【2011.11.15】研究者提問一
Dear Nancy Telfer,
Hope everything goes well with you. It's my honor to write a letter to you.
My name is Jessie Chen and I am a Master student from the Institute of choral conducting, National Taiwan Normal University. I have been teaching music in the local elementary school for 10 years. In the past few years, I have been the condu ctor and in charg of the School's Choir and the City's Children's Choir.
Fortunately, I had a chance to go back to school and learned conducting in advance.
When I started to survey my thesis topic this year, many of your great compositions are my best choice. Finally, I choose SSA "Missa Brevis" among these marvellous works. I am very interested in what the motivation is when you composed "Missa Brevis." In addition, what background is at that time that encouraged you to create such touching melodics?
I have found many materials about you and your compositions and books. According to the limited resource, I cannot get the updated information of you. Do you feel ok to tell me your last works in the past few years? If there is anything big changed or improved in your last works and why? The last question is how you have such enthusiasm about the choral education and composition since 1979. Is there anything ever let you feel frustrated during these 30 years?
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Thank you very much for spending time reading the letter. I have to apologize for my poor English writing because I am not native student. Thank you for what you've done for the chorus. You encouraged me a lot and I hope that one day, I could encourage my student with such touching melody as well.
May God bless you and your family! With every good wish for your happiness!
Jessie Chen
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【2011.11.18】泰爾菲回覆一
Dear Jessie,
Your English is very clear. I will try to answer your questions but please ask additional questions if I misinterpret any of your questions.
1. I composed "Missa Brevis" for a variety of reasons. I was inspired very much by the meaning of the Latin words. With very few words, there is a big message. That means that there is lots of room for the music to express the big message and what that message can mean to people as they pray. I think that in today's society the meaning is still very relevant.
Traditionally, many sections of the mass have had music that is soothing or beautiful in an ethereal way. I tried to provide a different perspective by giving more depth to the emotion of the people singing the prayers.
2. My most recent pieces are a set of four major works for adult and youth choirs, oboe, flute and piano about the four Canadian seasons and how Canadians experience those seasons.
Earlier in my writing I often chose to compose music for voicings that did not have enough good music. Now I think more and more about writing choral music on topics or ideas that have not been used in choral music. I think that my composing keeps on improving and I am able to do more complex works without making them more difficult for the singers. I have also continued to write instrumental music every year, particularly piano music for young players.
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3. During these past 30 years it has been wonderful to see how much choral music and choirs have improved and grown. Unfortunately, there are not very many young composers writing regularly for choirs now. The ability and quality of younger composers is certainly there but I think that they do not have enough opportunities. It would be exciting to see more choral conductors asking composers aged 20 to 40 in their own geographical area to write music for their choirs. And, of course, I hope that more conductors will be inspired to write music for their own choirs.
I hope that this has been helpful for you. Best wishes for your work and continued success!
Nancy Telfer
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【2011.11.23】研究者提問二
Dear Nancy,
Hope everything is fine to you!
In the previous mail, some questions about the motivation and background of your
compositions were discussed. It means and helps a lot to me. Here, I need to consult you three more questions about the composing techniques.
1. In the progress of your composing, do you create melody first and then add time
signatures or you put on time signatures first and then create melody? From my point of view, composing melody first and then with the appropriate time signatures might construct a smooth tune with compactness. Am I right?
2. Sanctus is composed of triad from the beginning to the end. Why do you composed it with such a “whole triad” expression? Any special spirit implying?
3. Why “Kyrie” and “Agnus Dei” were composed using many clusters? Did you imply anything spiritual?
Thank you very much for spending time reading the letter. Best wishes to you and your family!
Jessie Chen
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【2011.11.28】泰爾菲回覆二 Hi Jessie,
1. I create the melody first and then put in the time signatures. The musical rhythms work more naturally with the rhythms of the spoken words that way. It is not necessarily more compact since words that sound very nice or have an important meaning are often given longer notes.
2. I wasn't thinking about the Trinity when I composed this but I was aware that using nothing but triads in root position create a spiritual kind of sound because the sound floats in the air without a strong pull of gravity toward the tonic. This freedom opens us up to spiritual possibilities.
3. In "Kyrie" the clusters create a great deal of tension because the notes are so close together and the rhythms have lots of energy. This tension expresses the urgent desire for mercy.
In "Agnus Dei" the clusters are very relaxed because of the slower movement of sound and even rhythms. Because the pitches are so close together, a halo of sound is created by each cluster giving a spiritual kind of ambience.
I hope this is helpful.
Nancy Telfer
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【2014.04.15】研究者提問三
Dear Nancy,
How’s everything? It’s been two years since our last mailing. I want to apologize for not
keeping the correspondence with you because in the past two years, I stopped my thesis writing and spent time on two of the important things in my life: marriage and child. Now I am going to complete my unfinished thesis. Hope you are still willing to give me some guidance and encouragement after so long.
In previous letters, we discussed about the background and motivation of your composing and that helped me a lot. This time, I would like to ask a few questions about your work :
1.In “Kyrie” I saw there is Japanese attack in D minor scale from the 34th to 45th
measure. I wonder if it was deliberately or unintentionally added?
2.In “Gloria” I presumed that the 28th measure is the beginning of the second section.
But the text in the 20th measure have already been “ Gratias agimus tibi,” may I know if I
marked the section correct? If I am right, could the 20th to 28th measure be regarded as the
“bridge” between the first and the second section?
3.In “Gloria” I noticed that you composed in a different way. You didn’t write “Gloria”
in major but in minor. Moreover, it starts with the first soprano alone and with the dynamic indication “mp” and ends in G main major chord and with the dynamic indication “p.” May I
know the reason of such a creative composing?
4.In “Sanctus” you use the text “Sanctus” for four times at the first four measures.
However, there are only three times in the original text. Is there any reason behind this?
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5.In “Sanctus” you used the triad to compose. Yet, the number of minor chord and major
chord are different from section to section. Did the contents of the text lead to the differences?
6.Generally, we usually distinguish the sections by the text. However, in “Sanctus” I
observed that part of the sections are distinguished by melody. For example, the lyrics in the third big beat in the 19th measure are the same with the ones in the fourth beat in the 22th measure. Yet, I personally takes the latter part (the fourth beat in the 22th measure) as a new section because of the change of melody. Don’t know if I get this idea right? If it is, why did
you compose in such way?
7.Is it ok for you to inform me of you last works in these two yeasts? It would be an important and precious information for me and for the people who study music in Taiwan.
Thank you for your time on this letter. It’s really my honor to talk over your work with you.
Best wishes for you and your family!
Jessie Chen 2014.04.15
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【2014.05.01】泰爾菲回覆三 Hello Jessie,
I am sorry for the delay. I have been very busy and tomorrow I will be going away. I am glad to answer your questions.
1. I have not heard the term "Japanese attack" before. Please explain what you mean by that and then I hope to answer your question.
2. Measure 19 creates a definite end to the previous section. Then the music starts with a new idea so this is not a bridge. Measures 20-27 begin a new section where the music sounds very reverent as the singers offer thanks (gratias agimus tibi). Then at measure 28 the singers repeat the words, breaking into rhythmic sounds of delight at the idea of offering thanks; they really enjoy giving thanks. That means that measures 20-27 create an introduction before the main musical idea for "gratias agimus tibi" is presented at measure 28. Different introductions can have different purposes. In this case, the introduction is written in a way that will relax the listeners so that they will be ready to respond to the energetic rhythms starting in measure 28.
These rhythms are so different from the rest of the piece that this section needs a special introduction. In the Gloria the listeners are taken on a musical journey so that they can experience or witness glory, thanksgiving, appreciation and, finally, the uniqueness of the Trinity.
3. Are you asking me to comment only on the beginning and the ending keys and dynamics here? I am not sure if that is what you are asking. Please let me know.
4. Unexpected but logical twists in the handling of musical materials help the listeners to find
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a different perspective on the music, the words and their own faith. In this music the fourth
"Sanctus" leads directly into "Dominus" making "Dominus" sound more important and more holy than it would if it were not connected with "Sanctus". In faith, there is no separation (no comma) between holiness and God.
5. I do not compose in a mechanical way, counting the bars or types of chords. I can not imagine anyone creating a good piece of music that way. Can you guess why there are 3 equal voices throughout the Sanctus? Also ask yourself how the music creates the mood --- what musical features contribute to the mood. The number of minor and major chords are not important but the answers to these questions for you might help you find out what is most important in the Sanctus. Let me know what you think!
6. Words are only one way to distinguish the sections in music. In more sophisticated music, there are many other ways. Listen to the music from measure 12 to the end. Do you hear more than one section or does the music continue on and on right to the end without any real stops?
Ignore what it looks like and go with the flow of the sound as you listen. Notice whether the flow stops or not. Then tell me what you hear. Your best guide is always your ears, not the words. Remember that when we speak, we often speak continuously without a break between sentences because we are feeling very intense about some idea. When we start to say a new idea, we don't always make a new start with our speaking. Sometime we do and sometimes we do not.
7. I have completed four pieces for SATB choir, SA choir, baritone soloist and piano. Each piece is 15 to 20 minutes long and describes what life is like during one of the four seasons in
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a northern country like Canada (winter, spring, summer, autumn). They are not published yet.
If you are interested in recently published choir music, I can send you that information.
You have asked some interesting questions. I will look forward to receiving your next email.
I am away May 1-3 and May 9-22.
Nancy Telfer
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【2014.05.07】研究者提問四 Dear Nancy,
Many thanks for your help in advance. I hope I can have a chance to consult you about my follow-up questions.
1. When were you initiated your work SSA “ Missa Brevis” which has been done by
1983 ? Solicit for essays by anyone? Your motivation of creation ? How long have you spent on this work? When, where & who performed the of world premiere ? Formation of choir?
Who is the Chorus master?
2. I have searched your relevant information on the internet, but I haven’t found details of your in history chorus. I would like to ask you few questions as follows: When was your first time join into a formal choir ,how old were you ? The name of that Choir? Location? How long have you stayed in that choir? Any specific influence it did to you? When did you fall in love with choir music?
3. About composing: For what reasons that made you choose to major in music education and composition in your college life ? When did you become interested in being a composer ? Why choral music? When was the first formal choral works been done by you? Posted on when, where, performed by which choir ? What were the lyrics about?
4.Were I found there two people –the conductor Kenneth Deral Jahnson and the Arranger Bray (I do not know if there are no other people) mentioned in your biography, seemed as they did a great effect on your composed works. Please tell me when and how they affected you?
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5. You are not only famous in religious music but also in secular choral music, please let me know is there any other kind of choral music composed by you that should be mentioned ? 6. What year did you receive award the from Canadian National Conservatory of Music honors degree? A bachelor's degree, master's or doctoral degree?
7. I'm highly interest in the published choir music you mentioned before, Can you provide me with more information? It is very helpful in research for my paper.
8. Here is an example of "Japanese attack in D minor scele":
youtube：https://www.youtube.com/watch?v=qMMRwYU0izQ
Many thanks for your instant response of answering my questions. I know you have a tight schedule as always. I really appreciate your kindness.
Best wishes for you and your family!
Jessie Chen
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【2014.05.08】泰爾菲回覆四 Dear Jessie,
When the pitches in the Japanese attack are used in the sequence and harmonically as I've used them in ms. 34-45, they are quite dramatic and project the idea of pleading very
strongly. In English we would not call this an attack because the singers are not demanding;
they are pleading.
Your new questions:
1. I composed "Missa Brevis" in 1983. Many people have written about this music as part of an article in a journal. I have not kept a record of these articles. As for motivation, I have always thought that the words of a Missa Brevis are very deep and express many different aspects of the connection between people and God. I was very excited to write this music and wanted to give the words a different perspective than previous composers had used. I don't remember how long it took me to write the music but I do remember that the work went very, very quickly. I sent the music directly to a publisher and so it was published and then
performed by many choirs before I actually heard a performance of it myself. There is no way of finding out who did the first performance of it but it was published in Canada and so it was probably a Canadian choir who did the World Premiere.
2. I was 19 years old when I first sang in a choir. The choir was the Faculty of Music Singers at Western University in London, Canada. The conductor was Deral Johnson. I sang in that choir for two years at that time and then graduated. When I returned to university later, I sang
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in that choir again. With my first experiences in that choir, I fell in love with choral music and the love has continued all my life.
3. From an early age I was interested in both teaching and in music. I began to play the piano at age 6 and learned the french horn at age 14. The interest in teaching has continued to become stronger over the years. I had not thought about composing until I was 27 and then, as I was writing my first piece, I realized that I should become a composer. After starting with some pieces for solo voice and piano, I began writing choral music because of my great love for it. My first choral piece was in 1979. It was an anthem for SATB choir and organ
performed by Wesley-Knox United Church in London, Canada (conductor: Deral Johnson).
The words were Psalm 116 from the Bible.
4. Yes, Deral Johnson and Kenneth Bray were the tow people who had the greatest influence on my work. I first started working with Deral Johnson in 1969. He was an outstanding conductor and interpreter of music. From him I learned what a really good choir could do and how a conductor could help singers to achieve such a high standard. I also learned to look for different levels of meaning in music. He performed many contemporary pieces with great insight into the meaning of them.
I studied composition with Kenneth Bray in 1980. By simply looking at the music, he knew exactly how music on the page would sound with a real choir --- not just the notes but also how effective each musical idea would be. He taught me how to do that so that I was able to send music directly to a publisher without having heard it done by a choir first.
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There is a very large library of excellent choral music from all time periods at Western University. This had a tremendous influence on me, too. On my own without supervision, I studied over a thousand choral pieces in detail, asking myself for each piece: "Why is this a great piece of music?" and "How did the composer do this?". This is how I learned the craft of composing.
5. I have also done some arrangements of traditional Canadian folksongs.
6. I have a Bachelor of Arts (1971) in music education and mathematics and a Bachelor of
6. I have a Bachelor of Arts (1971) in music education and mathematics and a Bachelor of