronic keyboard, is written in the percussion part, but may be played by the rehearsal pianist from the vocal score, if neither percussionist plays keyboard.
Chorus
Strings
Shakespearean madrigals, op. 9
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The nine Shakespearean Madrigals, Op. 9 are arranged in three sets of three madrigals. Inspired by the homophonic English madrigals of Dowland and Weelks, as sung by Baber's high school chorus, these are easily his most-often-performed works. The bawdy text and jaunty asymmetrical rhythms of No. 1 were problematical in the mid-1950s, but objections to these elements have waned over time. Typical of Shakespeare's emotional range, these madrigals vary in style from wistfully sincere to farcical, from love songs to satires. Their occasional difficulties are easily managed by a good high school chamber choir.
Click here to listen to a recording. |
MADRIGALS from Shakespeare, OP. 74
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The 6 Madrigals from Shakespeare, Op. 74, when compared to those of Op. 9, written more than 40 years earlier, are somewhat less pattern-like, allowing for more fluent and sustained, soaring melodies. There are also a few more playful accents and parallel chords. Otherwise, there is still that sense of Elizabethan wordplay and economy, but now with more dialogue between the men's and women's voices, providing for more drama and narrative.
Bradley Almquist and his excellent Murray State University Chorale, after having done the earlier Madrigals a number of times, commissioned this new set for a performance in Murray, Kentucky on April 27, 1997. Click here to listen to a recording. |
Missa brevis, op. 44
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The Missa Brevis, Op. 44 is for three-part Women's Chorus and Organ. Its movements are: Kyrie, Gloria, Sanctus, Benedictus, and Agnes Dei. The Credo is omitted. The style is richly tonal with some modern American elements, especially in the Sanctus. The musical and technical demands on both the chorus and the organ are considerable, but well within the capabilities of a good university chorus.
It was commissioned in April 1977 by Luard Egbert and the Virginia Intermont College Women's Chorus, and was first performed by them on May 5 of that year in Bristol, Virginia. Click here to listen to a recording. |
St. Michael's Liturgy, Op. 48
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"Bless the Lord, O My Soul" (Psalm 103), with its forthright melody and bold harmonies, is an effective short anthem for mixed chorus and organ which can be learned quickly. Its drama and lyricism make it easily accessible to a general church congregation. The anthem was written as part of an entire liturgy composed for the Episcopal Church of St. Michael the Archangel, Lexington, Kentucky, in the spring of 1981.
"As a Father Cares for His Children" Written in the spring of 1981, this anthem was first performed at the Episcopal Church of St. Michael the Archangel, Lexington, Kentucky, for an Ash Wednesday service on March 4 of that year. The composer’s wife, Melissa, who was the choir’s Acting Director, led the women of the St. Michael’s Singers. The violin solo was performed by the composer. Although this work is not difficult for the choir, the violin part contains some lyrical passages in the high register. "Most Glorious Lord of Lyfe" Written in the spring of 1984, this anthem was first performed on Easter Sunday, April 22 of that year at the Episcopal Church of St. Michael the Archangel, Lexington, Kentucky. The choir was led by the composer’s wife, Melissa, who was acting director at that time. This dramatic work, with a text by the famous Elizabethan poet, is of moderate difficulty for the choir. |
On this fearsome morning, op. 88
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This dramatic anthem was written on a commission from Central Christian Church in Lexington, Kentucky in the spring of 2003. It was first performed on Easter Sunday of that year, April 20, by Michael Rintamaa, director of the Central Christian Church choir. The organist was Katherine Covington.
The text for this anthem was assembled by the composer from little-known phrases of old Easter hymns. The music, though not prohibitively difficult, does require professional-level performers of moderate-to-intermediate abilities. Scoring: SATB, Soprano Solo, Solo Horn, 3 Trumpets (Bb), 2 Trombones, Timpani, Organ Click here to listen to a recording. |
Twelve pastorals for women's chorus and cello ensemble, op. 16
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These Pastorals were written in 1959-1960, while Baber was a student at Michigan State University, for Rita Fuszek and her St. Lawrence Hospital School of Nursing Chorus in Lansing, Michigan. Originally, Fuszek conducted the chorus while accompanying on a portativ organ with only her left hand. Later, when digitizing the score, Baber designated the portativ part for cello ensemble.
Since both the chorus and the cello ensemble employ single lines as well as divisions into two and three parts, the ensembles should consist of multiples of six. However, individual songs could be performed with two or three solo cellos. |
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