Nancy Wertsch Music, Ltd.

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"Music When Soft Voices Die" by Nancy Wertsch is for two part treble voices and piano, a tender setting of the poem by Percy Bysshe Shelley (1821) about enduring love and the memory of a loved one passed. The peaceful piano accompaniment supports the beautiful lyric melody and counter harmony of the voice parts. Simple but heartfelt and moving. It can be sung by two solo voices or by a two-part treble choir.

Music When Soft Voices Die

SA Octavo

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An extended expressive a cappella setting of the familiar spiritual "Steal Away", beginning simply with a tenor solo. Verses begin from tranquil unison voices and expand outward, each verse unfolding further afield harmonically, expanding the vocal ranges as the music progresses, with declamations on "the trumpet sounds". As the expressive harmonies evolve in richness, they ultimately settle and arrive peacefully on the final "steal away home." 

Note the occasional divisi in the alto part, independent writing for baritone and bass parts, and high "A's" for the sopranos.

Steal Away

SATBB Octavo

Bach's famous melody from his Orchestral Suite No. 3 is arranged here for a cappella SATB choir. The basses provide a pizzicato style bass line while the sopranos sing the melody to "alleluia" with contrapuntal answers in the alto and tenor parts. The arrangement cleverly disguises the modulations to accommodate vocal ranges. Great as a fun concert piece or encore!

Air on the G String

SATB Octavo

"O Nata Lux" by Nancy Wertsch is for a cappella SATB chorus. The traditional Latin text about light is composed in a style reminiscent of a Renaissance motet, suitable for both concert and service use. The music is melodic with changing meters that follow the flow of the text. The vocal texture varies with duets trading back and forth phrases of text, and all voices coming together on declamatory moments. The piece fades away as the text fragments between the sections of the choir.

O Nata Lux

Most unusual and highly effective! "The Transfiguration" by Nancy Wertsch is for SATB choir and organ, with some transitory solo lines and one baritone solo for the apostle Peter. The music is set like a dramatic scene, with elements of recitative, chant, opera aria, and sprechstimme. The organ provides descriptive commentary illustrating the text with various effects, building to full organ depicting the overwhelming light and presence of God. The narrative is presented mostly as a single line moving from one soloist to another, with some dramatic high notes and arresting intervals for the sopranos, and with the mostly unison choral part coming later in the piece. In addition to use as an anthem, it has been employed effectively presented as the scripture reading for Transfiguration Sunday.

The Transfiguration

Nancy Wertsch's arrangement of this familiar hymn tune begins gently, each verse building in rhythmic activity and harmonic richness, with some modulations between verses. The piano accompaniment illustrates a steady walking motion. 
Some divisi in the alto, tenor, and bass parts. 
Available in two voicings: SATB (NWC-127) and two-part treble voices (NWC-174)

Jesus Walked This Lonesome Valley

"Consider the Lilies" by Nancy Wertsch is for SATB choir with organ accompaniment of the words from Matthew 6:28-30. Set like a tone painting, the music illustrates the text in sound, with unusual harmonies, portamento, and spoken words for effect. Challenging, for choirs with advanced capability.

Consider the Lilies

"The Beatitudes" by Nancy Wertsch is for SATB choir with organ, otherwise known as "The Sermon on the Mount" from Matthew 5:1-10,12. With an opening a cappella baritone solo, the setting is evocative of chant, with a quasi-medieval texture. Flowing melodic lines and irregular meters follow the rhythm of the words, while the organ provides sustained support with drone-like open fifths and sparse intervals. Two-part writing predominates throughout, making this an easier anthem to prepare for the Fourth Sunday after Epiphany.

The Beatitudes

An a cappella setting of an original poem by Sara Astle Carruth, poet and member of the University of Utah Singers who commissioned this setting. The six rhyming strophes of the poem  celebrate the passing of winter, warm sunlight, the awakening and blossoming of spring, and the renewal of dreams. The music is joyful and optimistic, predominantly homophonic, with moments of musing and daydreaming. Some occasional divisi in all parts.

Spring

"My God and King" by Nancy Wertsch is for two part treble voices and piano, a setting of the familiar words of Psalm 42 "As pants the hart for the cooling streams." Set in three verses, the arpeggiated piano accompaniment illustrates the gently flowing water, with the voices singing in thirds. Easy to learn and put together in a short amount of time.

My God and King

"Wake, O Earth" by Nancy Wertsch for a cappella SATB (div.) chorus on the poem by William Austin. Full harmonies and lively rhythms overflow with joy and excitement in anticipation of the coming of the Savior into the world. Suitable as a Christmas concert piece or anthem, for experienced choirs.

Wake, O Earth

An a cappella setting of the 17th century poem by Robert Herrick (1591-1674). The music vividly paints the text with interesting and unusual harmonic progressions, at times Poulenc-esque, with shifting diatonic harmonies and angular melodies for the sopranos, with a rising soaring soprano line at the final cadence. Always with a sense of clear voice leading, it is both challenging and rewarding to perform. Some occasional divisi throughout in all parts.

Charm Me Asleep

"Go, Tell It On the Mountain" arranged by Nancy Wertsch for SATB choir and organ or piano. The choir sets up the underlying rhythm with finger snapping in the first verse, until the organ enters with open fifth repeated chords recalling the sound of shepherd pipes. The choir sings the tune in canon, then in full harmony, before gradually fading away as if disappearing in the distance. Relatively easy to put together and effective for small and large choirs alike, for concerts or as an anthem.

Go, Tell It on the Mountain

"There is a Balm in Gilead" arranged by Nancy Wertsch for SATB choir and organ. After a four part a cappella introduction the choir sings mostly in two parts with organ accompaniment, with creative intertwining of the melody, harmonic development, and a brief soprano solo building to the final chorus. Effective and easy to put together on short notice.

There is a Balm in Gilead

SATB/Two-Part Octavo

"Cantate Domino" by Nancy Wertsch is a lively setting of Psalm 96:1-3 for SATB (div.) choir and organ. Sung in Latin, the music is exuberant and boisterous with mixed meters and a challenging organ accompaniment, all driving to the final phrase sung in English, "Sing to the Lord a new song." Perfect as an offertory anthem or concert piece.

Cantate Domino

"Magnificat" by Nancy Wertsch is for SATB (NWC-130) or SSAA (NWC-131) a cappella choir, in English. Set in a repeating style reminiscent of traditional Anglican chant, developing from a simple beginning with varied textures and voicings. Suitable as an anthem or as a short concert piece.

Magnificat

"Hymnus Matutinus" by Nancy Wertsch is a concert suite in five movements for SATB a cappella choir (some occasional divisi), with a mezzo-soprano solo in the second movement. The music illustrates the fourth century early Christian Latin poetry of Aurelius Prudentius (348-C.415). It is an optimistic work in a tonal yet modern style, with bright opening chords, at various times introspective and lively, arriving at a fulfilling conclusion.

Hymnus Matutinus
1. Nox, et lux (Darkness and Light)
2. Inde est (Thence it is)
3. Dulce Canunt Melos (Sweetly singing songs)
4. Venerat Occiduis (Come from the confines) 
5. Christe, redde lumen (Christ give back your light)

Complete texts and translations available on www.wertsch.com.

Hymnus Matutinus

SATB Vocal Score

"Home on the Range" arranged by Nancy Wertsch for two part treble voices and piano, is a cheerful setting of the familiar American tune of life on the prairie. With a counter melody and rhythmic alterations to give interest and humor to the performance, it is designed to charm you audience with  a musical taste of Americana.

Home on the Range

Patriotic fervor abounds in Nancy Wertsch's a cappella arrangement of this American tune with words by Samuel F. Smith, a sensitive setting which follows the ebbs and flows of the text and modulates through several keys, arriving at a rousing final cadence. Occasional divisi for all parts.

America

Nancy Wertsch's a cappella setting of "Were You There" evokes a depth of heart rending emotion.  The first and fourth verses are sparsely set with the sopranos on the melody while the altos provide a counterpoint of sustained pedal tones depicting the bleakness of Christ's suffering on the cross, while the second and third verses feature the full choir with rich slowly shifting descending harmonies. There is a brief divisi for the alto and tenor parts.

Were You There

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