From Heaven There Came A Sound -...

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From Heaven There Came A Sound

~ for children's choir, SATB choir, piano and percussion ~

Music by Christopher J. Hoh

Text from Acts 2, Psalm 104 & "Veni Creator Spiritus"

HohMade Music4619 Seventh Street South

Arlington, VA 22204U.S.A.



When the day of Pentecost had come, they were all together in one place.And suddenly from heaven there came a sound like the rush of a violent wind, and it filled the entire house where they were sitting.

Divided tongues, as of fire, appeared among them, and a tongue rested on each of them.Then all were filled with the Holy Spirit and began to speak in other languages, as the Spirit gave them ability.

Bless the Lord, O my soul. Lord my God, you are great.

Veni Creator Spiritus, Come, Creator Spirit, Mentes tuorum visita: Instill your will (in us): Implesuperna gratia Overfill with grace Quae tu creasti pectora. The hearts you have created.

All were amazed and perplexed, and said to one another, "What does this mean?"But Peter … raised his voice and spoke to them:

"In the last days it will be," God declares, "that I will pour out my Spirit upon all flesh,And your sons and your daughters shall prophesy,

And your young men shall see visions, and your old men shall dream dreams."

I will sing praise to God. O my soul, bless the Lord.

Acts 2, verses 1 - 4, 12, 14, 17; Psalm 104, verses 1, 33 & 35; Veni Creator Spiritus, verse 1 (9th Century chant, attr. Rabanus Maurus) Compiled C.J. Hoh


About "From Heaven There Came A Sound"

This piece resulted when Daniel Elmer, Music Director at St. Monica and St. James Episcopal Church on Washington's Capitol Hill, asked me to write something for Pentecost 2009 that would involve the children's choir. The drama of speaking in tongues seemed like a great "teaching moment" for the young singers, who would benefit from Dan's linguistic instruction as well as theological and musical.

To create a rare and mysterious atmosphere, the piano sustains key tones and overtones throughout by use of the sosenuto (middle) pedal. Percussion punctuates the proceedings with a soft cymbal and drum. Long low notes in the accompaniment and harmony using fourths and seconds serve to create a a still but unsettled atmosphere — similar to the tense calm before a storm, it seems to me.

The adult choir narrates the story in the first two verses, with the children adding effects to illustrate the descending Spirit and the rushing wind. Then, in response to the miracle, all break into a simple refrain of praise from Psalm 104. The children continue the psalmist's song in a variety of languages and tempos, creating in music the wondrous babble described in the Gospel. Against these musical mumurings, tenors and basses chant the ancient Pentecost hymn Veni Creator Spiritus — come Creator Spirit. They represent God's people worshiping their Creator through the ages, while high piano notes portray the presence of the Spirit, reminiscent of the children's "Holy Spirit" motif heard previously.

The drum breaks the spell and brings us back to the narrative and to the perplexed onlookers, leading to a third verse in which Peter explains the meaning of these events. His talk of divine visions and dreams brings on a new musical theme; its rising movement presents a contrast to the previous stillness. This music begins in the lower voices and spreads among the sections polyphonically, like excited gossip. The children add their "Holy Spirit" motif on top, building to an end where all join, in the same language, to sing words of the Psalm.

While this piece has a new age feel, my intention in writing it was to create a mood of mystery, drama and excitement. Most of all, in keeping with the occasion, performers and listeners should be joyful!

Christopher J. Hoh, September 2009

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Acts 2, Psalm 1049th Century Chant attr. Rabanus Maurus

Christopher J. Hoh"Veni Creator Spiritus"


Copyright © 2009 by Christopher J. Hoh.Licensed for single group use and copying.

All other duplication and mechanical rights reserved.

Commissioned by the Episcopal Parish of St. Monica & St. James, Washington, D.C.,and dedicated to its Children's Choir, May 2009

* Keep sostenuto (middle) pedal depressed throughout the piece, so the seven notes prepared silently may ring and vibrate sympathetically.

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* A few sopranos may reinforce the children's part if needed, alternating between the lines as indicated. Care should be taken in finishing the last word from the old line and starting the initial word from the new line: connect them and de-emphasize the consonants in between, e.g. in meas. 11-12 "...there came a sou' n'a sou' n'a sound like..."

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soul; Lord my˙ œ œ

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˙ œ œGod, you are


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percussion tacet to meas. 45

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* Measures 37 - 41 are to be performed by children, some sopranos if desired and piano, with each performer choosing his or her own tempo. Children and sopranos repeat their phrases several times, starting out strong (rather loud) and gradually getting softer. They should sing in various languages, choosing from the examples here and in the appendix. Performers may write in their individual parts using the blank staff labeled "other."

The piano repeats this section once. After that, it goes on to the next section (measures 41 - 45), where the tenors and basses join to chant the "Veni Creator Spiritus" hymn (slowly and freely but together), while the children and sopranos continue repeating their phrases. Children and sopranos should fade away as the tenors and basses come to the end of the hymn. In measure 45 the piano sustains its chord, as the fermatas indicate. Then the piece resumes at measure 46 with all parts together normally, beginning with the percussion pick-up notes.

SPANISH: f

GERMAN:

HEBREW:

OTHER: f

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œ œ œ œneph shee Ye ho

˙ œ œLord, O my

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œ œ Œ œ œSee le. Herr mein

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˙ œ œsoul; Lord my

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˙ œ œ

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(Play the left-hand Eb's one ocatve lower, as indicated.)

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˙ œ œGod. O my

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ã y y➘ œ

Performers and the director should feel free to choose a variety of languages to be sung by children and sopranos in measures 37 - 41. As noted on page 8, each singer should sing the repeated phrases at his or her own tempo. Performers may sing in additional languages provided their translation of "Bless the Lord, O my soul; Lord my God, you are great" uses rhythms similar to the composer's examples. A blank line has been left in the score for performers to write in their own translations if desired. The effect should be a shimmering five-tone chord from which snippets of praise come and go in multiple tongues. With this pleasant cacophony of praise as background, the ancient hymn "Veni Creator Spiritus" emerges from the lower voices and piano. The children and sopranos must remember to become gradually softer and to listen to the hymn so they know when to fade away.

The cymbal should be large, preferably 20" or more and played with soft mallets. Its scrape may be performed with the stick end of a mallet. (This approach avoids the need to switch the mallet to a beater or stick.) The drum should be medium to large, preferably of indefinite, lower pitch with some resonance. Any of various ethnic drums could be used instead of a tom-tom. The drum should be struck gently with fingers or soft mallets.

Suspended Cymbal

Scrape fromCenter to Edge

Medium Tom-Tom

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Œ . jœ œ œMon âme, bé

Ó œ œ œ œBe ne di ci,

Ó œ œ œ œ œ5

Shu oSanbiSe

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FRENCH:

ITALIAN:

JAPANESE:

KOREAN:

ARABIC:

CHINESE:

RUSSIAN:

OTHER:

˙ œ œnis l'É ter

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œ œ œ œ œ œ œ œ5

yo, WatashinoTa ma shi

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œ ‰ jœ œ œ œ œyo. Shu,Wa ta shino

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œ œ œ œ œ œ œDieu,tues in fin i ment

œ œ œ jœ œ jœtu sei som ma men te

œ œ œ œ œ œ œKa mi yo, A na ta wa

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œ ‰ jœ œ œgrand.Mon âme, bé–

jœ œ ‰ œ œ œ œgran de. Be ne di ci

jœ œ ‰ œ œ œ œ œ5

Id ai. Shu o San biSe –

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œ ˙,

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- 16 -


Appendix

Percussion Key

Additional Languages

From Heaven There Came A Sound -...

Documents

Transcript of From Heaven There Came A Sound -...