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Choral Reviews
Choral Reviews

It is helpful that either the composer or publisher de- Viking Song
lineates each section via a double bar; care should still Samuel Coleridge-Taylor
be taken to ensure that the piece is not presented as SATB, piano
individual movements, however. The next section (mm. J. Curwen & Sons, ca. 1911 (2:30)
25–34) is firmly anchored in the relative major key of F
major via a pedal tone in the accompaniment. The vo-
cal textures are now reversed as the lower two parts are
assigned to the newly composed melody while the so-
pranos float above. Coleridge-Taylor continues to im-
press the visuals of the poetry upon the listener as the
melody hangs and moves through the air above the sol-
id pedal foundation (lines 8-10 of the poem). This same With a title like Viking Song, today’s choral director
vocal texture is applied to measures 35–47 but now in may be taken aback. “Could it be that the influence
the key of A major. The lowered sixth scale degree is of superhero cinematic universes has leeched into
present throughout, perhaps indicating that while we the groundwater of choral music?” But, no, Samuel
are in a different key, we still intend to return to where Coleridge-Taylor was about a hundred years ahead of
we began. A strong V-I cadence leads to D major in the curve when he set this evocative poem. It would
measure 52, setting up a satisfying parallel shift to our appear from this choice that the wide appeal of Norse
home key of D minor in measure 73. mythology was as present a century ago as it is today,
This journey through different tonal centers, both but this hidden gem of Coleridge-Taylor’s part songs is
major and minor, perfectly encapsulates the varied not as widely known. His masterful compositional craft
emotions of the text. Three different major keys de- is on full display in this compelling work that is attain-
scribe a picturesque landscape yet are bookended by able for an SATB choir of any experience level.
the mysterious and contemplative D minor. Despite this Just like a good superhero movie, the opening se-
beguiling scene, the curious mind inquires why a child quence of Viking Song grabs one’s attention straight
like this is alone, in the woods, at night. While this ques- away. The piano accompaniment “in march time” lays
tion is left unanswered by Samuel Taylor Coleridge’s a strong rhythmic foundation, with a harmonic progres-
poem, Samuel Coleridge-Taylor offers some musical sion that would be right at home under the fingers of a
solace in the form of a Picardy third, repeated three baseball game organist. The first words of the choir are
times at the close. unforgettable, as they declare, “Clang, clang, clang on
Encinctured With a Twine of Leaves exemplifies the anvil!” The most frequently occurring word in the
Coleridge-Taylor’s abilities as a melodist who deftly text offers deep layers of opportunity for music making.
brings musical life to words on a page. Harmonically The crispness of a hammer on an anvil is a wonder-
it is complex and varied yet is still palatable to perform ful image for the accents throughout the piece. Singers
and to listen to as it glides through tonal centers that would find joy in rehearsal by holding their imaginary
are all related in some way. Intermediate to advanced hammers in the air and vigorously striking metal on
treble ensembles would be well served by programming metal to provide contrast in articulation. One could
this wonderfully rich twentieth-century part-song. take the analogy even further by imagining the singer’s
breathing mechanism to be akin to the hot coals of the
Paul von Kampen forge, whose flames are best stoked with low and open
Director of Choral Activities breaths. While an onomatopoeia-like “clang” is a sure-
Concordia University, St. Paul fire source of joy, it also presents a challenge. After em-
phasis on a clear consonant, how can the ensuing vowel
be sung with beautiful choral tone? It is the word that
begins and ends the piece, so finding a nuanced bal-

26 CHORAL JOURNAL June/July 2025 Volume 65 Number 9