RANDAMWILL Music 2021
ATW2012
Jeremiah the
Prophet
A Song Cycle
for Tenor and Piano
A dramatic 3-song cycle for
classical tenor and piano, this
concert piece spans the
prophetic calling of the young
Jeremiah, his life of suffering
and lament as well as the loving
covenant promises of God as
recorded in the biblical books of
Jeremiah and Lamentations.
“The Call”
“The Suffering”
”The Promise”
$15.00 each
It
has
been
an
absolute
pleasure
to
collaborate
with
Amy
Tate
Williams
on
the
song
cycle
JEREMIAH
THE
PROPHET.
It
has
some
of
the
most
hauntingly
beautiful
melody
lines
that
I’ve
ever
sung
or
heard,
combined
with
some
lush,
gorgeous
piano
accompaniment.
The
piano
and
the
voice
meld
so
well
together.
The
piece
is
written
in
such
a
way
that
sets
up
different
approaches
to
high
notes
and
climaxes
and
long
stretched-out
lines
in
a
smart
way
that
has
been
a
pleasure
to
work
on.
It’s
a
powerful
piece
because
it
is
written
cinematically,
operatically,
like
a
small
scena
or,
in
essence,
a
small
one-act
opera
in
the
course
of
just
a
few
minutes
with
these
three
epic
pieces.
They
have
such
different
tones,
and,
although
the
musical
language
is
similar
and
recognizable
-
there’s
a
thread
through
all
the
music
-
at
the
same
time
they’re
so
diverse
and
you
can
really
start
to
feel
what
must
have
been
going
through
Jeremiah’s
mind
at
the
time
he
experienced
these
various
things.
In
terms
of
preparation,
these
tunes
are
so
memorable,
they
almost
instantly
become
embedded
in
your
mind
and
your
vocal
DNA.
They
are
intuitive,
like
a
Mozart
piece.
You
have
the
melody
fixed
in
your
head
immediately,
then
it's
just
a
question
of
figuring
out
how
to
precisely
execute
all
of
the
more
subtle
aspects
of
the
vocal
line
that
create
such a powerful effect.
Pedagogically,
this
music
has
a
lot
to
offer,
and
I
found
myself
thinking
of
these
both
as
a
teacher
and
as
a
performer.
For
example,
you
are
asked
to
do
most
everything
that
a
singer
working
at
the
top
of
his
or
her
game
would
need
to
do
to
be
successful
while
singing
this
music.
Singing
long
sustained
exposed
lines,
executing
pristine
pianissimi
as
well
as
Verdi
or
Puccini-esque
forte's,
singing
recitative-like
sections,
thinking
about
stamina
and
pacing,
demonstrating
tremendous
breath
control,
and
utilizing
the
extremities
of
your
vocal
range.
I
could
immediately
imagine
assigning
some
of
this
material
to
some
of
my college students to help them develop critical vocal skills in a very appealing musical package.
It's
so
refreshing
to
sing
new
music
that
is
so
intuitive,
appealing,
and
well-crafted.
I'm
grateful
for
the
opportunity I had to get to know these pieces.
Dr. Tyler Nelson
Professor of Voice
Blair School of Music
Vanderbilt University
“The Call”
“The Suffering”
“The Promise”
performed by Dr. Tyler Nelson
recorded in Turner Hall, Vanderbilt University
RANDAMWILL Music 2021
$15.00 each
ATW2012
Jeremiah the
Prophet
A Song Cycle
for Tenor and Piano
A dramatic 3-song cycle for
classical tenor and piano, this
concert piece spans the
prophetic calling of the young
Jeremiah, his life of suffering
and lament as well as the loving
covenant promises of God as
recorded in the biblical books of
Jeremiah and Lamentations;
“The Call”
“The Suffering”
”The Promise”
“The Call”
“The Suffering”
“The Promise”
It
has
been
an
absolute
pleasure
to
collaborate
with
Amy
Tate
Williams
on
the
song
cycle
JEREMIAH
THE
PROPHET.
It
has
some
of
the
most
hauntingly
beautiful
melody
lines
that
I’ve
ever
sung
or
heard,
combined
with
some
lush,
gorgeous
piano
accompaniment.
The
piano
and
the
voice
meld
so
well
together.
The
piece
is
written
in
such
a
way
that
sets
up
different
approaches
to
high
notes
and
climaxes
and
long
stretched-out
lines
in
a
smart
way
that
has
been
a
pleasure
to
work
on.
It’s
a
powerful
piece
because
it
is
written
cinematically,
operatically,
like
a
small
scena
or,
in
essence,
a
small
one-act
opera
in
the
course
of
just
a
few
minutes
with
these
three
epic
pieces.
They
have
such
different
tones,
and,
although
the
musical
language
is
similar
and
recognizable
-
there’s
a
thread
through
all
the
music
-
at
the
same
time
they’re
so
diverse
and
you
can
really
start
to
feel
what
must
have
been
going
through
Jeremiah’s
mind
at
the
time
he
experienced
these
various
things.
In
terms
of
preparation,
these
tunes
are
so
memorable,
they
almost
instantly
become
embedded
in
your
mind
and
your
vocal
DNA.
They
are
intuitive,
like
a
Mozart
piece.
You
have
the
melody
fixed
in
your
head
immediately,
then
it's
just
a
question
of
figuring
out
how
to
precisely
execute
all
of
the
more
subtle
aspects
of the vocal line that create such a powerful effect.
Pedagogically,
this
music
has
a
lot
to
offer,
and
I
found
myself
thinking
of
these
both
as
a
teacher
and
as
a
performer.
For
example,
you
are
asked
to
do
most
everything
that
a
singer
working
at
the
top
of
his
or
her
game
would
need
to
do
to
be
successful
while
singing
this
music.
Singing
long
sustained
exposed
lines,
executing
pristine
pianissimi
as
well
as
Verdi
or
Puccini-esque
forte's,
singing
recitative-like
sections,
thinking
about
stamina
and
pacing,
demonstrating
tremendous
breath
control,
and
utilizing
the
extremities
of
your
vocal
range.
I
could
immediately
imagine
assigning
some
of
this
material
to
some
of
my
college
students
to
help
them
develop
critical
vocal
skills in a very appealing musical package.
It's
so
refreshing
to
sing
new
music
that
is
so
intuitive,
appealing,
and
well-crafted.
I'm
grateful
for
the
opportunity I had to get to know these pieces.
Dr. Tyler Nelson
Professor of Voice
Blair School of Music
Vanderbilt University
performed by Dr. Tyler Nelson
recorded in Turner Hall, Vanderbilt University
