We are pleased to announce that Jaygayle Music has issued the premiere compact disc of Jeannie Pool's music. It contains:
Cantata: We Believe in You, O God (1999)
(Based on the Statement of Faith, United Church of Christ)
for Soloists, Choir, Chamber Orchestra, Organ and Bagpipes
1 Introduction: We Believe in You, O God (1:10)
2 You Call the Worlds Into Being (3:12)
3 You Seek in Holy Love (1:21)
Duet: Deborah Kavasch and Christopher Panneck
4 Interlude-Duet for violin and cello (1:59)
Duet: Brian Leonard, violin and Harry Gilbert, cello
5 You Judge People and Nations-for Tenors and Basses (3:45)
6 In Jesus Christ, the Man of Nazareth (2:48)
Judith Siirila Paskowitz, soprano; Lisa Edelstein, piccolo
7 You Bestow Upon Us-Steve Hill, tenor and Jean Marinelli, horn (2:27)
8 You Call Us Into Your Church-soloists and choir (4:20)
9 You Promise to All-for Sopranos and Altos (3:45)
10 Organ Interlude-Soloist: Robert York (1:03)
11 Finale: Blessing and Honor (4:42)
Soloists: Deborah Kavasch, Judith Siirila Paskowitz, Steve Hill and Christopher Panneck,
Ian Whitelaw, Highland bagpipes, soloists; Robert York, organist
Church of the Lighted Window Chancel Choir and Chamber Orchestra, Jeannie Pool, conducting.
12 Episodia I (1996) for flute, clarinet and bassoon (in one movement) (6:54)
Patricia Kaufmann Cloud, flute; Larry Hughes, clarinet; Jenice Rosen, bassoon.
13-16 With Pleasure (1996) for viola and cello
1.Quasi Rubato (3:17)
2. Espressivo (1:35)
3. Allegretto (2:15)
4. Tranquillo (3:11)
Cynthia Fogg, viola and Tom Flaherty, cello
17-21 Episodia II (2000) for chamber orchestra; Jeannie Pool, conducting
I. Serenade (4:00)
II. Simpatico (2:48)
III. Whimsy (3:54)
IV. Such Sweet Sorrow (2:50)
V. Tango (2:37)
All selections Jaygayle Music, ASCAP. Total Time: 64\'
To obtain a copy of this compact disc, send $12 (US) to Jaygayle Music, P.O. Box 8192, La Crescenta,CA 91224-0192, U.S.A. Allow two weeks for delivery.
We Believe in You, O God: I was inspired to write this cantata in 1997 by the congregation of the Church of the Lighted Window and their celebration of the church's 100th anniversary., while Rev. Philip Anderson was pastor. The text for this cantata is The United Church of Christ Statement of Faith. Written and adopted in 1959, it describes the basic tenets on which the denomination was founded. UCC is a moderate, progressive Christian community which embraces diversity. The cantata was premiered on January 23, 2000 at the church on a concert with the Bach Brandenburg Concerto No. 2, the Vaughan Williams arrangement of the Old Hundredth Psalm Tune, and three of my arrangements of spirituals for baritone and orchestra. The cantata was recorded that evening after dinner.
This piece demonstrates clearly how a composer needs an entire community for support to bring such a large work like this to performance and recording. It would not have been possiblewithout the support of the congregation, the music director, the choir, and the organist. Several of my friends, including Debbie Kavasch, John Marvin, and Marilyn Wilson, who all live in Northern California, agreed to sing. Gregg helped me print out a full score on large paper for conducting. The musicians worked incredibly hard during our one rehearsal. The Chancel Choir devoted three hours of rehearsal to the piece. Months later I am still overwhelmed by the love and generosity of all those who made this possible and to them I am forever grateful.
Much of the composing of this work involved meditation and prayer on the text and many of the musical ideas came my way as gifts, in some moments just handed to me in their entirety. I compose most mornings straight out of a deep sleep. My intent was to write a piece which could be performed easily by a church choir with organ accompaniment, where the text would clearly be heard throughout. Church choirs often have good singers, but little rehearsal time. Then I decided to orchestrate the work using atechnique from the Baroque period of reinforcing the vocal lines in the instrumental parts, in a kind of "buddy" system, giving the singers maximum support. I added the instrumental interludes to the piece to give the singers a "rest" and the audience an opportunity to contemplate the levels of meaning of this rich text. For example, the interlude for violin and cello after the third section is based on the musical material of the preceding Duet for Soprano and Baritone, "You Seek In Holy Love." The next section is about God's judgment, revealing a basic in Christian faith that ours is a just and righteous God, not the angry and vindictive God of the Old Testament. This section begins with a contrapuntal and dissonant introduction in the orchestra, leading us to the tenors and basses, who sing, "You Judge People and Nations by Your Righteous Will." The next section, "Jesus Christ, the Man of Nazareth," is a simple shepherd's song, featuring soprano, accompanied by flute, finger cymbals, hand drum, and double bass. I have always loved the image of Christ as the shepherd, tending the flock. The bitter sweet melody recalls the pain of the Crucifixion and Christ's abiding love. "You Bestow upon us" features tenor and Frenchhorn, accompanied by strings and organ. "You Call Us Into Your Church," which features brass and snare drum, is a call to action because acknowledgment of God's love in our lives demands of us our committed involvement in faith communities.
My favorite movement is the last one, "Blessing and Honor," which is in the form of a theme and variations, giving our talented soloists one final reprise. The ancient sounds of the bagpipes begin and end the movement with the melody upon which the whole movement is bit, reminding us that God's power and glory are eternal as is His love. It is also a nod to my own ancestral roots in the British Isles. The bagpipe's drone is a B flat. The singers and chorus begin the piece in G major and after the bagpipe cadenza, they return on an A major chord. The bagpipe heard on this recording is actually taken from the live concert performance, thanks to Ian Whitelaw, who is an amazing musician.
Episodia I for flute, clarinet and bassoon was composed in 1996 for Jenice Rosen's grandmother, Gizi Schlinger, for her 90th birthday. It is a light divertimento in one movement with several sections and it reveals my deep affection for woodwind instruments.
With Pleasure (1996) was composed as a gift for Cynthia Fogg and Tom Flaherty's tenth wedding anniversary and twentieth anniversary as a performing team. My teacher and friend Mauro Bruno declared upon hearing this music, "This piece should only be performed on a gondola."
Episodia II was written expressly for the In Praise of Music...Concert Series at the Church of the Lighted Window, although the first three movements were premiered at Garrison Theater at the Claremont Graduate University, conducted by Peter Boyer, on April 27, 2000. Episodia is a made-up word which is intended to mean a series of short episodes, each based on a mood. The basic melodic ideas, including many inspired by Latin American popular music, link all five movements together. It was composed for wind quintet, string quintet, guitar, piano and percussion. The percussionist plays, among other instruments, marimba and Chinese temple blocks, and in "Whimsy" upstages the piccolo with a police whistle. The final movement, a tango, features guitarist Gregg Nestor, who, upon seeing the original sketch, complained, "Hey, there is nothing here for guitar! "-Jeannie Pool
Church of the Lighted Window Chancel Choir: Carmen Blume, Michael Blume, Donna Campian, Ed Cornell, John Davies, John Dreher, Joan Earl, Richard Emerson, Steve Hill, Mary Helen Jones, Deborah Kavasch, Patti Mark, John Marvin, Christopher Panneck, Floy Parrett, Paul Peters, Mea Proctor, William Seeley, Judith Siirila Paskowitz, Valerie Snyder, and Marilyn Wilson.
Church of the Lighted Window Chamber Orchestra (Cantata): Violins: Brian Leonard (Concertmaster), Leslie Woodbury, Kwi-Hee Shamban, Marcy Dicterow-Vaj, Rose Waterman; Viola: Cynthia Morrow; Cello: Harry Gilbert, Elliott Barker; Bass: David Young; Flute and Piccolo: Lisa Edelstein; Oboe: Lelie Resnick; Clarinet: Patty Massey; Bassoon: Jenice Rosen; Trumpet: Marissa Benedict; Horn: Jean Marinelli; Percussion: John Magnussen; Organ: Robert York; Bagpipes: Ian Whitelaw.
Church of the Lighted Window Chamber Orchestra (Episodia II ): Violins: Brian Leonard (Concertmaster), Francine Walsh, Viola: Lyn Grants; Cello: Maurice Grants; Bass: Jason Torreano; Flute Robert Shulgold; Oboe: Linda Muggeridge; Clarinet: Larry Hughes; Bassoon: Jenice Rosen; Horn: Jean Marinelli; Percussion: Tim Boatman; Keyboard: David Rubinstein; Guitar: Gregg Nestor. Additional Percussion on the Tango: Mauro Bruno, Masatoshi Mitsumoto and Matthias Zimmerman.
Special Thanks to: John and Helen Baatz, Amelia Barker, Aileen Fell, Joanne and Donn Huffsmith, Ray and Marge Webb, Alice Snyder, John and Leslie Dreher; Steve Barker of BBAT Productions, Steve Hill, CLW Music Director; Diana Hopkins, Interim Senior Minister at the Church of the Lighted Window; Lance Bowling, Mauro Bruno, Frank Campo; Alf Clausen, Del Hake, Gregg Nestor, Beverly Grigsby, Masatoshi Mitsumoto; Bruce Nelson, Deon Nielsen Price, and Marilyn Wilson.
Audio Engineering: Steve Barker, BBAT Production
Editing on the Cantata and Episodia II and CD Mastering: Gregg Nestor
Editing on Episodia I: John Scott
Editing on With Pleasure: Jonathan Marcus