Foweles in the Frith
12 performance rounds for partnered treble voices
by Brian Kogler
The clear, rinsed sound of Women’s voices is hardly more thrilling than in the recital of rounds. And when the rounds offer plenty of movement among the parts, as do most in this collection, the effect can be delightful. These twelve rounds, set largely to medieval texts, are of varying difficulty and may require rehearsal. Some have special endings for performance. While intended for experienced female voices, they may of course be sung by mixed groups of all ages.
Over 100 of Brian Kogler’s rounds are now accessible on YouTube. Scores are available for free on request. Please contact: bkogler [at] bigpond [dot] com
SKU: BKR-004
Categories: Choral Music, Treble Voices
Instrumentation: Choral
| Voicing: | Equal Voices, SSAA |
| Instrumentation: | A Cappella |
| Language: | English, Latin |
| Sacred or Secular: | Sacred, Secular |
| Season or Event: | General |
| Difficulty: | Intermediate, Advanced |
| Descriptive Tags: | Rounds |
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Title | View | Voicing | Duration | Language | Composer | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| SATB | 10' 15" | English ⋅ Latin | Gloria in D was premièred in December 2014 by the Bel Canto Chorus, Milwaukee in their ‘Christmas in the Basilica’ concerts. It is written for a large chorus, soprano soloist, brass ensemble, consisting of three trumpets and three trombones, timpani and organ. Richard Hynson, who conducted the première in Milwaukee, writes: “As music Director of […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Gloria in D was premièred in December 2014 by the Bel Canto Chorus, Milwaukee in their ‘Christmas in the Basilica’ concerts. It is written for a large chorus, soprano soloist, brass ensemble, consisting of three trumpets and three trombones, timpani and organ. Richard Hynson, who conducted the première in Milwaukee, writes: “As music Director of […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Each round 1′30″ to 2′ (in performance) | English | The voice of the English-speaking working classes is preserved in the rich body of song that developed in the centuries leading up to the Industrial Revolution and in the years surrounding the Great Depression. The songs abound with hope, despair, delight, passion and humour. This original collection of 12 folk-inspired rounds borrows lyrics from English […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| The voice of the English-speaking working classes is preserved in the rich body of song that developed in the centuries leading up to the Industrial Revolution and in the years surrounding the Great Depression. The songs abound with hope, despair, delight, passion and humour. This original collection of 12 folk-inspired rounds borrows lyrics from English […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SAB | 3'30" | English | The text for How Can I Keep from Singing was written by members of the Derventio Choir of Allestree, Derbyshire, England, and Steven Paxton’s setting was composed for the competition celebrating that choir’s 30th anniversary. Moderate tempo a cappella sections alternate with fast, rhythmically driving sections mixing 6/8 and 5/8 meters. The piano accompaniment is […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| The text for How Can I Keep from Singing was written by members of the Derventio Choir of Allestree, Derbyshire, England, and Steven Paxton’s setting was composed for the competition celebrating that choir’s 30th anniversary. Moderate tempo a cappella sections alternate with fast, rhythmically driving sections mixing 6/8 and 5/8 meters. The piano accompaniment is […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3' 40" | Italian | Due Sonetti de Petrarca are settings of sonnets by Francesco Petrarca (Petrarch) (1304-1374), great Italian scholar and poet and one of the earliest humanists. The set was written for the Saint Mary’s University Chamber Singers, who premiered the works on their tour of France in March, 2009, with the composer conducting. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Due Sonetti de Petrarca are settings of sonnets by Francesco Petrarca (Petrarch) (1304-1374), great Italian scholar and poet and one of the earliest humanists. The set was written for the Saint Mary’s University Chamber Singers, who premiered the works on their tour of France in March, 2009, with the composer conducting. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3'30" | English | This is a straightforward setting for choir and organ/keyboard of an Appalachian carol found by John Jacob Niles (1892-1980). Niles was an American composer, singer, and collector of traditional ballads. He discovered this carol in Mayfield, Kentucky in 1933. Niles was an important influence on the American folk music revival of the 1950s and 1960s, […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This is a straightforward setting for choir and organ/keyboard of an Appalachian carol found by John Jacob Niles (1892-1980). Niles was an American composer, singer, and collector of traditional ballads. He discovered this carol in Mayfield, Kentucky in 1933. Niles was an important influence on the American folk music revival of the 1950s and 1960s, […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 4'30" | Latin | SATB a cappella settings of three ancient Latin texts in a style reminiscent of Renaissance polyphony, but mixing dissonant and tonal harmonies in a challenging but singable texture. Melodies are often disjunct, even passing from section to section, but always lyrical and poignantly expressive. De castitatis thalamo, virgo virginum, and Ave Maria. Ave Maria also […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB a cappella settings of three ancient Latin texts in a style reminiscent of Renaissance polyphony, but mixing dissonant and tonal harmonies in a challenging but singable texture. Melodies are often disjunct, even passing from section to section, but always lyrical and poignantly expressive. De castitatis thalamo, virgo virginum, and Ave Maria. Ave Maria also […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SSA | 3'30" | English | SSA settings, with piano accompaniment, of texts by e. e. cummings (in Just), Thomas Dekker (The Merry Month of May), and from Genesis 1:11-12 (First Spring). The style is rhythmically intricate, includes spoken passages, and is rooted in an expanded tonality; the piano accompaniment is virtuosic. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SSA settings, with piano accompaniment, of texts by e. e. cummings (in Just), Thomas Dekker (The Merry Month of May), and from Genesis 1:11-12 (First Spring). The style is rhythmically intricate, includes spoken passages, and is rooted in an expanded tonality; the piano accompaniment is virtuosic. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SAB | 3' | English | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| SATB | 3'00" | English | I was composer-in-residence with International Orange Chorale in San Francisco in 2020, when the world shut down and all of life, it seemed, moved online to this video conferencing thingy called Zoom. Like everyone else, I was trying to figure out how this platform worked, how life was going to go from now on, and […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| I was composer-in-residence with International Orange Chorale in San Francisco in 2020, when the world shut down and all of life, it seemed, moved online to this video conferencing thingy called Zoom. Like everyone else, I was trying to figure out how this platform worked, how life was going to go from now on, and […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||