|Title||The Musicians of Bremen|
Seven, originally for solo piano, is based on the arch form, ABCDCBA. The Prelude is one-part, the March two-part, and the Waltz three-part. The Rondo is in classical rondo form. The final three movements, Waltz Retrograde, March Retrograde, and Postlude (Prelude Retrograde) are as the titles indicate–the first three movements backwards. Harmonies are mostly quartal throughout.
|Title||Seven (A Suite for Orchestra)|
Lift Up Your Voice Volume I (sold in sets of 2)
6 New Songs: Hear the Sound of Bells A-Ringing; The Agony of Gethsemane, Jesus Understands; The Lord Lives; Only One Name; I Will Clear the Road
New Sacred Song Collection! Lift Up Your Voice, Volume I in High, Medium, and Low Voice
Six new songs: Hear the Sound of Bells A-Ringing; The Agony of Gethsemane, Jesus Understands; The Lord Lives; Only One Name; I Will Clear the Road
Sold in two-volume sets–one for soloist and one for accompanist
|Title||Lift Up Your Voice, Volume I|
Yet I Will Rejoice is the premiere recording of the choral and vocal chamber music of Jerry Casey whose recent flurry of performances has shown her popularity in central Ohio and other venues. Mrs. Casey has had commissions from such diverse groups as Columbus Alumnae Chapter of Sigma Alpha Iota (SAI), Iowa Composers Forum (ICF), Ohio Federated Music Clubs (OFMC), Columbus Women’s Orchestra, a church in New Jersey, and a Ministers’ Chorus from Pennsylvania. She has received the ASCAP Plus Award annually since 1996.
The music of Jerry Casey is lyrical even when dissonant. Harmonies are frequently modal and quartal. Word painting, mood setting, sharp accents, driving rhythms, and judicious use of sudden silence all help enhance the meaning of the words. The sacred works on this CD have texts that resonate to all peoples such as trust overcoming calamity, the desire to praise and hope, the question of what life is really all about, the joy in a newborn child, the search for serenity, and the recognition of the power of the Creator. Two of the secular works evoke the spirit of the fall season; one is a three-fold look at love, and one is a dark call to death.
|Title||Yet, I Will Rejoice|
This eclectic collection contains songs in traditional, contemporary Christian, and gospel styles. Indices included, in addition to the Table of Contents, are alphabetical, topical and Scriptural. There is also a page showing the range of each of the songs.
|Title||Celebration! (Sacred Solos) Volume I|
Five of my students “commissioned” the seven pieces that are in this collection. Each student chose the title, the character, sometimes even the time signatures and articulation. I sought to tailor the works to the students’ abilities. The process led to the title, ‘By Request.”
The “Conflict” of the title refers to separate conflicts between the first violins and the doublebasses and the second violins and the violas. The cellos represent the reconciling force. The short work opens with dissonant chords from the conflicting groups from which rise fragments of the “Reconciliation” theme in the cellos. Then the violin/bass conflict begins, followed quickly by the violin/viola conflict. The cellos seek to interject portions of their theme. Gradually the cellos lead the other groups to a unison sounding of the reconciliation theme. The first violins repeat this theme with the other groups providing a more consonant harmonic background. However, conflict breaks out once more. Again the cellos seek to reconcile the conflicting groups. The cellos succeed, bringing a final sounding of the reconciliation theme in unison and augmentation.
|Title||Conflict and Reconciliation|
This work was written to commemorate the twenty-fifth anniversary of the founding of the Columbus Alumnae Chapter of Sigma Alpha Iota. The Greek letters, sigma, alpha, and iota, represent the nineteenth, first, and ninth letters of the Greek alphabet. With alpha as A on the piano keyboard, the other letters become B and E. A-B and A-E form the intervals of a second and a fifth respectively, quite appropriate for a twenty-fifth anniversary. The three notes led to the idea of a three-part work with each note becoming a tonal center.
In keeping with the commemorative aspects of an anniversary the composer labeled the sections, “Celebrate the Present,”Remember the Past,” and “Anticipate the Future.” To create a tie with the past, the composer received permission from Jayne Latiolais to incorporate two melodic fragments from her vocal chamber work, Salome, which was commissioned for the tenth anniversary of SAI. These two fragments are involved in the transitions into and out of the section, “Remember the Past.”
By taking the three notes, flatting and sharping each one, the composer developed a nine-note synthetic scale which serves as the underlying framework. In the section on the past she chose five of the nine notes for a five-note scale. The section on the future is based on six of the nine notes.
The work opens with a type of fanfare with a tonal center of A. The main theme of the first section is announced by the violin and cello two octaves apart against a quiet ostinato pattern in the piano which uses the rhythm of the fanfare. The strings then take the ostinato pattern while the piano plays the main theme four octaves apart. Tremolos in the strings and scale passages in the piano modulate to C (B#) for a slower section in which the violin follows the synthetic scale in undulating rhythms against a quiet accompaniment in the cello and piano. The main theme and tempo return, this time with the violin and cello playing in unison.
As descending scales in the strings begin the modulation to the tonal center of E, the first melodic fragment from Jayne Latiolais’ Salome is interjected by the piano. The strings reply with the second melodic fragment in canon.
The “Remember the Past” section, marked Molto meno mosso, begins with a series of eight quiet chords in the piano which continue in ostinato fashion. The cello enters with an espressivo theme which is answered by the violin. The themes are heard in canon as the piano arpeggiates the chords. The section fades away with one last whisper of the second melodic fragment from Salome.
A brief duet in harmonics by the violin and cello leads to the piano’s fiery opening of “Anticipate the Future,” marked Con fuoco with a tonal center of B. The theme is repeated pizzicato in the cello and violin. A sudden return of the opening fanfare begins the Coda. Very brief reprises of the three themes are heard, but again the fanfare interrupts. Tremolo double stops in the violin and cello against rising scales in the piano lead to a final dissonant fortissimo chord.