PERFORMANCE TIMe

PERFORMANCE NOTES . of life. The text ~omes

Birdsong is a celebratton ·tten by children • f poems wn · from a collection o . the Tereztn

who while incarceratedh tin vakt'a during the ' · Czec os o Concentration Camp tn f th •r experiences and Second World War, wrote oh et ng author writes their dreams. In Birdsong t e youth than of the

f the world ra er of the beauty O • f the then present horrors and destruction o ·r e and uplifting circumstances. The text's po~~!v when placed message is all the more strt mg h loss of against the backdrop of war and t e personal freedom.

The melody, harmonies and rhythms in Birdsong are intended to support the optimistic nature of the text. The melody is simple and clear; the harmonies slightly darker with jazz overtones; the rhythms gentle but suggesting dance and celebration.

ABOUT THE COMPOSER

Paul Read is Director of Jazz Studies at the University of Toronto. He is a pianist and saxophonist and is a published author, arranger and composer of instrumental and vocal music. Besides earning degrees in music (Mus. Bae., M. Mus.) and education (B. Ed.) at the University of Toronto, he attended Berklee College in Boston where he studied saxophone with Joe Viola and arranging with Ted Pease. He also studied arranging and composition with Gordon Delamont and John Beckwith.

From 1982 to 1989, Paul was on the jazz faculty of the Saskatchewan School of the Arts and has been coordinator of the National Music Camp Jazz Program (Canada) since 1987. He regularly ?djudicates and presents workshops in improvisation, ensemble development as well as ~axophone and jazz piano. He is past chair of the instrumental jazz division of MusicF est Canada.

The composer wishes to thank Margaret Smith wh~ spent many hours researching poetry for this proJect. Also thanks to Eva and Bill B tt d ~e Children's _Choir at Colborne Stre:t g~n~~d

hur~h for their commission and their exquisite premiere performance.

PERFORMANCE TIMe

ca. 3 minutes 12 seconds

EDUCATION THROUGH ARTISTRy

Choral Music Experience begins with d' . . E h d istmcti choral repertorre. ac stu ent is chall Ve

. d . engedb the opportumty to pro nee music with th . . Y . h . . h' e smg1ng voice, practice t e rnus1c1ans 1p required t

the musical challenges, and perform the reso 1meet · fi Utsof their efforts. This per ormance approach to . . music teaching and leammg teaches students how

. . h d to think-in-actmn, 1.e., ow to emonstrate th • h h l . . err knowledge throug c ora smgmg.

Choral Music Experience engages students in the development of their singing voice, a skill central to the musical education of every student. Instruction must also focus on music reading as an important component of musicianship. Exercises and vocalizations can be taught through musical problem-solving opportunities authentically derived from the repertoire and its inherent challenges.

Choral Music Experience assessment takes place in the performance context. Teacher-conductors are encouraged to offer continuous feedback and reinforcement to give students a constant sense of

. . t Assessment well-bemg and accomphshmen . . options include the use of audio and video ta~:; problem-solving exercises that are a part 0u·vt'ty

. . al ac ' students natural engagement m m~sic f musical and a student performance portfoh~ challenge development - a biography of musica and artistic accomplishment.

Per· . · chOral A complete and comprehensive ·rs can be

. · g chOI G' formance curriculum for begmnm WILL SIN · found in the music textbook WE XB-S 1). published by Boosey & Hawkes (T ---------

. d Church London, Ontarion, CANADA Commissioned by Colbome Street Unite . • Bill and Eva Bettger, Directors

BIRDSONG Text by

An ~nknown child in the Terezin Concentration Camp

Czechoslovakia

for Two-Part Treble Voices & Piano Music by Paul Read

Piano p cresc.

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poco accel. - - - - - - - - - - - - - - - - - - -

J = 108 subito gentle and rhythmic

He does - n't know the

Who stays in his nest _

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'-" world at all. ____ _

and does-n't go out

. t 1997 by Boosey & Hawkes, Inc. © Copyngh all countries. All rights reserved. 0CTB695 l Printed in U.S.A. C yright for

op ed its best efforts to clear any copyrighted text that might be included in this work with the relevant owners and to print bl . sher has us The pu

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led ments. If any right owner has not been consulted or an acknowledgment omitted, the publisher offers its apology and I acknOW g a] "fi . suitab e ·ry the situation following form notI cat10n. ill recu

w IMPORTANT NOTICE: The unauthorized copying of the whole or any part of this publication is illegal.

2

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does - n't know what

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Nor_ what I sing _ a - bout,_ Nor_ what I sing_

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'--' ...._,, Nor_ what I sing_ a - bout: ________ _ That the

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28

world is full of love Ii ness. __________ _

f

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Treble IT When dew - drops spar - kle in the grass

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--And earth is a - flood _ with mor - ning light. _________ _

with mor-ning Earth's a - flood_ with

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44

To greet the dawn - ing ter the

the dawn - ing ter

47

night, _ the dawn-ing af - ter night. ________ _

ter night. ________ _

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- . -- .. 1· ~ Then I know how fine it is to - !Ve. - f -fl I - ~-,,., - - ------

r-,.t) --- ----[D Then I know how fine it is to live. -fl I I I .u

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o - pen your heart _

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try to

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to beau - ty;-------

Optional Solo f

to the woods some-day _

'-"" woods some-day _

OCTB6951

try to '-""

o-pen your heart_ to

And weave a wreath of

And weave a wreath of

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Then if tears ob - scure your .., - way me - mory there.

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You'll know how won - der- ful _ it is __ You'll know how

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tears ob-scure your way how won - der- ful _ won - der- ful _ You'll know how

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is Oh how won-der-ful to be a f

---is Oh how won-der-ful to be a

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... __ .g ____ & __________ -<9-___ ....

world at all Who

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stays in his nest _ and does-n't go out. _________ _ He

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does - n't know_ what birds know best Nor_

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