THOUGHTS & REMEMBRANCES

Thoughts & Remembrances, April 1996, is a collection of pieces that celebrate the universal love and connection between parent or guardian and child. The deep familial roots nourished from generation to generation are remembered tenderly and with deep respect. Early in 1995, Friends of Soli Deo Gloria Cantorum, Nebraska’s Professional Chorale, presented a commission to Jackson Berkey to compose a work in memory of his and his wife Almeda’s departed mothers, both of whom died in 1994.

Isaiah 44:3
SDG 96-108 Mixed Chorus $1.50
SDG 96-109 Treble Chorus
SDG 96-110 Male Chorus
Chorus with Organ, Piano and Harp
Parts included 3.2’ 12 pgs.

Isaiah 44:3 expresses a beautiful promise from God to His people. An ancient text set to a chant-like melody by the composer hearkens back to the sound of Hebrew melody. Beginning from barely audible sounds, the choral dynamics progress fully as the work unfolds. The repetition of the chant develops both through extensions in the voice parts as well as in the accompaniment. While the melody remains constant throughout, harmonic extensions occur in the underlying parts. The choral setting seems to develop roots almost figuratively as the promise of God takes root and nourishes generation after generation of His people’s seed upon the earth.

View Me, Lord, A Work Of Thine
SDG 96-111 Mixed Chorus, Alto Solo $1.50
SDG 96-112 Treble Chorus, Alto Solo Chorus, Piano 4.5’ 12 pgs.

The text source for View Me, Lord, A Work Of Thine is English poet and composer Thomas Campion (1567 - 1610). A prolific writer, Campion wrote music for masques of the court of James the First. Jackson’s romantic setting interweaves the elements of mixed voices, vocal and sectional solos with contrasting ranges and colors in the piano accompaniment.

6Pence
SDG 96-113 Mixed Chorus $1.50
SDG 96-114 Treble Chorus
SDG 96-115 Male Chorus
Chorus, Piano 4-Hands 2’ 12 pgs.

The English rhyme, Sing a Song of Six Pence, is the basis for 6Pence. It bears the dedication: “For my mother, Josephine, in celebration of her ever-present, always irreverent sense of humor!” Following a robust statement of the familiar melody by all the voices, the tune continues while the background begins “counting money, eating bread and honey, counting bread,” (as in “money”)! This leads to the “Counting and Eating” instrumental solo which includes excerpts from Mozart’s Marriage of Figaro and a Berkey frenzy on the piano. During this extravaganza, the women eat bread and honey while the men count their money. The piece concludes with the voices reiterating the overture to Mozart’s opera, taking them to a high “C” and finishing with uproarious laughter and applause.

Balm In Gilead
SDG 96-116 Mixed Chorus $1.70
SDG 96-117 Treble Chorus $1.50
Chorus, Piano 5.5’ 16 pgs.

This choral setting expresses a double meaning for the Berkeys. For the originators of this well known spiritual there is an inherent hope of forgiveness and eternal peace and a desire to serve God well while on this earth. An apt description and favorite song of Almeda’s mother, Opal, who never tired of serving others or in offering encouragement and strength to those in need. It bears the inscription: “For Almeda’s mother, Opal, who told me of the Love”.

Balm In Gilead
SC 156 Mixed Chorus, a cappella $1.35
(Plymouth Music) 5.5’ 12 pgs.

The accompanimental aspect is combined with the vocal lines in this a cappella “Competition Series” version commissioned by the Detroit Concert Choir, Gordon Nelson, conductor. Berkey’s writing here emanates a style reminiscent of Rachmaninoff in his “Vespers”.

Walk Humbly With Thy God
SDG 97-101 $1.95
Mixed Chorus, Congregation or Audience, Brass Quintet, Timpani, Organ. Opt. Treble Choir. Parts set available separately
4’ 20 pgs.

Commissioned by the Irvine (CA) United Church of Christ Sanctuary Choir, Ted L. Reid, conductor, to commemorate the dedication of the new Church sanctuary -12 January 1997. Text from Micah 6:8 and Amazing Grace.

Walk Humbly With Thy God
SDG 97-101 PARTS $15.00
All parts sold as a set to be used with SATB
Walk Humbly With Thy God
(SDG 97-101).

Christina Rossetti’s famous poem is set with piano and flute -- soloistic and idiomatic writing throughout. Commissioned and performed in honor of the installation of Dr. Leslie Wong as President of Northern Michigan University - October 16, 2004

Weepe Not
SDG 04-401 $2.10
Mixed Chorus, a cappella 7’ 16 pgs.

This fourth commission from Gary Schwartzhoff and the Singing Statesmen is a setting of the poem “Do not stand at My Grave and Weep.” Using extended divisi and falsetto, the work places the listener and singer on the same plane as the departed loved ones. Although written mostly in the Lydian mode having its final on f-natural, the harmonic structure of the work is often intentionally ambiguous. Compositional techniques in the work include modal shifts (Ionian, Aeolian, Lydian), occasional pan diatonicism, diatonic saturations, double ostinati, one distant modulation and, occasionally, original chant combined with a Greek “ison”, or pedal tone.

The piece employs frequent word painting, textural repetition, and varied tempi.

Words My Mother Taught Me
SDG 03-303 Treble Chorus $3.80
Chorus, Speaking solo, Piano 7’ 20 pgs.

A quirky set of three songs based on memories of the words and wit of the composer’s mother. Each song is a “play on words”, an English language rule, or a strange witticism. At some point in each song a solo reader sets forth the text. Commissioned by the Nebraska Children’s Chorus, Z. Randall Stroope, Conductor. Titles include Her has gone, Es ist kalt, and Eye B4 Eee.