Journey, The Cover Image

Journey, The: Treble Chorus, Orchestra Accompaniment, Conductor Score & Parts (EDWIN F KALMUS)

$175.00 USD
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Journey, The Cover Image

Journey, The: Treble Chorus, Orchestra Accompaniment, Conductor Score & Parts (EDWIN F KALMUS)

By Chris Hazell/ Text by Chris Hazell

Item: 36-A840302

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Description
THE JOURNEY was commissioned by the Hertfordshire County Music Service for their gala concert at Royal Albert Hall in London on July 8th, 1995. The original idea of a musical visit to various places gradually transformed itself to become different aspects on the theme of going somewhere. At first glance, some of the titles may not seem to have much to do with the subject (and this impression may remain!), but if you will imagine you are on a train, travelling somewhere - anywhere - then a sort of logic for these titles will emerge as you imagine all you see out of the window. Movements: 1. Time to Go (And we've only just got here); 2. Motorway Cones; 3. Nature; 4. Spuds; 5. Cathedrals; 6. Railways; 7. Noise Pollution; 8. The River; 9. Sewage; 10. Blackpool; 11. Where Do We Go from Here? Instrumentation: 2.2.2.2: 2ASax: 2.2.1.0: Timp.Perc(2-3).Drumset: Pno.Gtr.BsGtr: Str (9.8.7.6.5 in set): Children's Choir.

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Additional Details
Series: Kalmus Choral Library
Publisher: Keiser Productions, Inc.
UPC: 605258817907
SKU: 36-A840302
Instrumentation: 2.2.2.2: 2ASax: 2.2.1.0: Timp.Perc(2-3).Drumset: Pno.Gtr.BsGtr: Str (9.8.7.6.5 in set): Children's Choir

More about this title

Why we love this

The Journey moves beyond typical children's choir repertoire by building a complete dramatic arc across eleven movements. Chris Hazell's orchestration brings each vignette to life with distinctive instrumentation and character, from the grinding repetition of "Motorway Cones" to the reflective beauty of "Cathedrals," making this a substantial concert experience rather than a single novelty piece.

What to expect

A witty and imaginative travelogue set to music. Hazell captures the mundane and surprising elements of travel with a composer's ear for character and color, balancing moments of genuine lyricism ("Nature," "The River") with playful commentary on the familiar absurdities of modern journeys ("Spuds," "Sewage"). The work breathes like actual travel, with rhythmic energy, quiet observation, and unexpected discoveries.

Who it's for

Music directors leading treble choirs with access to a full orchestra and the resources for a substantial commissioning-scale project. This work suits advanced middle school or high school choirs seeking a major concert vehicle that combines accessible melodic writing with sophisticated orchestration and meaningful theatrical content.

How to get the most out of it

  • Establish the train journey as your dramatic through-line during rehearsals. Even though the movements are discrete episodes, the sense of continuous travel and observation unifies the work and helps singers understand their role in the larger narrative.
  • Balance the treble voices carefully in movements with prominent orchestral textures. The choir often functions as part of the ensemble fabric rather than dominating the texture, so clarity of blend matters more than volume.
  • Prepare the percussion section (2-3 players required) early, since rhythmic precision in movements like "Noise Pollution" directly impacts the choir's confidence and ensemble cohesion.
  • Work with your conductor on clear, confident transitions between movements. The shifts in tempo and character are deliberate, and a secure hand-to-ensemble connection prevents the work from feeling disjointed.

How to use it

Program The Journey as a complete concert experience or substantial section of a concert dedicated to children's and youth choir repertoire. The eleven movements allow for a single intermission if desired, and the work's inherent humor and theatrical intent make it an engaging centerpiece for a formal concert series or special gala performance.

Skills your students will build

  • Following a conductor through rapid tempo and character changes across distinct movements
  • Blending treble voices within a full orchestral texture
  • Sustaining focus and connection across an extended multi-movement work
  • Responding to orchestral cues and ensemble transitions
  • Interpreting text and musical narrative to inform ensemble cohesion

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