Fantasia on Canadian Carols/Fantaisie sur des Airs de Noël canadiens

Instrumentation: 
  1. 2(2=picc).2(2=ehn).2.2./2.2.0.0./timp.1perc.hp./strings

    (harp is optional, alternate part combining timpani and percussion for 1 player)

    Other Versions: Orchestra with or without SATB Choir or SA Children’s Choir; Chamber Orchestra with Choir or Children’s Choir; and String Orchestra with Choir or Children’s Choir

Composed: 2016

Duration: 10:00″

Notes:

I was interested in writing two orchestra works, one for Christmas and another to commemorate the 150th anniversary of Canada in 2017. Finally, I realized I might be able to combine both these ideas into a single work, a Fantasia on Canadian Carols. I realized that I only knew of the Huron Carol. In the summer of 2015, I started to research the history of Christmas carols in Canada, which took me on a fascinating discovery of Canadian holiday traditions. I found three categories: carols that travelled from Europe and remained the same; carols that travelled from Europe and evolved into a Canadian variant; and new carols composed in Canada. I also discovered some uniquely Canadian Christmas music, including “Santa Claw” songs, found in the Maritimes.

I started talking about my idea to friends who gave me the idea of writing two versions, one for orchestra and the other for choir and orchestra. I chose to base my Fantasia on a group of four older traditional carols representing three areas of Canada: Ontario, Quebec and the Maritimes. I decided to title this work in both our languages since two carols are sung in English and two in French.

The Huron Carol

The Huron Carol is considered to be the first Canadian Christmas carol, probably first sung in 1641 or 1642, and written by Jean de Brébeuf, a Jesuit missionary at Sainte-Marie among the Hurons in Ontario. Brébeuf wrote the lyrics in the native language of the Huron/Wendat people to a French folk song Une Jeune Pucelle (A Young Maiden). The lyrics of this carol combines the birth of Jesus with Huron religious concepts. Today, this carol is commonly heard with the English lyrics written by Jesse Edgar Middleton in 1926.

Il est né, le divin Enfant

Il est né, le divin Enfant (He is born, the divine Child), is originally a traditional French carol, but travelled to Canada to become part of French-Canadian Christmas celebrations. Ernest Gagnon, an important 19th century collector of French-Canadian folksongs, used this carol in his Cantiques populaires pour la fête de Noël (1909), a wonderful collection of French Canadian Christmas carols for choir and organ. The melody in this version is slightly different than the original French carol.

The chorus of this carol has strong musical connections, “He is born, the Heav’nly Child, Oboes play; set bagpipes sounding. He is born, the Heav’nly Child. Let all sing His nativity.”

The Cherry-Tree Carol

The Cheery-Tree Carol is an old traditional English carol from the early 15th century. There are different versions of this carol, so it is not surprising that it found a new melody and lyrics in Canada. The important collector of folksongs from the Maritimes, Helen Creighton, collected a beautiful version from William Riley, who lived in the aptly named Cherry Brook, Nova Scotia. The lyrics tell an apocryphal story of the Virgin Mary, occurring while traveling with Joseph to Bethlehem for the census.

La Guignolée

La Guignolée or La Guiannée, is a French medieval tradition that travelled to French Canada with the first French settlers. It became popular in Quebec, parts of the Maritimes (including New Brunswick), and a few French-Canadian communities in the United States. Occurring on either Christmas Eve or New Year’s Eve, the singing participants went door to door asking for food and drink, plus donations for the poor. The backside of the pig was considered a prize, and if not available, the group would ask to take the eldest daughter or even threaten to burn down the house. According to Marius Barbeau, the great 20th century collector of French folksongs, the rowdy group was followed by an old buggy (to contain the gifts), and all the dogs of the neighourhood. Ernest Gagnon discovered the catchy melody from the area around Montreal and Quebec.

Commissioning and First Performances

The Fantasia on Canadian Carols was commissioned and premiered by the International Symphony Orchestra (Douglas Bianchi, conductor) joined by the International Symphony Singers (Dr. David Troiano, conductor) on December 2, 2016 (Clyde Township, Michigan) and December 3 (Sarnia, Ontario); the Scarborough Philharmonic Orchestra (Ronald Royer, conductor) on December 3 (Scarborough, Ontario); Symphony New Brunswick (Michael Newnham, conductor) joined by the Louisbourg Choir (Monique Richard, conductor) on December 3 (Saint John, New Brunswick), December 5 (Moncton, NB) and December 6 (Fredericton, NB); and the Brantford Symphony Orchestra (Philip Sarabura conductor) on December 10, 2016 (Brantford, Ontario).

Fantasia on Canadian Carols/Fantaisie sur des Airs de Noël canadiens

Instrumentation: 
  1. 2(2=picc).2(2=ehn).2.2./4.2.3.1./timp.3perc.hp./strings             (harp is optional, alternate version for 2 percussion)
  2. 2(2=picc).2(2=ehn).2.2./4.2.1.0./timp.1perc.hp./strings            (harp is optional)

Other Versions: Orchestra with SATB Choir or SA Children’s Choir; Chamber Orchestra with or without Choir or Children’s Choir; and String Orchestra with Choir or Children’s Choir

Composed: 2016

Duration: 10:00″

Notes:

I was interested in writing two orchestra works, one for Christmas and another to commemorate the 150th anniversary of Canada in 2017. Finally, I realized I might be able to combine both these ideas into a single work, a Fantasia on Canadian Carols. I realized that I only knew of the Huron Carol. In the summer of 2015, I started to research the history of Christmas carols in Canada, which took me on a fascinating discovery of Canadian holiday traditions. I found three categories: carols that travelled from Europe and remained the same; carols that travelled from Europe and evolved into a Canadian variant; and new carols composed in Canada. I also discovered some uniquely Canadian Christmas music, including “Santa Claw” songs, found in the Maritimes.

I started talking about my idea to friends who gave me the idea of writing two versions, one for orchestra and the other for choir and orchestra. I chose to base my Fantasia on a group of four older traditional carols representing three areas of Canada: Ontario, Quebec and the Maritimes. I decided to title this work in both our languages since two carols are sung in English and two in French.

The Huron Carol

The Huron Carol is considered to be the first Canadian Christmas carol, probably first sung in 1641 or 1642, and written by Jean de Brébeuf, a Jesuit missionary at Sainte-Marie among the Hurons in Ontario. Brébeuf wrote the lyrics in the native language of the Huron/Wendat people to a French folk song Une Jeune Pucelle (A Young Maiden). The lyrics of this carol combines the birth of Jesus with Huron religious concepts. Today, this carol is commonly heard with the English lyrics written by Jesse Edgar Middleton in 1926.

Il est né, le divin Enfant

Il est né, le divin Enfant (He is born, the divine Child), is originally a traditional French carol, but travelled to Canada to become part of French-Canadian Christmas celebrations. Ernest Gagnon, an important 19th century collector of French-Canadian folksongs, used this carol in his Cantiques populaires pour la fête de Noël (1909), a wonderful collection of French Canadian Christmas carols for choir and organ. The melody in this version is slightly different than the original French carol.

The chorus of this carol has strong musical connections, “He is born, the Heav’nly Child, Oboes play; set bagpipes sounding. He is born, the Heav’nly Child. Let all sing His nativity.”

The Cherry-Tree Carol

The Cheery-Tree Carol is an old traditional English carol from the early 15th century. There are different versions of this carol, so it is not surprising that it found a new melody and lyrics in Canada. The important collector of folksongs from the Maritimes, Helen Creighton, collected a beautiful version from William Riley, who lived in the aptly named Cherry Brook, Nova Scotia. The lyrics tell an apocryphal story of the Virgin Mary, occurring while traveling with Joseph to Bethlehem for the census.

La Guignolée

La Guignolée or La Guiannée, is a French medieval tradition that travelled to French Canada with the first French settlers. It became popular in Quebec, parts of the Maritimes (including New Brunswick), and a few French-Canadian communities in the United States. Occurring on either Christmas Eve or New Year’s Eve, the singing participants went door to door asking for food and drink, plus donations for the poor. The backside of the pig was considered a prize, and if not available, the group would ask to take the eldest daughter or even threaten to burn down the house. According to Marius Barbeau, the great 20th century collector of French folksongs, the rowdy group was followed by an old buggy (to contain the gifts), and all the dogs of the neighourhood. Ernest Gagnon discovered the catchy melody from the area around Montreal and Quebec.

Commissioning and First Performances

The Fantasia on Canadian Carols was commissioned and premiered by the International Symphony Orchestra (Douglas Bianchi, conductor) joined by the International Symphony Singers (Dr. David Troiano, conductor) on December 2, 2016 (Clyde Township, Michigan) and December 3 (Sarnia, Ontario); the Scarborough Philharmonic Orchestra (Ronald Royer, conductor) on December 3 (Scarborough, Ontario); Symphony New Brunswick (Michael Newnham, conductor) joined by the Louisbourg Choir (Monique Richard, conductor) on December 3 (Saint John, New Brunswick), December 5 (Moncton, NB) and December 6 (Fredericton, NB); and the Brantford Symphony Orchestra (Philip Sarabura conductor) on December 10, 2016 (Brantford, Ontario).

Tandem, New Music for Two Trumpets

Independent, CD Baby, 2016

Barton Woomert & Steven Woomert – Trumpet / Rachel Kerr & Sonya Sim – Piano

For Royer: Barton Woomert-Trumpet, Steven Woomert-Flugelhorn & Rachel Kerr-Piano

“I’d like to express my deep appreciation to Bruce, Jim and Ron for composing such melodic and lyrical music. Their talent, energy, ongoing support and friendship surpassed all my expectations from the outset. “

Barton Woomert

Introduction

While performing for many years in the orchestral world, I always held a vision to be instrumental in bringing new music to the trumpet community, particularly as I began working closely with advanced trumpet students and then to my surprise, with my own trumpet-aspiring son. When I set out to commission the new works for this project, my primary goal was to contribute beautiful music that was challenging but also enjoyable for trumpeters to play. I’d like to express my deep appreciation to Bruce, Jim and Ron for composing such melodic and lyrical music. Their talent, energy, ongoing support and friendship surpassed all my expectations from the outset. – Barton Woomert

Program Notes

I have composed several works that have been inspired by various types of classical music from the past, but this is the first time I was inspired by the music of the Middle Ages. Barton and Steve Woomert approached me to compose a work featuring two trumpets and piano in an expressive and melodic style. I thought of the possibility of composing a set of variations based on a Gregorian chant, and that it could be colourful to use a trumpet and a flugelhorn instead of two trumpets. Then we decided to expand the project by creating two versions, one for piano and one using chamber orchestra to accompany the two brass instruments.

For the theme, I chose the Kyrie Cunctipotens Genitor, a musical setting of the Kyrie that was written in the 10th century and was appropriate to be sung on Christmas Day as part of the Mass. In the early 1360s, Guillaume de Machaut chose this chant for the Kyrie section of his La Messe de Nostre Dame. I start my Fantasy Variations with the piano playing a quote from the beginning of Machaut’s Kyrie. The Kyrie chant main theme enters, played first by the flugelhorn then by the trumpet. The introductory Machaut material returns, in varied form, at the beginning of variations 1, 3, 4, 6 and 7. In variation 1, the trumpet and flugelhorn play the theme transformed by music from classic Hollywood epic biblical films such as Ben Hur and The Ten Commandments. Variation 2 (Echoes), seeks to have the trumpet and flugelhorn create the sound of echoes, as found in nature. Variation 3 (Hocket) is based on a Hocket, a device used in polyphonic music of the 13th and 14th centuries which is characterized by the splitting of a melodic line between two voices. The trumpet and flugelhorn use this devise, where one instrument sounds while the other is silent, to play the main melody of this variation. Variation 4 (Romanza) is influenced by the film music of Film Noir movies, featuring a seductive and slightly disturbed atmosphere in honour of the “femme fatale”. In variation 5 (Turkish), inspiration comes from Turkish classical music, with the trumpet playing a short cadenza followed by a rhythmic section in an unusual 14/8 time. Variation 6 (Danza) is inspired by the rhythmically intense music of the Argentinian composer, Alberto Ginastera. Variation 7 (Epilogue) returns to France, the country of origin for the opening Machaut music. However, inspiration h

Tracks

1-3. Jim McGrath – Three Bagatelles for Two Trumpets and Piano

4-11. Ronald Royer – Fantasy Variations on a Gregorian Chant for Trumpet, Flugelhorn and Piano (16:45)

4. Theme (1:40)

5. Variation 1: Largo (2:14)

6. Variation 2 (Echoes): Andante (1:31)

7. Variation 3 (Hocket): Allegretto (1:15)

8. Variation 4 (Romanza): Moderato (2:59)

9. Variation 5 (Turkish): Allegro (1:32)

10. Variation 6 (Danza): Allegro giusto (2:07)

11. Variation 7 (Epilogue): Meno mosso – Majestic (3:27)

12-14. Bruce Broughton – Three, for Two B-flat Trumpets, Cornets and Piano

15. Jim McGrath – Hollywood Nocturne for Trumpet and Piano