Choir of Bells 2008 Spring Concert

I said I'd post the concert program & here it is:

We started out with one of the processionals in John Behnke's Processionals for Handbells collection. I've never regretted buying this collection because over the course of 5 years, we've used all 4 of the processionals in it! Although, we haven't always done them *quite* as written....

We've never used the processionals as stand-alone pieces; we've always used them as a sort of prefix for our "real" opening number. The thing is, sometimes our opening number is in a different key from any of the processionals -- that was the case this year. This year, our "real" opening number was Karen Lakey Buckwalter's Praise to the Lord which starts out in the key of B-flat - this is, with 2 flats. The processional we chose to do was the first one in the book -- but it's in E-flat (3 flats).

So, my solution: We played it as written *except* that all the A's were natural instead of flat. That means we played it in Lydian mode! Pretty darn cool, huh? :-) We didn't play the final chord of the processional (an E-flat major chord), either, but rather skipped that measure & just started Praise to the Lord. So we went from a chord consisting of B-flat3, F4, A4, C5, F5, C6, F6, A6 (basically an F major chord with B-flat in the bass) to unison B-flats in 3 octaves to begin the hymn.

(It's not really all *that* weird -- F major is the Dominant chord in the key of B-flat major, producing a nice V-I authentic cadence (with the addition of the new Tonic note in the bass), so it worked really well.)

Speaking of Praise to the Lord, I added a french horn part to it. One of my ringers (Jim Millar) is a very good horn player & since all the bell parts were adequately covered, I wrote a part for him. I also doubled the handbell melody 15va - that is 2 octaves higher than written (and yes, I know it should really be "15ma") - on the first verse. Let me clarify for a moment: the melody begins on F5. I asked for it to be doubled beginning at F7 -- NOT for both the F6 & F7 to play. (This is a trick I learned from James Meredith - which he apparently got from Ernst Bacon's original piece for handbells, "Constable Cycle".) It was a marvelous effect when combined with the horn!

The next piece was the American Folk Hymn Suite for organ, harp, and handbells by Dale Wood. In the first & the fourth movements (I Love Thee & Pisgah, respectively), the organ & harp have the main material while the handbells provide color and texture. In the second & third movements (Happy Land & Beach Spring, respectively), the organ is tacet and the handbells and the harp share melodic material, as well as serving as accompaniment for the other instrument.

Our wonderful harpist for the evening was Mary Pless, who rings handbells at my other church in Menlo Park. The organ was in the very capable hands of Sunnyvale Presbyterian Church's organist, Valerie Sterk.

We always try to feature small ensemble music at our concerts, too. This year was no exception!

Marsha & Debbie Dyslin (mother & daughter) played the duet version of Christine Anderon's It Is Well With My Soul, accompanied by Valerie on piano. They played this as a postlude for worship back in March -- and many people from the congregation stayed to hear them play it rather than leaving right away for fellowship out in the courtyard. They did a great job and the audience really really enjoyed it.

Next up was a trio of our youngest members -- Debbie Dyslin, Sara Millar, and Christine Reilly playing The Cold of Between by Rima Greer. A popular addition to Campanile concerts for years, it was also a big hit at our concert! The 3 girls sat on the Chancel steps with their chimes and played. (Christine even had it memorized!)

Then soloist Elaine Collins played the solo version of Arnold Sherman's Grazioso with Valerie on piano. This is one of my favorite solos & Elaine did a fabulous job with it -- it ain't easy to play, but she did it with grace and aplomb and received *extended* applause from the audience! She deserved it, too! YAY!

For the Offertory, I played a handbell solo accompanied by Mary on harp. We played the fourth movement (Andante Cantabile) from Vincent Persichetti's Serenade No. 10 for flute and harp.

Theda Howard joined us as the character "Cubby" (CUB = Common Use Basket) from Tammy Waldrop's Ring-a-Story The Little Boy & the Lunch. Her mom, my dear friend Gretchen Rauch, made the most *adorable* costume from a quilting hoop and strips of brown fabric (3 different shades!). We schticked it up a little more than the score suggested (I know you're wondering: how is that even possible?!?) with 2 fish (drawings of, mounted on foam board & attached to short sticks) and with 5 loaves of bread (real bread, sourdough baguettes) as well as a giant plaid napkin. Oh my goodness, the audience just *ate this up*!! Whee!! :-)

(If you have never done anything from Tammy's "Ring-a-Story" series, you *should*! They are hilarious and so much FUN!)

After a question and answer session, we closed with Lloyd Larson's Antiphony of Joy, complete with 4 ringers at the back of the Sanctuary ringing the antiphonal bell choir part. Valerie joined us on organ & the audience sang along on all 3 verses of Joyful, Joyful, We Adore Thee. It was an absolutely glorious way to end the concert - all those voices raised in song!

After the final number, I expected us to do as we had rehearsed: bow, then exit. However, my ringers had other plans! The ringers presented Theda, Mary, and Valerie with gifts to show our appreciation for their participation and support. They also said some *very* nice words about me & then gave me flowers - and jewelry! Swarovski crystal earrings!! Here's a pic:



All in all, it was a FABULOUS concert! I am SO PROUD of my group -- the compliment I heard most often from the audience after the concert was "they just keep getting better and better every year" - and it's true!

I am *very* blessed to be their director. :-)


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