The Choral Style of Derek Healey in A Posy for the Christ Child, Op. 140

• Published in: The Choral journal Vol. 65; no. 2; pp. 55 - 64
• Main Author: Seigel, Lester
• Format: Journal Article
• Language: English
• Published: Oklahoma City American Choral Directors Association 01.09.2024
• Subjects: 19th century; Choirs; Christmas music; Composers; Harmony (Music); Healey, Derek; Musical performances; Canada
• ISSN: 0009-5028; 2163-2170

In his days directing a choir at a private boarding school, he would repeat this practice with his singers and a wind quintet, performing carols. The chord at "sign" is appropriately enigmatic (as prophetic "signs" can often be); a chord filling the measure comprised of five whole tones, with an added D-natural, and/or a pandiatonic chord (E-A-F + D-G-B), forming an F7 in third inversion and G-Major triad in second inversion. [...]the last clause, "And shall call his name," is varied from the unison treatment by a simple imitative setting, leading to the final direct object "Immanuel," which can be heard as a B11 extended triad, or alternatively as a pandiatonic triad of B-Major and A-Major. Pour light upon us from above, And fire our hearts with thy strong love, That, as we hear thy Gospel read, All fond desires may flee in dread; That when thou comest from the skies, Great Judge, to open thine assize, To give each hidden sin its smart, And crown as Kings the pure in heart, We be not set at thy left hand, Where sentence due would bid us stand, But with the Saints thy face may see, For ever wholly loving thee.5 In contrast to the opening piece's declamatory rhetoric and whole-tone harmonic plan, this carol exploits the potential for syncopation between duple and triple emphases inherent in 6/8, while keeping the homophonic text declamation of the first movement.